X-MEN, APOCALYPSE

US, 2016, 144 minutes, Colour.
James Mc Avoy, Michael Fassbender, Jennifer Lawrence, Evan Peters, Ty Sheridan, Oscar Isaac, Kodi Smit Mc Phee,
Directed by Bryan Singer.

Critics seem to hate it. Bloggers and fans have been enthusiastic. It seems to depend on tolerance for superhero and action movies. Critics seem to get weary. Bloggers and fans relish the next episode.

The X- Men franchise has been going for 16 years, at least seven films including two on Wolverine himself (who does make a brief appearance here and hurries off to the frozen woods where we know he took refuge).

One of the principal difficulties for those who are not like those diehard fans who could go on Mastermind and answer quite detailed questions on the series, is to locate the time of the action, how it already relates to what we have known from the earlier films, the younger versions of so many characters – some of whom turn out good in the end but some of them go over to the dark side.

This one is set in 1983 with a smiling Ronald Reagan as president – a scene at the end with a telephone call from the Pentagon indicating that the president knew of all the dire nuclear destruction, let alone the fury from Magneto, that was destroying the world (including the destruction of Sydney's Opera House).

But, to go back to the beginning, which is what this screenplay does with an extraordinary recreation of Egypt, 3600 BC, and a megalomaniac who thinks he is God but, as events turn out, seems more like a Satan. With lavish and extraordinary special effects, and glimpses of a cast of thousands, the god (better lower case g) transfers his powers to a new body but, a military uprising against him buries him until archaeologists (including Rose Byrnes’ Moira Mc Taggart) and devotees release him in 1983. He will be the archvillain, Apocalypse, recruiting mutants to his side, even Magneto, and wants to connect to the mind of Charles Xavier in order to control the world – his idea is to create a new one because he is, one may say, hell-bent on destroying the present one. It is a bit hard to recognise Oscar Isaac under the blue colour and heavy make up.

Charles Xavier, James Mc Avoy again, is running his school for mutants, with the skilled assistance of, Hank Mc Coy/ Beast, Nicholas Hoult and young Scott (Tye Sheridan), bullied at school, but gradually releasing his extraordinary firepower from his eyes, is taken by his brother, the hero Alex, to be a student at the school. Here he encounters the young Jean (Sophie Turner) who has the power to read minds. also doing good around the world is Raven/Mistique, Jennifer Lawrence, who is able to save a very strange mutant, Kurt, the Nightcrawler (Kodi Smit Mc Phee) from wrestling bouts against an angel mutant (obviously going over to the dark side) and bringing him to Charles Xavier.

One surprise is to find that Erik Lensherr is working in a factory in Poland, with a wife and daughter, remembering the death of his parents in Auschwitz, but exposed by the local police which draws his revenge and his being headhunted by Apocalypse. There is another character, Quicksilver, Evan Peters, who turns out to be Magneto’s son who also gets into the action, a gum-chewing layabout rather than heroic figure until it goes into action.

The acting is very effective, so many of the cast being familiar with their characters. the special effects, from Egypt at the beginning to the extraordinary world destruction to the final combats are outstanding – although the massacre from Wolverine seems to be far too much.

This one seems to end well – but the mind then goes back to those earlier films and the various confrontations between good and evil, especially between the old friends Charles Xavier and Magneto.

And, it should be said again, the fans have liked this one a lot.


1. The impact of this film? The apocalyptic tone? Its place in the series? With reference to the previous films, the later times, the characters as young, then older?

2. The title, the apocalypse, destruction and rebuilding? The role of the mutants in this scenario?

3. The background, the mutants, their role in society, the Egyptian background and some mythology? The mutants in the 20th and 21st centuries? Their gifts, exercising them, in the world, concealing them? Charles Xavier’s school for mutants?

4. The director, his role in the original films, the cast, young and old?

5. The special effects, the elaborate opening in Egypt, cast of thousands, the scenes of destruction in the 20th century? The fights between the teams of mutants? The musical score?

6. The problem, the ritual, lavish, Apocalypse, the transfer of powers into the other body, his appearance, the mask? Being seen as a god? The revolt of the military, the destruction and the burial of Apocalypse?

7. The 1983 sitting, President Reagan, the world situation, the Cold War about to end?

8. Scott, being bullied at school, the fire coming from his eyes, going home, his family, Alex taking him to the school, the meeting with Charles, with Hank, the interactions with Jean, the situation at the school, the friendship with Jean? The role of Hank and his skills?

9. Raven/ Mystique, her past, on the outer? In Germany, the encounter with Kurt, the Angel and their both being mutants? The wrestling matches, the championships, the people watching? Kurt, fighting the Angel? Raven saving him, the decision to take him to the school? His being the Night Crawler?

10. Moira Mc Taggart, the past relationship with Charles, her work at the CIA, the memories erased? Going to Egypt, going into the pyramid, watching the reappearance of Apocalypse?

11. Charles Xavier in himself, his powers, ability to know minds, contacts, the situation and Apocalypse wanting to share his powers?

12. Apocalypse, his revival, finding himself in the 21st century, the various disciples, his watching the television and absorbing knowledge? The women in Cairo, Angel becoming one of his minions?

13. The story of Erik, in Poland, wife and child, working in the factory, happy life? The memories of his parents’ death in our streets? His saving the worker, people observing? The report to the police, the people’s fears, the confrontation, the death of his wife and child? Decapitating the police with his powers? Wanting revenge? Apocalypse coming to recruit him and transform him?

14. Apocalypse, the plan for world destruction and rebuilding, the visuals of destruction in New York City, also in the world, the Sydney Opera House?

15. The meetings in the Pentagon, strategies, contact with the president?

16. Apocalypse, communication with Charles, taking possession of him? Apocalypse sharing his knowledge, communicating with others? The resistance, the mutants using their powers, not?

17. Erik becoming Magneto, his power, the destruction, confrontation?

18. Apocalypse, with Charles, Charles being overcome, yet his contact with Jean and her knowing where he was? Hank, the Beast, using his knowledge? The mutants appearing in their mutant form?

19. The prison scene, the appearance of Wolverine, the massacre, his going out into the snowy mountains? The helicopter, Scott and Jean stowing away, in the prison, exercising their powers?

20. Charles, losing control, the fight, his becoming bald, the rescue, his gradual recovery?

21. The apocalyptic fights, the confrontations between the various mutants, destruction? Magneto and his better nature being appealed to?

22. The destruction of the school, its being restored, the significance of Jean and her powers? The restoration, the students, Magneto
leaving? Opening the way to the future stories?

THE EXORCISM OF MOLLY HARTLEY

US, 2015, 96 minutes, Colour.
Devon Sawa, Sarah Lind, Gina Holden, Peter Mc Neill.
Directed by Steven R. Monroe.


Since 1973 and the surprise appearance and box office success of The Exorcist, there has been a tradition of exorcist and possession films, sequels and prequels to the original, Italian spoofs, and other franchises including The Omen series.

There seems to have been a strong renewal of interest around 2010, not only Catholic stories of possession but also Protestant stories of exorcisms. There were popular versions like The Last Exorcism and The Devil Within. Better examples of exorcism films have been The Exorcism of Emily Rose and the German story on which it was based, Requiem. Another interesting example was The Rite with Anthony Hopkins, based on a true American story, and highlighting the course for exorcists which was established in Rome.

This film begins almost like a parody of The Exorcist, something like the spoof, Repossessed. However, despite the exaggerations of the opening, the film then settles into something of an ultra-serious tone.

The plot is basic, Molly Hartley who had appeared in the previous film, The Haunting of Molly Hartley, is now possessed. Devon Sawa appears as Father Barrow, participating in an exorcism but most imprudently believing the words of the possessed and freeing her with the result that she and the other priest die. The authorities are not impressed and Father Barrow is removed from active ministry and consigned to care in a Catholic institution. Molly Hartley is there. Devon Sawa is not the most credible of priests.

The retiring chaplain encourages Father Barrow to exorcise Molly and this is supported by the head nurse. There is an exorcism and Molly is healed – but, the chaplain is unmasked as participating in satanic rituals, for a new apocalypse, the rise of Leviathan, with other pseudo—biblical overtones.

One of the problems is that, while the story is Catholic, the vestments are weird, the Protestant version of The Lord’s Prayer is recited, the rituals in the book as well as the actions are products of the screenwriter’s mind rather than of any traditions. With the exorcism, there is acknowledgement of a background of Beelzebub, theLord of the flies – and, while Molly is healed, there is yet another of those token symbols for the audience to realise that everything may not be over yet…

1. The popularity of The Exorcist films? From the 1970s and the original The Exorcist? The tradition?

2. Renewed audience interest in the 21st century? The nature of the devil, of evil, Christian belief or not, the possibility of diabolical possession, the reasons? Satanic rituals and beliefs?

3. The use of Catholic traditions, but not carefully researched: strange coloured vestments, the Protestant Lord’s Prayer, the making up of ritual texts, the nature of the rituals – coming more from the screenwriter than from authenticity?

4. The situation, the previous film about Molly Hartley? The reasons for her possession?

5. Father Barrow, performing rituals, his explanation of his training, his beliefs? His trust in the possessed woman, leading to her freeing herself and the deaths? His being dismissed, losing his priestly faculties, going to the Catholic institution, the same place as Molly?

6. The film’s image of priests, focusing on their ministry of exorcism rather than anything else, not seeing them in the broader context of church? The death of the exorcist? Father Barrow, young, his training, his ministry? The chaplain at the institution, benign, welcoming, retiring? The screenwriter’s assumption that priests have all the esoteric knowledge about esoteric and exotic books, symbols and rituals?

7. The supervisor, her role in the institution, her concern about the patients? With Father Barrow? Concern about Molly? The other patients, the wardsmen, the nurses?

8. Father Barrow, his ecclesiastical situation, supported by the chaplain, convinced to go ahead with the exorcism? Vestments, ritual?

9. Molly, the conventions from The Exorcist, her look, her face, words and voice, vomit, levitation, loosening her thongs, the letters on
her forehead? Mouthing abuse? The flies coming out, her being saved?

10. The ritual vessel, the flies coming out of her mouth, Father Barrow collecting them, the vessel, the water, the container?

11. Father Barrow going to chaplain, the vessel put in the safe? Father Barrow seeing the book, the satanic rituals, the meaning of the letters and symbols?

12. The chaplain, beginning to perform the satanic ritual, the guards and mean under his control, the director of the Institute, concealing the knife, producing it and killing the guard? Father Barrow, the gun? The preparation, the sacrificing of Molly, the talk about the apocalypse and leviathan?

13. The police, the shooting, killing the priest, the rescue?

14. The flies, the one escaping – Molly on the bus, the fly entering her ear – the token device at the end of horror films and leaving the issues open?

HOW TO MAKE LOVE LIKE AN ENGLISHMAN/SOME KIND OF BEAUTIFUL

US/UK, 2014, 99 minutes, Colour.
Pierce Brosnan, Salma Hayak, Jessica Alba, Malcolm Mc Dowell, Duncan Joiner, Brian Mc Kenzie, Merrin Dungley, Ivan Sergei, Marlee Matlin, Lee Garlington.
Directed by Tom Vaughan.

Reaction to this film would be rather mixed. It has some of the ingredients of a romantic comedy but with the hero so old, Pierce Brosnan at 60+, younger audiences would not be so sympathetic, especially in his affair and then marrying the younger Jessica Alba. And then she leaves him for a younger man saying that she was too young to be married. And then there is Salma Hayek, not so young either, having difficult relationships and then being the woman who is going to change the hero’s life. There is a young boy also involved. And there is the hero’s father, played as an old roue by Malcolm McDowell? – but who is also effective in the scenes where he has to change his moral stances and admit his loneliness and his past life. Though he looks much older, Malcolm Mc Dowell is in fact only 12 years older than Pierce Brosnan.

There is a surprise cameo appearance by Oscar-winner, Marlee Matlin.

The film was directed by Tom Vaughan who has had a mixed career in films and television, who made the entertaining film about BBC television’s University Challenge, Starter for 10.

1. The curiosity value of the title? The alternate title, Some Kind of Beautiful?

2. The themes, the characters, relationships, sexuality, exploitation, glib argumentation for behaviour? Some kind of moral evaluation?

3. The British settings? Universities? The transition to the United States? University campus, apartments, homes, the coast, the California weather? The musical score?

4. Introduction to Richard, narrating his story, talking to his son?

5. Richard, his past, growing up, his father, lecturing at the University, his four marriages, his tone, reckless? The influence on Richard? Imitating his father’s behaviour, sexual relationships?

6. Richard, his age, his career, his relationship with students? His teaching the Romantic poets, the quotations from the poets, their lives, his trying to communicate? His father and the students? Richard and the students board, texting et cetera? His relationship with Kate, student? Ethical issues? The decision to marry?

7. Kate, a character, a relationship with Olivia, confiding in her? Olivia, her character, her relationships? The initial encounter with Richard and the antagonism?

8. Kate, pregnant, the birth of the boy? Richard in the United States? The lack of interest by students? Angela, her liking Richard, trying to promote him? The short tenure, the new job? The professor, his coming to listen to the lecture, Richard and his desperation about his green card, ditching his preparation, talking more personally to the students, the listening, the professor, the social, Richard and his drinking, the professor visiting and Richard getting the job?

9. Richard in America, caring for his son? Kate, falling out of love with Richard, talking about her being too young? Her relationship with Brian, leaving? Richard and disbelief? Kate developing her relationship with Brian?

10. The continued encounters with Olivia, her own life and relationships, minding the boy, the unspoken attraction, the sexual encounter, the consequences? The affair, Kate discovering, a reaction?

11. The visit of his father, coming out of England, memories of England, his fourth wife and relationship with her, her leaving? Talking with his son, the clash? His becoming ill, straight talking? His liking for the family, the gift for Jake, Jake opting for him?

12. Richard, his drinking, driving, the police? His having to go for the 12 steps? His resistance? The possibility for his being deported, his change of attitude? The irony of the member of the group and her later being revealed as part of the deportation review? The grim view of the deportation offices?

13. His return to England, his agent in America, the visits to the office, the University, his being accepted, his return?

14. His relationship with Olivia, discovering love for the first time?

15. The romantic comedy aspects? The issue of age? Affairs, marriage, divorce, children, custody? In a romantic comedy where most of the characters were not particularly likeable or admirable?

THE CURSE OF FRANKENSTEIN

UK, 1957, 82 minutes, Colour.
Peter Cushing, Robert Urquart, Hazel Court, Christopher Lee.
Directed by Terence Fisher.

The Curse of Frankenstein was the first in Hammer Studios 20+ years of horror films, including variations of the Frankenstein theme and, particularly, Dracula films.

In comparison with later films, this version looks rather elegant, with some horror and violence, but minimal compared to later standards.

Peter Cushing began a new career with Hammer Studios as Frankenstein as well as Van Helsing in the Dracula films.He always presented as a rather dignified screen presence and so his callous behaviour towards his maid and towards Elizabeth, especially kissing scenes, seem somehow very unbecoming for him. But, as the arrogant Victor, pursuing his ambition to create life, he is very effective. Christopher Lee, also moved into horror rules as the creature and was to continue as Dracula. Robert Urquart is the character who gives some moral compass to the film.

The film was directed by Terence Fisher who had been directing small budget films up to this time, and was to go on to direct many of Hammer’s classic horror films.

1. A classic Frankenstein film, from the 1950s? The influence of the classic from the 1930s? The continued tradition of Frankenstein films? Especially from Hammer Studios?

2. Production values, recreation of the period, costumes and decor, Switzerland, the castle, the countryside? The musical score?

3. Variation on Mary Shelley’s novel? The character of Frankenstein, his being imprisoned, the visit of the priest, his telling his story, wanting forgiveness? Yet callous, single-minded, the relationship with his maid, callous towards Elizabeth? His experiments, his ambitions, his achievement, overcome by his achievement?

4. Victor Frankenstein as a boy, the Baron, the funeral, the letter to Paul, the interview, his praise of Paul as a tutor? Their working together, the experiments? The experiment creating life? Frankenstein’s ambition to create a human, Paul being against this? The collaboration, the falling out?

5. Frankenstein, his going to get the hands for the creature, the visit of the professor, Frankenstein killing him, taking his brain, Paul struggling with it, the damage to the brain and the consequences for the creature?

6. Frankenstein, the past relation with Elizabeth and her mother, the money, her return, intention to marry, Frankenstein’s disdain, the maid and her demanding to be married, her disappearance, Frankenstein using Elizabeth?

7. Paul, his feelings towards Elizabeth, the continued confrontations with Victor, his moral disapproval?

8. Victor, preparation for the wedding? Bringing the creature to life? The violence, having to control the creature? The creature out in the countryside, little boy, the blind old man? His being chained? His becoming free, loosening the chain?

9. Elizabeth, going upstairs, in the laboratory, on the roof, the creature, her being shot?

10. The creature, menacing, being shot, Victor blaming Paul?

11. Victor, his imprisonment, the priest walking out, Paul and Elizabeth coming to see him, his attacking Paul – and his going to his execution?

12. This film opening the tradition for Hammer Studios and the horror traditions?

DOWNRIVER

Australia, 2015, 97 minutes, Colour.
Reef Ireland, Kerry Fox, Thom Green, Charles Grounds, Lester Ellis Jr, Helen Morse, Robert Taylor.
Directed by Grant Scicluna.

Downriver is a mood piece or a very moody piece. It is a story of death, guilt, mystery.

The central character, James, emerges from prison at the beginning of the film and the audience soon discovering that he has been serving a sentence for the death of a little boy, whose body has never been found. The death happened when James was a young boy, playing with his friend Anthony. At the beginning, the audience knows something more than James does with a flashback showing James washing the mud from himself, running away, the information about his epileptic fit and is not remembering – but seeing Anthony, also young, sitting by the river but then going down to look at the body of the dead boy.

James has to report to the parole officer but decides to go back to the family house on the location where the death occurred. He has had an encounter with the boy’s mother, weeping and still angrily confronting James and wanting to know whether body is. James does not know whether body is and over the period of a day or two, he contacts Anthony, a strong antagonism between them. but he also makes friends with the loner, Damien, who lives with his family in an adjoining house.

His mother arrives with her lover, she still upset about the death but in partial denial, especially in acknowledging James as her son to the lover.

James comes across an elderly woman who lives in the mountains and tends dogs, discovering that she and others have hunted wild dogs and disposed of their bodies, James going to search the site and finding underground tunnels.

There is a twist as James continues to investigate, encountering Anthony’s brother and Anthony’s father, leading to a violent confrontation – and the discovery revelation.

The film has beautiful settings, especially from about Warrandyte and the Yarra River.

The moodiness of the film comes from the character of James, his experience, his memories, his search.With the dysfunctional families, and the initial death there is a strong atmosphere of violence. The theme of sexuality is also quite strong, homosexual theme with James, Anthony, the neighbouring boy, the local storekeeper all homosexual with conflicting behaviour. This is the first feature film of the director, Grant Sicluna, who had previously made several short films with gay themes.

The cast is strong with Reef Ireland as James, Thom Green as Anthony, with Kerry Fox as James’s mother and Robert Taylor as her lover and a welcome appearance by Helen Morse as Mary.

1. An Australian story, universal story?

2. The title, the visuals of the river and the water flowing down (in the final glimpse of the river at the sea), the Warrandyte settings, locations, the events, the mystery, death and a body downriver?

3. The locations, homes, the mountains, the river, prison? The musical score?

4. The screenplay and the time shifts? The boys playing, the death of the little boy, the continued flashbacks? Prison, James getting out of prison, visiting the site of the death, his investigation?

5. The situation, James as a little boy, playing with Anthony, their taking the little boy, the audience seeing James washing the mud away, running, his epilepsy? Anthony, sitting, going down to look at the dead boy? The disappearance of the body? The memories?

6. James, the prison sentence, getting out, his relationship with his cellmate? The parole officer, the interview with the mother, the questions, upset? The parole conditions? Lodgings and requirement? His encounters, his personality, seeing him as a fighter? His mother and her history? His decision to go to the house by the river?

7. Going to the house, his memories, the boy and his death? Seeing the family in the house nearby, the father, the son and his aloofness, the little girl? Looking for Anthony? His visit, the confrontation, the memories, the antagonism? Going to the shop, the storekeeper and his sexual relationship with Anthony, Anthony and his father, the house, his brother? The clashes? Seeing Mary at the shop, the dogs? Visiting her, the information about burying the dogs? As mother’s arrival, the tensions, her relationship with Wayne? The discussions, his pondering, in his room? The group going out on the boat, his searching for the place for the burial of the dogs?

8. Anthony, his past, his family, the story of his sister, knowing it or not? The story of the little dead girl? His relationship with his father, with Joe? The masturbation, photos, sending them to the storekeeper? His homosexual orientation, Damien, in the shower, the sexual assault? James and his wanting to choke Anthony? The father, James in the car, Joe, James having to choose between Damien and the truth?

9. The storekeeper, his relationship with Anthony, from 14, the photos, talking with James?

10. Mary, living in the bush, the dogs, information for James, caring for him after the assault?

11. James’s mother, the past, the visit to the house, the memories, in denial about the situation, Wayne not knowing that James was her son? The parole officer discussing with James’s mother? In the house, the talk, drinking, the upset, Wayne’s sympathy, leaving?

12. Wayne, truck driver, the relationship with Paige, out on the boat, talking with James, discovering the truth, wishing him well?

13. The little boy, Anthony wanting a substitute sister, taking the boy, playing, the death? The disposal of the body?

14. Damien, his family, isolation, loner, talking with James, the friendship, gay, the encounter with Anthony in the shower? His being bashed? The final scene in the relationship with James?

15. The twists of the plot, the little girl who died, Anthony and his wanting the boy as a substitute, the death of the child, the father and Joe and the disposal of the two bodies? James’ searching, the father offering him the truth or Damien, his wanting the truth, finding the bodies?

16. Atmosphere of violence?

17. The sexual atmosphere, the predominance of homosexuality, the range of characters?

18. The mood, moody, the resolution?

HIGHLY STRUNG

Australia, 2016, 104 minutes, Colour.
Kristian Winther Joana Tache, Stephen King, Joanna Draper, Ulrike Klein, The Carpenter Family.
Directed by Scott Hicks.

First and foremost, this documentary film is for music lovers. Other audiences will find the characterisation of the musicians quite interesting, and the narrative which develops in unexpected ways, as well as the opportunity to hear excerpts of classical music and chamber pieces. Director, Scott Hicks, is famed as being the director of Shine but he has also made a documentary on the composer, Philip Glass.

There are three stories intertwined in Highly Strung.

A framing story concerns the four musicians in the Australian String Quartet, the particular skills, the rehearsals, performances, and a growing tension about the quality of their playing. Each of the four musicians Kristian Winther, Joana Tache, Stephen King, Joanna Draper, is interviewed throughout the film, enthusiastic beginnings, excitement about the violins being bought for them (which is the second storyline of the film), some crises amongst the players, especially with two who marry after something of a whirlwind courtship, the other two players, one of whom is married with family. Each of those interviewed is very frank about themselves, the love for music, the experience of playing together, the challenges that they face and the break with the quartet.

The second storyline is about violins themselves. The documentary gives quite an amount of information about the making of the Stradivarius violins as well as the Guadagninis, the reputation of the violin makers from the 18th century, their being kept in bank vaults, the extraordinarily high prices (over $1 million). Benefactor, Ulrike Klein, decides that the quartet should have the violins and go through a process of purchasing – with an excursion to Italy, to Cremona, where Guadagnini lived and where contemporary violin makers are crafting instruments in the line of Guadagnini. Some interesting sequences where we look at the making of the violins. Then there is something of a leap to the United States at an introduction to the Carpenter family, very vocal about the making of violins, their playing, their promotions – and some tour-de-force performances from them.

The third strand in the story concerns are Ulrike Klein, her German background, her coming to Australia, her love for music, her financial success and her becoming a benefactor of the arts, especially the building of the Ngeringa Arts centre in South Australia’s Mount Barker. There is some biography of Ulrike, a reunion with the husband she left long since, her business success in Australia, the patronage of the Australian String Quartet and obtaining the violins, her concern about the breakup, her relationship with other officials backing the quartet as well as those of her Ngeringa centre.

There is always something going on in Highly Strung, each of the three strands linking although, at times, the film goes off to concentrate one or the other.

As has been said, this is principally a film for classical music lovers and those who appreciate fine musical instruments.

CRIME AND PUNISHMENT IN SUBURBIA

US, 2002, 100 minutes, Colour.
Monica Keena, Vincent Kartheiser, Ellen Barkin, Michael Ironside, James De Bello, Jeffrey Wright, Conchata Ferrall.
Directed by Rob Schmidt.

Since the title evokes Dostoevsky’s novel, there is a quotation at the beginning of the film. But this is not a version of the novel, rather and updating to a teenage setting at the end of the twentieth century.

The story is told from the point of view of Vincent (Vincent Kartheiser) something of a nerd who tells his story in chapters, lives with his mother, indulges in sexual fantasies, is preoccupied with a fellow-student, Roseanne (Monica Keena). however, she is involved with the local jock, Jimmy, James De Bello). follows them to a cinema where they watch horror films and Jimmy violently attacks him while Roseanne is kind and lets him take a photo.

Vincent continues to stalk Roseanne, especially at her home where she lives with her mother and her stepfather, Ellen Barkin and Michael Ironside. The couple continually bicker and she takes herself off to a local bar with her friend, Conchata Ferrall, and becomes infatuated with barman, Jeffrey Wright.

In the meantime, the stepfather rapes Roseanne and she decides to wreak vengeance on him, persuading a reluctant Jimmy to join her in the murder, which he does, and they dispose of the body.

Vincent has witnessed all this and taken photographs, later having a deeper conversation with Roseanne urging her to take responsibility. Her mother has been arrested for the crime and Roseanne’s confession lets her go free. In the meantime, the barman has abducted Jimmy and there is a confrontation in the street and a shooting.

The film is geared towards a younger audience – something similar to the version of Dangerous Liaisons the year before, an adaptation for younger audiences, Cruel Intentions.

1. The background Dostoevsky’s novel? Characters, situations, moral choices? At the end of the 20th century?

2. The title, the suburbs of an American city, the 1990s, the different homes, school, sport, the clubs? Courts, prison? The musical score?

3. The variety of chapters, the titles and tone?

4. Vincent, his voice-over, character, age, appearance, nerdish? At home, his room and interests? Photography, stalking Roseanne? Sex and masturbation and the image? relationship with his mother? Watching Roseanne, in the cinema with Jimmy, Jimmy’s attack, Roseanne and allowing her photo to be taken? HIs knowing her, her issues, his story?

5. Roseanne, age, student, relationship with Jimmy, in the cinema, talking with Vincent, the photo, her mother and her mother’s story, living with Fred? Fred, father figure, his anger at his wife, with Roseanne, the viciousness of the rape, the effect on her, in class, the students, weeping alone? The decision against Fred, argument with Jimmy, persuading him, the killing sequence, the plunging the weapon, the aftermath, distancing herself from Jimmy, Vincent knowing the truth? In court, her mother accused, Jimmy and his injury, the crisis, discussions with Vincent, her confessing to the police, in prison, and her feeling at home in prison?

6. Jimmy, the jock, his life, assertiveness, love for Roseanne, attacking Vincent? Football practice, the coach, persuaded to kill Fred? The experience of the murder, the aftermath, Roseanne cutting him off, in the bar, hunting, the encounter with Chris, Chris abducting him, the confrontation, the fight, Chris shooting him, the injury, hospital, his limping?

7. Roseanne’s mother, her life, marrying Fred, the continued fight, bickering? Going out with Bella? The encounter with Chris, the bar, spilling the drink, the kiss, the affair? Her visiting Fred and their argument, her threats? Finding him dead, pulling out the weapon, her arrest, protecting her daughter? In court, in jail, finally being free – phoning Chris?

8. Fred, his life, marriage, arguing with his wife, the meals, with Roseanne? anger, confronting Roseanne, the rape, his being murdered?

9. Chris, at the bar, the relationship with Fred’s wife, abducting Jimmy, the shooting, in prison and phoning his girlfriend, Maggie?

10. Bella, the support for Maggie, disdain for Fred?

11. The background of school, the counsellor and his being young and inexperienced? The students? Sport?

12. A teen story based on the classic? Moralising?

THAT DARN CAT

US, 1997, 89 minutes, Colour.
Christina Ricci, Doug E. Doug, Dean Jones, George Dzundza, Peter Boyle, Michael Mc Kean, Bess Armstrong, Dyan Cannon, John Ratzenberger, Estelle Parsons, Rebecca Schull.
Directed by Bob Spier.

Hayley Mills was very popular in the 1960s, making a number of classic films for Disney including Pollyanna and The Parent Trap. This is one of the last films, the literally fluffy entertainment with the focus on the cat who is able to reveal the whereabouts of an abducted maid leading to the solution of a crime.

This is a very light remake with Christina Ricci in the central role of Patty. The film has a very strong supporting cast with Bess Armstrong and Michael Mc Kean as her parents, George Dzundza as the FBI investigator, comedian Doug E.Doug (in Eddie Murphy vein) as a detective, Estelle Parsons is a dotty old lady, Peter Boyle and Rebecca Schull as discontented shopkeepers and Dean Jones, who was in the original film, and Dyan Cannon as an affluent Boston couple.

This is a shenanigans film, in police tracking the cat, arresting Patty’s father by false conclusions, clashing with the FBI agent, but all finally being resolved – with the shopkeepers revealed as the criminals, wanting money to go on extended holiday, and there is quite a raucous car chase before the happy ending.

1. 1990s version of a 1960s family entertainment? The updating to the 1990s? Characters, situations? Breezy style?

2. The city of Boston, the town outside? Impressions of the city and the town? Homes, police courts, precincts, shops and streets?

3. The comedy, situations, the cat? The action situations, following the cat, the premises, the car chase and all the smashes? The musical score?

4. Patty, sullen, school, bored, her essay about the town? Her relationship with her father, his doting? Her mother, picking her up, at home, the conversations?

5. The Flint family, the wife and her focus on her beauty, surgery? Her husband putting up with it? The abduction of their maid? The mistake? The police and enquiries?

6. The characters in the town, Pa and Ma at the shop, genial? The old lady at the balcony? The girl at the bakery and her not having a boyfriend? The police, inept? And the policeman ending up with the girl from the bakery?

7. Patty, the cat, the cat going out every night at eight, his date, the building with the abducted woman, her putting the watch on his neck, scratching help, Patty identifying the watch, the photo in the paper, her mother’s scepticism? Her parents going out for the meal, going to the police? The visit to the FBI?

8. Boetticher, his role in detection, with Zeke, Zeke and his eagerness, getting the coffee, going to the town? The set up with the police to follow the cat? Leading to the arrest of Patty’s father, his night in jail, his wife’s upset? The FBI complaining?

9. Patty, her initiatives, following the cat, the raid, freeing the woman?

10. The revelation that Pa and Ma were the criminals, their boredom in the town, getting the money, wanting to go on holidays – and the car chase throughout the town? Mahem?

11. The happy ending, Patty and her achievement, Zeke and his being congratulated?

ANOTHER LANGUAGE

US, 1933, 78 minutes, Black and white.
Robert Montgomery, Helen Hayes, Louise Closer Hale, John Beal, Henry Travers, Margaret Hamilton.
Directed by Edward Griffith.

Another Language seems an unlikely title for a film, especially in the 1930s.

The title refers to a wife and her experience of her husband’s extended family who certainly do not approve of her, who are a joking group and who are close-knit, especially under the influence of a very dominating mother, played by Louise Closer Hale, a manipulator of emotions of the highest order, making a martyr of herself, and also dominating her long-suffering husband, Henry Travers.

The wife is played by Helen Hayes, popular at this time, winning an Oscar for Best Actress for The Sin of Madelon Claudet, and appearing with Gary Cooper in the 1932 version of Hemingway’s A Farewell to Arms. in 19 seventies she was to win a second Oscar, full Best Supporting Actress in Airport.

The leading man is Robert Montgomery, very popular at MGM in these years who was to have a long career as actor and move into directing. John Beal plays his nephew, a misfit in the family, who wants to be an architect but is derided by the family and pressurised to go into business.

Helen Hayes is very sympathetic as Stella, trying to be agreeable to the disagreeable family, doing some art classes in sculpture, loving for her husband – who more and more is offhand with her, imitating the rest of his family. It is when the young nephew becomes infatuated with Stella that things come to a head, that Stella has to make decisions about her life, her life and the harassment and relationship with his family, and for him to come to some kind of realisation as to what has happened. Fortunately, he does.

A small film, more suited as a supporting feature.

1. The title, meaning? Not expected title for a popular movie?

2. The writers, experience of plays, screenplays? Strong characters, settings, dialogue?

3. 1933, black-and-white photography, interiors, cast, contemporary look and style, the musical score?

4. Stella and Vic, their marriage, happy, on the boat for the honeymoon, arriving at the port, the relations all present? Idyllic but about to change?

5. Meeting the family, the effect of the marriage, the family’s general disapproval? The visits, the comments? Three years passing? Stella putting up with the criticism? Time for decision?

6. The mother, her attitudes, love for her sons, possessiveness, haughty manner, her pretences, fainting and being ill, the support of her husband and his being quiet? Manipulating people? The father as a patient man, always friendly towards Stella?

7. The rowdy family, gatherings, the sons and boisterous, the jokes, their wives? The daughters? Helen as a hard case – but more sympathetic than the others? The attitude towards Stella, criticisms, laughing and mocking, not really accepting her as herself? The imposition of family expectations and how everybody should be? Family demands?

8. Jerry, his dream of being an architect, the family against it, forcing him to go into business, the effect on him? His visits, awkward, Stella and her support, his falling in love with her, his anger at Vic’s treatment of her? The walk in the rain, the talk, the dog in the window, his buying it and later bringing it as a gift? Stella supporting him? His return for the evening at Stella’s, the gift of the dog, her holding him back, causing the scene, the return, staying with Stella till 3 AM? Is kissing her, her reaction? His walking the streets, coming to the family house, people commenting that he was in love, his trying to keep his attitude private?

9. Stella, in herself, her love for Vic, making a home, the Tuesday nights at the family house, the continued criticism, her going to art school, sculpting, the bust of her husband – and later being broken in the quarrel? Late for the dinner, the family all coming to visit Stella and Vic, preparing the food, the sandwiches, the daughters and their friendliness, the raucous brothers, the mother with her tantrum, collapsing, criticising the stairs, leaving in a huff?

10. Vic, dependent on his family, expecting Stella to be the same, imposing on her, his harsh comments and judgements, taking her for granted, wanting her to apologise? His making up stories about Jerry to help? Stella, her reaction, leaving, he staying away the night, phoning her to come to apologise to his mother?

11. Stella, arriving, the apology to the mother, wanting to leave to have time for herself, Jerry’s return, Jerry’s father and his severity, Vic and his lying, then a dawning on him what had happened? The mother coming down, intervening? Vic and his beginning to understand, his leaving with Stella, the mother upset and wanting him back? A future for Stella and Vic?

12. An old story, looking old – but perennial?