JUCY

Australia, 2011, 90 minutes, Colour.
Cindy Nelson, Francesca Gasteen.
Directed by Louise Alston.

A Brisbane comedy which will resonate there – and, hopefully, all round Australia.

The title? A combination of the names of the two leads, Jackie and Lucy. This film owes a great deal to the combination of talent seen with, say, Dawn French and Jennifer Saunders. Jackie (Cindy Nelson) is the larger than life comedian. Lucy (Francesca Gasteen) is the slighter but more sardonic comedian. They are both 20-somethings who have not entirely grown up.

They have done everything together for years – a kind of co-dependence and friends wonder about their ‘womance’, the female version of ‘bromance’. They work in a video store for customers with ‘alternative’ interests and tastes and give their advice to the eccentrics who are looking for their favourite or new ‘genre movies’. They socialise but turn events into messes for themselves and others. It is the same with relationships.

When they branch out, especially with a local production of Jane Eyre, where an oddball company have rehearsals (with Jackie and Lucy vying for parts and attention, especially for the role of Jane rather than the mad wife), where they tangle with the director and the leading man, where there are complications with the printing and distribution of the posters. Jealousy rears quite an ugly head.

So Jackie and Lucy have to experience alienation before they can accept themselves and each other – which, of course, they do.

The film was co-written and directed by Louise Alston who made another local comedy, All My Friends are Leaving Brisbane (2007).

Jucy’s initial release outside Brisbane is in local country areas rather than in the capital cities. (Parochial distribution? Or apprehension about interstate rivalries and criticisms?)

1. Local film? The Brisbane audiences? Australians? Wider?

2. Brisbane settings, landmarks, ordinary life, homes, store, theatre? Musical score?

3. A buddy movie – of two women? The title and the combination of their names? A “womance”?

4. The characters of Jackie and Lucy, the growing up together, their friendship, the influence of their early life?

5. Jackie, age, insecurity, anxiety, awkward in society, difficulty with relationships?

6. Comparisons with Lucy, her age, insecurities, not finishing her two degrees, living at home with her mother?

7. The two, the nature of their friendship, working together, at work, the video store, alternative, their interaction with the range of clients – and their eccentricities?

8. The two women on their response to observations, to criticisms?

9. The production of Jane Eyre, both being involved? Both wanting the central part?

10. Rehearsals, their interactions with people, the leading man and the attraction? Jackie and the actor? Lucy the possibilities for a career?

11. The testing of their friendship, whether they will have to break, whether they will have to go out on their own…?

BIG MAMMA’S BOY

Australia, 2011, 90 minutes, Colour.
Frank Lotito, Holly Valance, Carmelina di Guglielmo, Steve Mouzakis, George Kapiniaris, Maria Venuti.
Directed by Franco de Chiera.

Not to be confused with the Martin Lawrence comedies where he is a detective disguised as Big Momma for his investigations. This one has an Australian spelling for Mamma and is distinctly Australian – or, at least, Italian- Australian.

If you were to put your mind to writing an outline for a screenplay about a middle-aged man still living with his doting Italian mother, with a grandfather in the background, who works in real estate and seems to be good at it, who sings (well) at a club and who encounters a co-worker with whom he falls in love but Mamma cannot accept because she is not Italian and who engineers a girl to come out from the homeland..., then you would probably come up with most of what is in the film. You might be a bit more restrained on the sex angle and relationships though agreeing with the female characters who find the macho office types more than irksome. You would probably have all the food elements. You might not have thought to have some Greek characters as well, especially the boss of the agency. But, the writer and star of the film, Frank Lotito, has – and they are all here. Which puts this in the tradition of Wogboy, Take Away and the Kings of Mykonos, although they were a bit better.

This means that Big Mamma’s Boy has its humorous moments, its stereotypical moments, its crass moments and, ultimately, its heart in the right place. It is not demanding in any way.

Frank Lotito does not create a consistent character, bashful one moment, brashful the next, under Mamma’s thumb one moment, then defying her, in love with Katie one moment and ready to two-time her the next. Maybe, Lotito is actually saying Italian-Australian? men are like this. Hard to know. Carmelina de Guglielmo fulfils all the expectations for Mamma. But, Holly Valance is attractive as Katie and, though she does her best, I was not persuaded that she really loved our hero and could spend the rest of her life with him after their move from Eaglemont to Ivanhoe – a Melbourne story.

BIG MOMMAS, LIKE FATHER LIKE SON

US, 2011, 107 minutes, Colour.
Martin Lawrence, Brandon T. Jackson, Jessica Lucas, Tony Curran, Ken Jeong.
Directed by John Whitesell.

There were obviously enough fans out there, especially in the US, for Martin Lawrence to don fat suit, wig and mammy dresses to do undercover work in Big Momma’s House 2. There must have been enough again for this Big Momma Three. However, Malcolm, the FBI agent, has now acquired a stepson whom he wants to study at Duke University, whereas the son, aged 17 (a year older than Justin Bieber when he launched his career) already has his music contract to be signed by Malcolm for his first CD.

You think - how can they both get into the fat suits and the wigs (and the son’s appalling sense of fashion) so that the film combines parental clashes, FBI investigation, comedy of mistaken identity and the possibility of a school romance? Step by step they do, making it seem almost plausible at times. The quick answer is that a USB stick the FBI needs for evidence has been hidden in a music box in a girls’ art school in Atlanta. Malcolm’s opportunity for an arrest has gone wrong and his son has witnessed a murder. So, a variation on St Trinians, with Malcolm becoming Big Momma the house mother and the son becoming Big Momma’s grandniece.

It all plays out much as we might expect but that’s the nature of this kind of comic action concoction. The gangsters, Eastern European, of course, are really nasty. However, this is meant to be a cheerful movie so, during the final credits everyone in the cast, gangsters included, have the chance to join in the rap song and move with the rhythms. No real reason why Big Mother couldn’t come back again.

1. The popularity of the series? The comedy for African- American audiences? Wider audiences? The popularity of Martin Lawrence?

2. The American cities, homes, police precincts, the all-girls school? The musical score? The final rap song?

3. The title, father and son, the bond between the two, both in disguise? Comic sequences?

4. Malcolm, his past career, his relationship with Sherry, Sherry absent? His character, detective work? In police action? The relationship with his son? Trent wanting to be a rap singer, not go to university? Wanting his father to sign the document?

5. Trent, age, character, underage, the University, his father’s signature? His interest in rap music? The contracts, the gangsters, his witnessing the murder? His father’s help?

6. Comedy of men in women’s disguise? The fat suits? Large African- American women? Grandmothers? The younger generation? Movement, voices, awkwardness and comic routines?

7. Trent, the encounter with Haley? The container with the USB stick? The gangsters wanting it? Murdering the informer? His getting the information that the USB was in another container? The gangsters and their search for the USB stick?

8. Trent, getting the help of his father? Going to the all-girls school, the house mistress? Life in the house, the girls – and the comedy of girls’ dormitories – and male presence? Malcolm and his shenanigans? Trent and his behaviour, as Charmaine?

9. The school, Trent and the attraction to Haley, in disguise, her not recognising him? The plans for the duet? The failure of the song, Trent exposed, Haley’s reaction?

10. The janitor, his attraction to Malcolm, his involvement with the USB stick – but his saving the day at the end?

11. The comedy with the mailman?

12. Haley, acknowledging that she had taken the stick, a prank?

13. Malcolm, going back to normal? Trent, deciding to go to the University, with Haley, his music?

I AM NUMBER FOUR

US, 2011, 109 minutes, Colour.
Alex Pettyfer, Timothy Olyphant, Teresa Palmer, Diana Agronn, Callum Mc Auliffe, Kevin Durand, Jake Abel.
Directed by D.J, Caruso.

As this science-fiction cum high school romance for teenage audiences continued on, I found that my inner adolescent was touched and I rather enjoyed it.

By now, there must be theses being written all over the world on the popularity of the teenage action/romance movies and what are the ingredients for this popularity. The Twilight series comes to mind while watching this one, though ethereal vampires are much less exciting than the rugged Number Four (John Smith among many other names). 2010 saw Tomorrow When the War Began and I am Number Four could stand some comparisons with the battles against intruding troops, real in Tomorrow, Aliens in Number Four. Director D.J. Caruso made some adult thriller like The Salton Sea and Taking Sides. However, he moved into this current genre with Eagle Eye where the young Shia La Boeuf is being pursued by ominisurveillant enemies.

Apart from an eerie opening where menacing aliens dispose of a young man, the early part of the film is high school stuff, parties on Florida islands, high school hijinks, rivalries, bullying, attractions and misunderstandings and a potential rotter of a smug campus villain (whose father is the sheriff). You know there is going to be action, but this goes on for rather a while, establishing character, of course, and setting up the final confrontation.

Actually, this is rather like one of those films which have Soviet sleepers nicely ensconced in small town America waiting for the day that they are activated. But, this time, the sleepers are isolated youngsters from another planet, ten in all, who have the power to resist the evil aliens from their planet who are ambitious for, yes, world domination. The opening of the film is the death of Number Three, so our story is about Number Four and his guardian.

Number Four is played with some vigour by Alex Pettyfer. He is fit and strong-jawed, the opposite of Robert Pattinson’s pasty and vapid vampire, Edward. It is easy to see why Sarah, whose hobby is photography, should fall for him. He also befriends Sam (Callum McCauliffe) whose father has disappeared, probably abducted by the vicious aliens who felt that his researches were getting too close to them. Timothy Olyphant is Number Four’s very serious mentor and guardian. And there is a nice dog.

Then, the action starts, rather computer game like, but quite engrossing in its expected way. To the rescue comes an Amazonian heroine, blasting everyone in her way – these youngsters have increasingly superhuman powers (think The Fantastic Four). She is Jane Doe, Number Six, played with all stops out by Teresa Palmer. She sounds and looks like a young Naomi Watts (as she has in her other appearances) but could have called herself Nellie Melba or some such because she has retained her Australian accent – great to see the Australian alien coming to the rescue of the American alien, and female to boot. It becomes a touch ludicrous when animal monsters appear (including the pet dog) and scuffle, growl and bit to the death. But, monsters and monstrous aliens all immediately disintegrate when they are destroyed, so there is not much blood around.

Based on a novel by Pittacus Lore (now, there’s a name), this adventure has the potential for a movie franchise. Spoiler: the good aliens go up to Number Ten!

1. The popularity of Young Adult literature? Male and female heroes? Society? Alien invasions?

2. The title, before, Alex Pettifer in the role, a series of heroes, sleepers on earth, to defend against the attack of the evil aliens?

3. Contemporary America, Florida, the home? The beachside hut? The photography, on the Internet, Henri deleting the photos? Transition to Ohio? Paradise? High school, life at the school? Homes? The woods? The musical score?

4. Number Four and his origins, as a sleeper, growing up, his guardian, Henry, the chimera dog? His age, character, presence? The ordinary life? The death of Number Three, Four swimming, the light, the realisation that his mission had begun? The need to move?

5. Henri, the dog, Four and the journey to Ohio? Settling in? Going to the high school, the cover? The attraction to Sarah, time with her, photography? Time spent with Sarah, the website, Henri deleting the photos? Mark, the bully, his vicious treatment of Sam, his brutal friends, the break with Sarah and denouncing her? His father the sheriff?

6. Sam, his father, the search for aliens, his death? Bonding with Four, sharing action?

7. Four, the Loric box, the growth of his powers, Henri’s advice, concealing of the powers, Four using his ingenuity, going into the forest and exercising his superhuman powers?

8. The touch of the romantic, Four in Sarah’s room, the discussions, the photos, the camera – and the nearly-kiss?

9. Henri, the conspiracy theorists, warning Four to leave, Henri’s death?

10. The arrival of the monsters, the confrontations, the Commander, the presence of evil aliens? The disintegration of the monsters? Mark and his involvement, the lockers and the explosion of pink paint? The buildup to a climax, the explosion, the destruction of the Commander and the Mogadorians?

11. The arrival of Number 6, female, her powers, strength, going into battle, a saviour figure?

12. The blue rocks, use, the second rock – and to find the other Numbers?

13. The premise of the plot, the aliens, wanting world domination, plants on earth, confrontations between good and evil?

EMPIRE OF SILVER

China, 2010, 113 minutes, Colour.
Aaron Kwok, Tielen Zhang, Jennifer Tilly.
Directed by Christina Yao

There are so many films from China in recent years which take us back into more recent history – after such a spate of films about the military history of China in the various kingdoms in previous millennia.

Empire of Silver goes back only a century or more (as have films about the centenary of the downfall of the empire in 1911). It opens in the provinces with a voiceover narrative from a descendant of the protagonists who reminisces from the 20th century vantage point and elaborates what he sees as the final achievement of his family, a family of bankers.

As with the other films, the audience will feel that they have been immersed in this Chinese world, the action, the colour, the dangers, the costumes, the disparity between the poor and the rich.

Western audiences not familiar with the events will need to pay attention since the film often moves rapidly, passing sometimes over a year or more at a time. We have to try to work out who is who in the family, especially when the narrative goes into flashback. That having been said, it is clear that this is the story of a banking patriarch at the end of the 19th century, the status of banking at the time – and the Boxer rebellion. The patriarch’s oldest son is a kindly deaf mute who tries to feed the hungry. The second son is a harsh and brutal dominator. The third son is a dilettante, not esteemed by his father. The fourth son is more hopeful but when his new wife is abducted, he collapses mentally. The branch managers in Beijing and Shanghai are much better administrators.

Along with this plotline, there is a romantic plot, the third son in love with a young woman who has become another wife for his father. These lines run parallel for a while but eventually come together when the third son is sent to Mongolia (magnificent photography of the Gobi desert, of the mountains and a rather electrifying encounter with ravenous wolves, even though they are clearly animatronic). He returns for the funeral of the wife and accepts the commission from his father to manage the bank, especially in the hiding and hoarding of silver until the crisis is over.

The third son thus comes into his own, setting up a banking system for the poor, managing the banks well – and over some decades until after World War II.

The overall effect is impressive but the development seems patchy at times, many sequences (like that with the wolves) standing out while others play more conventionally.
(Western audiences are part of the target audience. Jeremy Thomas (who produced the Oscar-winning The Last Emperor) produced this and a number of films in China, including 13 Assassins. This one has a featured role for Jennifer Tilly.)

1. An interesting piece of Chinese history? The end of the 19th century? The opening of the 20th? The background of the Boxer Rebellion? The later nationalist revolt? Shaping China until the Communist takeover?

2. The recreation of the period, the Chinese city, the wealthy family, the lifestyle, the banks, the bank managers assembling for an annual meeting and the abacus? The historical and social background? The banking system? The Boxer Rebellion? Costumes and decor? The musical score?

3. Adaptation from novels, the Taiwanese director?

4. The voice-over, the perspective of the late 20th century, 21st century? Appreciation of what had happened?

5. The film as spectacle, as drama, romance, financial dealings?

6. The 19th century, Chinese finance, the equivalent of Wall Street? The powerful bankers, the managers? The inheritance? The management of money during rebellions?

7. The patriarch of the family, Kang, his skills in banking, his control of the managers, summoning meetings? His relationships, his wives?

8. The four sons, the older and his lack of drive, the second and his arrogance, the third and his wastrel kind of life, the fourth and the abduction of his wife and his emotional collapse?

9. The Third Master, as a person, his life, dilettante, wastrel, his love for the young woman – and his father taking her and marrying her? His unwillingness to take over the banking system?

10. The abduction of his brother’s wife, the repercussions, the Third Master and his deciding to take on responsibilities, the clashes with his father?

11. His love for the young woman, her becoming his stepmother, her education, teaching him English, her death and the funeral?

12. His going into exile, in the Gobi desert, the experience of isolation, the episode with the wolves? His return?

13. The Western connections, especially with the Western missionary?

14. The Third Master and his achievement with finance and the banks – and admiration from later generations?

DESACCORD PARFAIT (TWICE UPON A LIFETIME)

France/UK, 2006, 92 minutes, Colour.
Jean Rochefort, Charlotte Rampling, Isabelle Nanty, Ian Richardson, Charles Dance.
Directed by Antoine de Caunes.

A British/French co-production, spoken in both French and English though most of the action takes place in a very photogenic England.

This is a piece of entertaining, sophisticated fluff with a plot line that most audiences will twig very soon into the film. The enjoyment comes in knowing what has happened behind the scenes and what will happen when all is revealed.

The stars are Jean Rochefort and Charlotte Rampling, an odd couple. In the 1970s, she was his star, muse and protégé. He was her director and lover. Then suddenly she disappeared, returned to England to a marriage and a life of wealth and celebrity.

He is to receive a life award in London and powers that be (who obviously had not read the gossip columns) think it a good idea if she makes the award. Result: initial tantrums in the haughty Charlotte Rampling grande dame style with plenty of acid comments and a humiliating speech. Result: he, being a good actor and director, ingratiates himself into her home. In farcical Gallic style, what will happen? It is all a bit like 30s screwball comedy in the 21st century.

Rochefort can look hangdog, genial, intense, something that has endeared him to many audiences. He has to presume on this talent a bit here since he has been a bit of a cad. Charlotte Rampling has no need to try hard. She does this kind of thing as to the manner born. The late Ian Richardson appears as her husband.

It’s all a bit in one eye and out the other, but lightly enjoyably so.

1. A romantic comedy – the touch in reverse?

2. The title, the perfect disagreement – but the overtones of reconciliation in the English title?

3. The cast, French and English, the dialogue in French and English?

4. Back to the past, the memories of the heyday, Louis, his talent, career, Alice and her career? The style of the media in the 1970s? Cinema? Talent, fans? Write-ups?

5. The young actors, the relationship, marriage – and break up?

6. 30 years later, Louis, his personality, age, career, lifetime achievement?

7. Alice, retired, her marriage, relationship with her husband, her son? The request to present the award?

8. Alice, mixed motivations, the decision to make the award?

9. Alice and her husband, the satire on the gay Englishman? His son?

10. The ceremony, the master of ceremonies, the public show, the audience, audiences knowing what was behind the scenes?

11. The actors, their age – and the possibility of twice in a lifetime?

PENELOPE

US/UK, 2006, 86 minutes, Colour.
Richard E. Grant, Catherine O' Hara, Nick Prideaux, Christina Ricci, Michael Feast, Ronni Ancona, Simon Woods, Simon Chandler, Peter Dinklage, Burn Gorman, James Mc Avoy, Nick Frost, Nigel Havers, Lenny Henry, Reese Witherspoon, Russell Brand.
Directed by Mark Palansky.

It is difficult to know who to recommend this film to. It’s one of those eccentric little films that one passes over or belongs to the ‘Catch it on Cable’ list. Probably, it may appeal to pre-teen and young teen girls who think they are ugly in some way. The message, of course, is to be one’s true self and let everyone see the inner beauty.

Filmed in England, it is set in one of those ‘capitals’ which have the look of London with a lot of American skyscrapers. While the plot about ‘blue bloods’ sounds as if it belongs in England, most of the characters, including some of the British, speak with American accents. Perhaps it’s something of a contemporary Atlantis, somewhere out there between North American and Europe.

It is also set up as a fairytale with, Once upon a time, the visualising of a curse long ago (where the dastardly deed of an ancestor means that the first girl descendent will be born looking like a pig). The voiceover is from Penelope (Christina Ricci) who is that girl. Her laid-back father (Richard E. Grant) and her dominating mother (Catherine O’ Hara) bring her up in secret and mother wants to marry her off to a blue blood because the curse will be overcome by ‘one of her own kind’. Suitors are repelled, run screaming from Penelope or hurl themselves out of windows. Actually, despite the trim snout, Penelope still looks quite pretty so this is a huge over-reaction.

What will Penelope do? Can she break the spell? Can she go out on her own?

The rest of the rather complicated plot involves a whole lot of stars turning up in unexpected roles, including Nigel Havers, Russell Brand, Ronni Ancona, Nick Frost, Lenny Henry and Reese Witherspoon. However, the main villain is Peter Dinklage as a journalist who wants to expose Penelope and James McAvoy? is a young man who could break the spell. Before that happens (not in the way we were anticipating), there is some raucous comedy, some sweet soul-searching and some false starts on the marriage market.

Christina Ricci is able to carry the whole thing off more plausibly than one might have imagined and James McAvoy? (before Becoming Jane and Atonement) plays the forlorn hero well.

But, it is still difficult to tell who the film will really appeal to.

1. 21st century fairytale?

2. Audiences and fantasy, gypsy curses witches?

3. The history of family, affair, gypsies, curse, for the first female?

4. Christina Ricci, family, money, finance, her pig-face?

5. Lemon, the journalist, curiosity, wanting a photo opportunity, Penelope’s mother attacking him, the loss of his eye?

6. Penelope’s parents, wanting to arrange suitors, from marriage and to break the curse? The range of suitors, including Jake? Wanda, her wanting to break the curse?

7. Vandermand, his reaction to Penelope, his escape?

8. Lemon, his continued curiosity, the patch on his way, the plan? His link with Max, Max as being disowned for gambling, the camera in his pocket? Looking through the one-way mirror? The attraction – then seeing Penelope’s face?

9. Penelope, the plea for marriage, the refusal, the clash with Lemon?

10. Penelope, her escape, concealing her face with the scarf, finding Annie, befriending her? Annie, the money for the reward, sending her own photo?

11. The parents, plans, the celebrity?

12. The complex identity of Max, the real Max in jail, Johnny?

13. The breaking of the curse, almost marriage, backing out, Penelope wanting to marry not just to break the curse but for herself? Her discovery that she could love herself? The breaking of the curse?

14. Penelope, the photo, public interest, supporting her? Losing interest – and the discovery of the gorilla boy?

15. Jessica, mute, wander and telling Penelope the truth? Jake as the witch?

16. Penelope, the mask, Johnny loving her, the kiss – and the postscript with the comic touches about Lemon?

THE SAFETY OF OBJECTS

US, 2003, 121 minutes, Colour.
Glenn Close, Dermot Mulroney, Patricia Clarkson, Jessica Campbell, Joshua Jackson, Moira Kelly, Robert Klein, Timothy Olyphant, Mary Kay Place, Kristen Stewart.
Directed by Rose Troche.

Life in the American suburbs has always fascinated film-makers. It seemed so ideal in the 40s and 50s until some lids were lifted in films like Rebel without a Cause. In later decades, there was all kinds of rebellion. Now families still have their dysfunctional characters as we saw in American Beauty. The Safety of Objects does not have the power of American Beauty nor its fascinating watchableness. It is there on the screen and holds the interest while there but there is no compelling reason for us to see it. Having said that, it is fair to say that should you happen to see it, there is much of interest to watch.

One model for the film is Altman's Short Cuts in which several short stories by Raymond Carver are interwoven and connections created. This time the author is A.M. Homes and writer-director, Rose Troche (Go Fish, Bedrooms and Hallways) has skilfully put a number of stories together to take us through the lives of four families who live near each other over a four day period. It is more explicitly emotive in its American upfrontedness that other cultures might be, more melodramatic.

Troche is served well by a strong ensemble class. In the first family, Glenn Close plays a middle-aged wife and mother whose son (Joshua Jackson) has been lying for a year at home in coma after a car accident. Her husband has moved further to the edge of the family and the daughter (who blames herself for causing the accident as she was fumbling with her security guard boyfriend as the two cars headed for each other) is angry with herself and with her mother, forcing her mother to go on a marathon competition at the mall to win a car. The final scenes between Close and her son are very moving while raising questions about coping with a relative in coma.

Nearby, Patricia Clarkson has been divorced and is trying to cope with her two children and her increasing drinking while their father is about to re-marry and does not visit his children. Her older daughter (Kristen Stewart, Jodie Foster's daughter in Panic Room) is friends with a girl nearby whose mother (Mary Kay Place) is feeling alienated and indulges in New Age fads. Timothy Olyphant plays a gardener who is suffering from the loss of a boy in the car accident and abducts the young girl for two days.

The younger family in the neighbourhood has the father (Dermot Mulroney) undergoing some kind of emotional breakdown after not being promoted at work and not telling his rather controlling wife (Moira Kelly). He has problems to come because his thirteen year old son talks, very seriously, to a doll. In the meantime, he works at the mall, supporting Glenn Close fanatically in her attempt to win the car.

This film is more hopeful as it moves towards some resolution of the problems and unites the characters in a final neighbourhood dinner as they welcome a new couple. The film has a strong sense of humanity.

1. A film of American suburban life? The novelist collaborating on the screenplay? Co-writing with the director?

2. The impact? Characters, psychological conditions, interactions?

3. The title? Reference?

4. The strong cast?

5. The portrait of Esther, age and experience, marriage, her relationship to her husband, her neglecting Julie, the constant care of Paul after the accident, coma? Julie entering her into the contest? The prize of a car?

6. Jim’s story, his age, his work, Susan and her efficiency, his son and his fantasy, his sister’s doll? Jim not being promoted? His phobia, the bomb? His decision to participate in the contest?

7. Helen, her age, concerned about her appearance, youth, the range of products? Her husband liking her as she was?

8. Anne, involved in the divorce, the difficulties, finance, the relationship with Sam, Sam wanting to go to the camp? The son, mental condition, the special school but unable to finance it? Paul, the relationship, her grief after his accident?

9. The character of Randy, landscape gardener, his brother’s death in the accident and its effect on him, depression?

10. Anne’s husband, wanting to visit, wanting to take some Sam out, her running away, the encounter with Randy?

11. Randy taking Sam to the cabin, imagining her as his brother? The decision to drive, to relive the accident, then his realisation that he had taken Sam?

12. The contest, Esther deciding to pull out, Julie angry with her mother, Jim and his angry reaction? With Helen’s son?

13. Esther and her realising what was happening? Her concern for her son? Taking drastic action, suffocating him?

14. The characters becoming calmer, coming to some kind of awareness?

15. The re-creation of the crash, the beers, Johnny, Julie and Bobby, in the other car, fooling around, in a rush to get her home before the curfew? The crash and the consequences?

16. The characters able to acknowledge what had happened?

PURE

UK, 2002, 96 minutes, Colour.
Harry Eden, Molly Parker, David Wenham, Keira Knightley, Geraldine Mc Ewan, Karl Johnson, Gary Lewis, Kate Ashfield, Tamsin Greig.
Directed by Gillies Mackinnon)

Over the years, Scottish director, Gillies Mackinnon, has made a number of films which focus on small groups, family relationships and social crises: Small Voices, Hideous Kinky. Pure is even more dramatic. The focus is on a widowed mother with two sons in the West Ham area of London. But the audience share the point of view of the ten year old son. He is devoted, especially preparing medicine for his sick mother. He has no idea that she is a heroin addict and that the friend of his father who calls round socially is the supplier. Gradually, he learns the truth and is determined that she will come off the drugs, especially when a friendly neighbour dies of an overdose and her little daughter is taken into child care.

Young Harry Eden gives a very moving performance as Paul, the young son. He is so real that he continually makes us reflect on the issues and how a boy who has to face these responsibilities every day can cope with school and the ordinary life of a ten year old boy. The film is frequently harrowing, especially through Molly Parker's performance as the mother, continually desperate for fixes, trying to be a mother to her boys, promising to go cold turkey (with Paul locking her in her room and having to ignore her cries and pleas). It is even more harrowing when Paul himself tries the heroin so that he will know what his mother is going through.

While we are taken into the suburban depths of drugs and seeming hopelessness, the film does offer some hope (offending some critics who seem to believe a film has no integrity unless it has an unhappy ending!).

1. The title of the film? Purity of character? Paul, his age? Innocent young boy? The contrast of pure in reference to the quality of heroin?

2. The locations, London suburbs, West Ham, the football stadium looming over the suburb, homes, streets, cafes? The musical score?

3. Drugs in suburbia, addiction stories? Audiences identifying with characters and situations?

4. The strong cast, making the characters and situations credible?

5. Mel’s story, the focus of the plot, her age, her being a widow, her husband dying of a heart attack, possibly drugs? The details of her day by day life? Government support? Her heroin addiction? Lenny as her husband’s friend, now her lover? Paul and his preparing the breakfast and the heroin hit? Her decision to go cold turkey, Paul locking her in the room, her demanding to be out, the clash between mother and son? Lenny’s intervention, failure?

6. Mel, trying to be a good mother, underestimating the effect of the drugs on her?

7. Paul, his age, love for his mother, care for his brother, managing the house without a father? The details of daily life, preparing the breakfast and his mother’s hit, the shots, his riding his bike? His attitude towards Lenny? In the house, his friendship with Louise? Her addiction? The discussions, intimacy? His persuading her to let him try out the effect? The close-ups of his eyes? Wanting to understand and feel what his mother was experiencing? His touching Louise’s breast?

8. The grandparents, their concern, response, wanting the children?

9. Marsha, her addiction, only crack? Friendship with Mel? The comparison with Nicky, the prostitute, her child, Mel taking care – and the crisis on the bus?

10. The character of Lenny, his background, as a person, friendship with Mel’s husband, dealing, supplying Mel, the antagonism towards Paul? His sexual relationship with Mel?

11. Lenny and the police, the inspector, trying to prove his case against Lenny, Paul and the antagonism, his being caught in the crossfire?

12. The background, with Louise, at the cafe, talk, drugs? With the grandparents and their concern?

13. The ending with the touch of happiness, hopefulness – rather than continuing to be mired in addiction?

SIDEWALKS OF NEW YORK

US, 2001, 108 minutes, Colour.
Edward Burns, Rosario Dawson, David Krumholtz, Brittany Murphy, Stanley Tucci, Heather Graham, Michael Leyden, Dennis Farina, Aida Turturro.
Directed by Edward Burns.

Sidewalks of New York was written and directed by Edward Burns who made an impact in the mid-1990s with his film The Brothers Mc Mullen, following it with a number of significant New York comic dramas – which many said echoed the films of Woody Allen, though in a working class milieu.

This film was made in 17 days with a script but, it would seem, with some improvisation. It is the story of six central characters who are gradually revealed to be interlinked. the device is for them to talk to camera, talk about their sexual behaviour, partners, first time, understanding of love, sexuality, marriage, commitment – and the audience either identifying with them – or not – observing their behaviour but also their changing attitudes throughout the film.

Edward Burns himself plays Tommy, a television producer, whose partner walks out on him, he wanting children. He encounters Maria, Rosario Dawson, in a video store with a clash but follow-up with meetings – she having been married to Ben, David Krumholtz, a doorman who plays in a band. Ben is attracted to Ashley who works as a waitress in the cafe but she is in a relationship with a married man, Griffin, played by Stanley Tucci who, in turn, is married to Heather Graham – who is an estate agent who helps Tommy to find an apartment.

Each of the characters plays the part very well, especially Stanley Tucci who is almost 100% obnoxious as the married man with match a chauvinist morals and treatment of his wife. These sentiments are echoed by the brash television personality played by Dennis Farina.

An interesting, if light, observation on sexual mores at the end of the 20th century, beginning of the 21st century.

1. The title? The New York story? The focus on the sidewalks and the interviews taking place there? Ordinary New York – and not a focus on the famous landmarks?

2. The different worlds of New York City, the world of television, of teaching in schools, of the dentist, cafes and work, the doormen at the apartment block, the world of rock bands, real estate agents? The cumulative effect of the impact of these worlds?

3. The variety of locations, interiors and exteriors, real? Apartments, hotels, cafes, television station and make-up room, dentist surgery? The musical score?

4. The style, the interviews, the actors talking to camera, script and improvising, these interviews interspersed throughout the film? Establishing the characters, their beliefs, values, moral perspective, sex and love, commitment, betrayal, deception? The interviews being interspersed and the cumulative effect of growth and change?

5. The different reactions to talk about the sexual encounters, about numbers of partners, about sex, love and intimacy?

6. The insight for audiences, identifying with the characters or not, emotional response, moral response, judging?

7. The world of Tommy, his partner, the clashes with her at home, her not wanting children, her being upset, ousting him, his discussing the situation with the television star, the scene in the make-up room and the star and his callow advice and the reaction of the make-up lady? Going to the video store, the encounter with Maria, his keeping the video, the bargaining in the street, going to have the coffee, her not phoning him, the second meeting, the decision to go out, the discussions, their life stories, at the shop again, staying the night, its effect, the second night, her pregnancy? Tommy not knowing, Maria coming to see him, her concealing the truth? His wanting a new apartment, the meetings with Annie, the viewings, her initial buttoned up approach, the gradual change, her liking him, the phone call about the new apartment, his saying he did not need one, her friend ringing him and making the date?

8. Maria, Ben and his visit, the divorce, his infidelity, his coming to visit, her ousting him? Her teaching, liking the children, her friend at school, the discussions, the bluntness of her friend’s advice? The experience of Tommy, the video store, wanting the video, bargaining in the street? The later meetings, the coffee, then her not ringing, continued discussions with the teacher? The night, her reaction, the second night, her pregnancy? Discussion with the doctor? going to see Tommy, not telling him what had happened? His seeming indifference? Her decision to move on, that she had the child and could love it?

9. Ben, his age and inexperience, marrying Maria, his macho attitudes about partners, betrayal? Yet not wanting to be divorced, not accepting it? His playing in the band, his instrument, his meeting with his friend in the cafe, their discussions? His being a doorman and seeing him at work? The encounter with Ashley, flirting with her, her reaction, initial indifference, his perseverance, their outings together, her attitude towards sex, the chance meeting with Griffin, his criticisms of Griffin? His continued attempts with Maria, wanting the keys, the encounter with Tommy? Ashley breaking off with them? His weeping at the door of the apartment block? Reunited with Ashley, his happiness?

10. Ashley, young, from Iowa, in New York, her relationships with men even at a young age, taking up with Griffin, the affair, the passion between them? Her wanting him to divorce his wife? His refusal? Her challenging him, going out – and the chance of Ben passing their table? The telling of the truth to Griffin and his being upset? The discussions about his penis and later talking with his wife? Breaking off with him, his continued pursuit, the flowers? In the hotel room, her walking out? The attraction of Ben, the initial flirting, putting him off, going out, the sexual relationship, the conflict with Griffin, cutting them both off, Ben and his sadness, the reconciliation?

11. Griffin, age, experience, his explanations of himself, his first wife and cheating, his second wife and not wanting a divorce because of the humiliation? The initial love for his wife, losing the love? His macho attitudes in terms of partners and infidelity? His work as a dentist, his assistant and her reactions? His boss and giving advice? The times with Ashley, the hotel rooms? His refusing a divorce? The incident of meeting Ben, his jealousy in the discussion about penis size? At home, his lies to Annie, his claims to being a good husband, the outings with Harry and Hillary, the discussions about relationships and infidelity? Harry and Hillary deciding that they would get marriage counselling? His asking about this? Annie and her continued frustration, his continued lies, her confronting him, wanting a divorce and walking out? His evening with the prostitute and her not wanting to stay and talk?

12. Annie, her background, the Catholic touch, strict, her first marriage, failure? Her love for Griffin, six years together, her needing affection and intimacy, his not giving her attention, her reactions? The discussions with Hillary? Suspicions of the affair, the cologne? His late nights, the gym and excuses? Her feeling abandoned? The decision to confront Griffin, leave him, her sense of exhilaration? Her work as an estate agent, showing Tommy the apartments, rather silent, beginning to talk with him, the phone call and his saying he needed no apartment, Hillary and the phone call making the date?

13. Harry and Hillary, the marriage, infidelities, the talk at the table, the decision to have counselling? Hillary and her advice for Annie?

14. The musician, hair, beard, his piercings, music, at the cafe, discussions with Ben? His interviews to camera?

15. How did each of the characters change – or not change?