IN THE NAME OF BUDDHA

Sri Lanka, 2002, 147 minutes, Colour.
Directed by Rajesh Touchriver.

We don't have the opportunity to see many (or any) films from Sri Lanka, so In the Name of Buddha is a good opportunity. While the film is made for a local audience and uses many of the dramatic and melodramatic styles that are geared to the sensibilities of audiences from the sub-continent, it is also Western-audience friendly.

On its release in Sri Lanka in early 2003, many Buddhists objected to it and other religious groups (including the Catholic Church) protested in solidarity. It was claimed that the film says that Buddhists were responsible for the long civil war. Looked at from this vantage point, this does not seem to be the point of the film at all. In fact, there is a plea for non-violence with reference to both Buddha and Gandhi.

The film is a vivid presentation of the war with some particularly grim sequences which include torture, shooting battles, bombings, brutal rapes and the destruction of a Catholic church during Mass. The point of view of the film-makers is distinctively Tamil and is highly critical of the Sinhalese military and of the Indian Peacekeeping Force which was ineffectual (with some soldiers indulging in atrocities) during the mid-80s. But it is also critical of many Tamil strategies. The violence over two decades took its toll of thousands of Sri Lankans.

The story focusses on an asylum seeker arriving at Heathrow in 1993 and recounting his story to an immigration official. This makes the film relevant to current discussions about intake of asylum seekers. It visualises the dangers they have lived through, war, families destroyed, life ambitions frustrated, military atrocities. The film is not as polished as products from big-budget studios, but it is earnest, grim, emotionally demanding as well as raising political and social issues.

THE FINAL GIRLS

US, 2014, 88 minutes, Colour.
Taissa Farmiga, Malin Akerman, Alexander Ludwig, Nina Dobrev, Alia Shawkat, Thomas Middleditch, Adam De Vine, Angela Trimbur, Chloe Bridges, Tory N.Thompson.
Directed by Todd Strauss- Schulson.

Those who enjoy horror films but, especially, parodies of horror films, will enjoy this one is very much. It has its cake and eats it is well with its various scenes from an alleged 1980s film, Camp Bloodbath, and scenes of 21st-century characters entering into the action of this film – and desperately trying to get out of it.

The film starts with a focus on the mother and daughter, Malin Akerman and Taissa Farmiga (younger sister of Vera Farmiga). The mother is wanting to revive her career having been a star in Camp Bloodbath and remembered for that. Then there is a car accident.

A couple of years later, Max and her friends go to a screening of Camp Bloodbath, Max having to look at her mother again on screen. When a fire breaks out, she and her friends escape through slitting the screen and find themselves in the action of the original film. There is a lot of posturing and posing, permissive talk, reminding audiences of the Friday the 13th series. The contemporary group interact with the actors, especially knowing what was to happen, and trying to escape the killer, a masked killer – with monochrome flashbacks explaining why he was a killer.

The film builds up some suspense but there is always the tongue-in-cheek approach to everything – although the scenes with Max and the character her mother is playing have quite some pathos.


1. 21st century version and parody of 1980s teen bloodbath movies? Having its cake and eating it?

2. The atmosphere of the 21st century, teens and young adults, friendships, family, studies, relationships? The contrast with the youngsters of the 1980s, focus on sex, promiscuity, good times? Duncan and the cruder aspects of the present? Comparisons with Kurt and the others from the film?

3. 2014, average America? The contrast with the camp, behaviour in 1980s? And the flash back to 1957?

4. The background of Camp Bloodbath and its sequel, the sequences, the characters, arriving at the camp, setting up, the individuals, the posing and postures of the time? The role of councillors? The style of performance, the visuals, camera work? Greenie photography? The monochrome flashbacks to the youngsters of 1957, the tormenting of Billy Murphy, the outhouse, the fireworks, hospital and his disfigurement?

5. The debt to Friday the 13th and its many sequels? The masked killer and his motivations? The violence of the deaths – and tone down for the 21st century?

6. Max, her age, love for her mother, sharing together? The mother, starring in Camp Bloodbath, her reputation, auditioning the jobs and failing? Throwing the publicity out of the car window? Bonding with a daughter? The crash and her death?

7. The effect on Max, her character, quiet, well-behaved? Her relationship with the other girls, with Chris and with Duncan? Her agreement to go to the screening of Camp Bloodbath, the crowd, the clips, people text in, yet knowing the dialogue?

8. The cigarette ash, the fire, spread, panic, Max leaving, rescuing her friends, cutting through the screen?

9. The humour of arriving in the middle of the film? The 92 minutes passing? The van and the requests, Nancy in the back? The impact on the group, knowing the film? Wanting to get out? Going in the van, the setup? The characters, their behaviour, Kurt and his crassness, Tina and her sexy talk and behaviour? Nancy and her being retiring?

10. The group bonding with the characters, accompanying each, the warnings?

11. Billy Murphy, Duncan and his showing off, the attack and his death?

12. The 21st century group, listening to the commentary, going back to 1957, the experience, Billy Murphy, the return to 1986? Being prepared for the attack? Tina and taking the drugs and being confrontational? The various plans to destroy Billy, the arrows, fire, the oil…?

13. Billy’s attack, the defence as planned, on the Dears pawns, but still alive, the pursuit? The chest of drawers crushing the girls? Chris, Nancy and Max escaping, Chris being wounded?

14. Nancy, the conversations with Max, her ambitions to be a loving mother? Her being the final girl, taken by Billy? The final confrontation? Her death? Max, the fight with Billie, the sword?

15. Dealing with the credits coming up and escaping?

16. Finding themselves in hospital, reflecting on the experience? The importance Max, Nancy and her mother, the advice to let her mother go?

MONTE CARLO

US, 2011, 109 minutes, Colour.
Selena Gomez, Katie Cassidy, Leighton Meister, Cory Monteith, Luke Bracey, Andi Mc Dowell, Catherine Tate, Brett Cullen,Pierre Boulanger.
Directed by Thomas Bezucha.

Slipping into a holiday afternoon show at a multiplex, I found myself with the target audience (plus a few oldies and grandparents) and they all seemed to enjoy the shenanigans in Monte Carlo. The target audience is definitely teen girls (of all ages) with the characters being 18 and 21.

Apparently, this project started life as an adult romantic comedy for Nicole Kidman (whose name appears as one of the producers, as does Forest Whittaker) and Julia Roberts. It would have been the modern equivalent of those Golden Oldies like Three Coins in the Fountain, three women finding romance in a lovely European city, scenery and all. The powers that be reduced the ages of the three women and sent them to Paris. But, Paris was not enough and the plot soon takes them to Monte Carlo. There’s romance (all very PG level) and there’s beautiful scenery (and a clip from To Catch a Thief to honour Grace Kelly and all that romantic aura of Monaco half a century ago or more).

What gives the film more verve than might have been expected are the performances and the vivacity of the three actresses. Singer-actress Selena Gomez is Grace, an 18 year old from Texas who graduates and has been saving up for a trip to France (Andie Mac Dowell appears in a scene or two as her mother). There is her good friend, Emma, 21, a down-to-earth high school dropout who works at a diner (Katie Cassidy almost stealing the show with her bright screen presence) and Meg, 21, Grace’s new half-sister (Leighton Meester who has changed from snobby prim to letting her hair down).

After a nightmare rushed cheapo tour of Paris, Grace is mistaken for a British heiress, in France for a charity auction. She embodies all that film-makers caricature in creating an obnoxious (that’s an understatement!), snobbily domineering, self-centred upper class horror. It is to Selena Gomez’s credit that she makes Cordelia Winthrop Scott live up to this description. Catherine Tate portrays her aunt.

Yes, the plot then becomes a modern version of The Prince and the Pauper as Grace is bundled by mistake off to Monte Carlo, and the girls decide to live it up for a few days. Grace encounters a charming young Frenchman. Meg has already met an Australian backpacker in Paris who turns up in Monte Carlo (Luke Bray from Home and Away, looking like a blend of Heath Ledger and Simon Baker). Emma encounters a prince and finds that he is also a snob, especially when, being ignored at dinner with his friends all speaking French, she decides to help the waitresses with their clearing the tables. But she has a Texan beau who comes to France to find her.

The final expose of the three is fairytale enjoyable, aided by British comedian, Catherine Tate. The film’s heart is in the right place: down with the wealthy snobs, up with charity and volunteering – and true love.

Fluff, of course, but sparkling fluff.

1. A romantic comedy? Contemporary fairytale? Teenagers and young adults? The female audience?

2. Texas, homes, family, school, the restaurant? The musical score?

3. Paris and the scenery, Monte Carlo and locations? Echoes of Grace Kelly and To Catch a Thief?

4. Grace, at work, saving up, her mother? Owen and his proposal to Emma? Meg, half sister? Emma not responding to Alan, the three girls going for the holiday?

5. The trip to Paris, the guide leaving, going to a hotel, Grace being mistaken for Cordelia, her lookalike? The press following her, the reckless decision, standing in, staying in Paris, the auction, Cordelia’s luggage – and off to Monte Carlo?

6. Theo, Aunt Alicia, the Prince? The lavish party, dancing? The encounter with Riley, the Australian backpacker, their hitting it off?

7. In Monte Carlo, enjoying the holiday? The polo match, Aunt Alicia realising the truth from Grace’s riding style, the issue of the double, that it was perhaps Cordelia’s plan? The aunt’s concern about the auction, the necklace? The invitation to the party on the yacht, the necklace in the backpack and Riley leaving, returning?

8. Grace, dancing with the Prince, finding him arrogant, towards the staff?

9. Owen arriving, searching for Emma?

10. The real Cordelia, her arrival, the girls tying her up and gagging her? Grace going in her place, the option, everything going well, the aunt and the cash? Riley’s return with the necklace?

11. The real Cordelia escaping, denunciation of Grace, Grace breaking free?

12. Owen and Emma together, Meg and Riley going travelling, and Theo and Grace going to Romania for charity work?

13. 21st century fairytale?

THE YELLOW SEA (HWANGHAE)

Korea, 2010, 140 minutes, Colour.
Ha Jung-woo, Byung hoon Lee.
Directed by Hong-jin na.

Director Hong-jin Na has written and directed only two films, The Chaser and The Yellow Sea. The films belong to the action school of Korean film-making popular since the 1990s. Films like Old Boy and Sympathy for Lady Vengeance made this genre of police and gangster thrillers popular and critically respectable. The Chaser screened at the Cannes Film Festival.

The films are complex in their presentation of characters, the law and the exercise of violence.

This film opens in the seemingly remote area between Korea, China and Russia, home for many migrants after the Korean war, the Cho-Sun-Jok?. The inhabitants are not highly regarded, especially in Seoul where most of the action takes place. There is a lot of crime, gangs and bosses, killers for hire. They can be employed by seemingly respectable criminals in South Korea to handle their dirty work.

While this makes for interesting plots, though there is always a problem of who is working for whom, there is a grim perspective on life, often life being cheap, and difficult to find redeeming characteristics in the gallery of characters. The central character here is a cab driver in Yanji City whose wife has left for Korea and disappeared. He is an inveterate gambler and is hired to go to Seoul to assassinate a professor. This leads to tangles with underworld characters and, in something like the style of Charles Bronson action films of decades ago, this unlikely looking killer uses his wits to survive the increasing attempts on his life.

The film is quite long and becomes repetitive in its confrontations. But, what makes it difficult for some audiences, is the visual and action brutality in the assaults and killings, the close-up gashing (this is a film of blades not guns) and an atmosphere of crime, greed and betrayal that is not for the squeamish.


1. A film from Korea? The work of the director? His interest in crime? Crime worlds?

2. The Chinese setting, the title? The city of Yanj? The settling of this city and this region of China by refugees from Korea at the time of the Japanese occupation? The descendants? Koreans in China?

3. The visuals of the city, the world of the taxi driver, the streets, people, dark areas, gambling halls? The musical score?

4. The Koreans working in China, working, gambling, being fired… In difficulties?

5. Gu-nam, his character, driving the taxi, his presence in China, his relationship with his wife, her going to Korea to work, to send back money, his gambling, his debts, the creditors? His work, customers? Being fired? The approach of the gangster, the task, the commission? To go to Korea? The murder, time to look for his wife – and his suspicions and her not sending back money?

6. The picture of the gangsters, their controls? The various gangs, the plans for the murders, the complexities, going to Korea to supervise and intervene?

7. Gu-nam, his travel to Korea, the train, the boat with the illegal migrants?

8. In Korea, the city, his target, the intervention of the gangsters, his having to go into the building, the plan going awry?

9. His search for his wife? The experience of the contract for the killing? His future?

RESTLESS

US, 2011, 91 minutes, Colour,
Mia Wasikowska, Henry Hopper, Ryo Kase, Schuyler Fisk, Jane Adams.
Directed by Gus Van Sant.

A story of love and grief, of illness and death.

The protagonists are a young man and a young woman who might be described as free spirits. He lives with his aunt after his parents’ death. She cares for him, but he is absorbed in his own preoccupations. One of these is attending funerals of people that he doesn’t know. Sometimes he is accepted. Sometimes he is invited to get out. She notices him at a funeral and decides to follow suit. They have a lot in common and an attachment grows that leads to love and a sexual relationship. The difficulty is that she is terminally ill. Nevertheless, Van Sant (whose films are sometimes accessible, Good Will Hunting, Finding Forester, Milk, sometimes a little rarefied, Gerry, Paranoid Park, Last Days) really tells a short story here that younger audiences will identify with, older audiences finding it a little twee.

There is more.

The young man has a lively imagination and has created a ghostly friend, a Japanese kamikaze pilot, who appears and disappears and who serves as a companion and challenging alter ego. He has many reflections on death and choices which sometimes help, sometimes confuse the young man in his relationship with his sick friend.

The stars are Mia Wasikowska (Alice in Wonderland, Jane Eyre, Albert Nobbs) and Henry Hopper, the son of Dennis Hopper. The film is quite short, more like a short story. A light addition to Van Sant’s film list.

1. A film of young adults? The portrait of the two in themselves, their relationship, prospects of death? The work of Gus van Sant?

2. Real/surreal, in plot, characters, their behaviour, attitudes? The presence of the ghost of the kamikaze pilot? Visually real/surreal? The musical score?

3. The funeral, the meeting, sharing, the love, wanting to help? Facing death? The irony of their attending funerals?

4. Annabel, her age, experience, terminal cancer, her life so far, love of nature, interest in Charles Darwin? The prospects for her final months?

5. Enoch, his age, experience, the death of his parents, coma, his opting out of life, the presence of the Japanese ghost?

6. Enoch, forming a bond with Annabel, his wanting to help, the restlessness of the two, tempting fate? Annabel and wanting to live, defying death?

7. The effect on each of them, the pressure of life, pain and anger, yet playfulness?

8. Two misfits, the experience of self-assertion? But having to face reality, death?

9. How real was the ghost, the Japanese kamikaze pilot, as a ghost or reincarnated? His presence, Enoch sharing with him? Enoch and his openness to another world?

10. Annabel, her sister Elizabeth, and anchoring in reality, her advice to Annabel, her warnings?

11. The overall effect for younger audiences, for older audiences and the memories?

PUSS IN BOOTS

US, 2011, 90 minutes, Colour.
Voices of Antonio Banderas, Salma Hayek, Zach Galifianakis, Billy Bog Thornton, Amy Sedaris, Constance Marie, Guillermo del Toro.
Directed by Chris Miller

As we all know (and liked), Puss in Boots tended to steal scenes from Shrek, Donkey and the rest. So, why not give him his own movie? Of course. And, here it is.

With Antonio Banderas bringing a certain blend of smoulder and bragadaccio to the voice of Puss and the animators giving him plenty of adventures, this has been a surefire box-office attraction. And, most audiences will enjoy it.

It is not bad but does not stay in the memory. It draws on the Zorro stories and has Puss as a blend of outlaw and do-gooder and something of a ladies’ Tom.

The plot also draws on a number of other fairy tale characters who perhaps were upset that they did not make it into the Shrek movies. There is Mother Goose, not as amiable as she should be with her golden eggs. Humpty Dumpty is a shadily ambiguous character. Little Boy Blue is very blue.

But, to challenge Puss and charm him is a masked swordsperson, Kitty Softpaws who, when she takes off the mask, is a chat fatale. And voiced by Salma Hayek, so the full Hispanic accent and purring. They fight. They romance. And, often best of all, they have dancing rivalry that the animators give full burst to.

The film keeps moving, action, comedy, romance (and quite a few double entendres) enough to keep us attentive to the adventures of what one European paper called, ‘Cat in Boots’.

1. An entertaining animation film? 3D? The character of Puss in Boots? His presence in the Shrek films? Having a film of his own?

2. The style of the animation, the drawing of the characters, effects, action? The locations, the fairytale world – and the Hispanic touch? The importance of the voice cast, the talent? Antonio Banderas as Puss?

3. The fairytale world, the characters from the fairy tales – and the twists in their characters and behaviours?

4. Puss, Zorro-like, appearance, swordsmanship? His past, the robbery, the influence of Humpty Alexander Dumpt? His fleeing? His honour and reputation? The past with Humpty Dumpty at the orphanage?

5. Kitty Softpaws, her skills, confronting Puss, listening to his story, joining with him?

6. The role of Mother Goose, the gosling, the eggs, the search and stealing? The Greater Terror protecting the golden eggs?

7. The presence of Jack and Jill, the magic beans?

8. The revelation of the trick, the collaboration of Jack and Jill, Humpty Dumpty, Kitty? Humpty becoming a hero by donating the golden eggs? Puss in prison? Talking with his mother, Imelda, and The Greater Terror and Mother Goose wanting to get back her gosling?

9. The warning from Jack, from Jack and the Beanstalk?

10. The final escapade, Jack and Jill and the betrayals, Puss trying to save the eggs and Humpty Dumpty? Humpty Dumpty sacrificing himself, smashing but revealed as a golden egg?

11. Puss, becoming the hero of the town?

12. The Postscript, Jack and Jill and their wounds, Humpty Dumpty in the gold suit? Puss and his future? Kitty?

LOVING MISS HATTO

UK, 2012, 90 minutes, Colour.
Alfred Molina, Francesca Annis, Rory Kinnear, Maimie Mc Coy, Phoebe Nicholls, Tony Turner, Sarah Woodward, Eve Matheson, Ned Dennehy.
Directed by Aisling Walsh.

Loving Miss Hatto is based on a true story, a story of music and a story of fraud.

The film opens with a funeral and a tribute by her husband to his wife, Joyce, a musician, pianist with a solid reputation. But he indicates that a full story is still to be told.

The first part of the film takes place in 1953, introducing Joyce (Mamie Mc Coy) as a fine pianist and introducing Barrie (Rory Kinnear) who works in a music firm, lost in admiration for her, promising her career and their eventual marriage – to the complete disapproval of her mother, a prim Phoebe Nicholls. While Barrie does make something of a career for his wife, her playing in music groups around the country, he is involved in some tax evasion and spends some time in jail. Joyce also suffers a miscarriage. When he gets her a performance at Festival Hall, she is initially successful but then has nerves and falters.

The second part of the film takes place 50 years later, with Joyce, Francesca Annis, and Barrie, Alfred Molina, living in a country town, he with a small company producing CDs including his wife’s performances – the BBC are interested, sales online increase, there is to be an article about her in the music magazine, Gramophone. The revelation is that Barrie has manufactured the CDs by finding performances of works similar to the way in which his wife played, digitally altering them and releasing them.

At first, Joyce is appalled, but with terminal cancer, she decides to enjoy herself, giving interviews and participating in the fraud. In the credits, there is information that Barrie continually denied that his wife knew anything about the fraud.

Interesting and entertaining, directed by Aisling Walsh, who directed the films about sexual abuse, Sinners and Song for a Raggy Boy as well as many television series.

1. An entertaining story? Musical story? Story of fraud? Based on actual characters and events?

2. The first half of the film, the 1953 settings, costumes and decor and atmosphere, homes, recitals? The second half of the film, out of London, homes, streets, town centres? The realism?

3. The importance of music, the musical score, the pieces played, performance, the digital era, editing the sound, possibilities for fraud?

4. The opening with the funeral, Barry, the people at the church, the tribute to Joyce, her music, his saying that the truth could be told?

5. 1953, Joyce, age, experience, her dominating and critical mother, not encouraging her, putting her down? The sympathetic but quiet father? Her skill at playing the piano? Seeing her at the rehearsal, her skill, the music teacher? Barrie, hearing her, impressed? His talking to her, his enthusiasm, promises?

6. Barrie, his age, character, music publishing, menial job, at the recital, dropping the music, applauding Joyce, the drink, his promises to her, her believing him, his exaggerating, her going to the office and finding the truth? Her mother’s criticism?

7. The swiftness of their marriage, the taking of the photo, the mother and her fussing? Joyce and her pregnancy, the experience of a miscarriage and its effect?

8. Barrie, his enthusiasm, setting up a company, the office, Hong Kong and the importations? Joyce and her playing, in music clubs around the country, the applause? The production of records, Dangerous Moonlight and other film scores? Her teaching? The two young girls and their coming, Chopsticks, her enthusing them, the seats at the performance?

9. Barrie, the police arriving, the tax returns, going to prison, Joyce visiting him, disillusionment, his coming out of jail? The plan for Festival Hall? Getting ready, the dress, nerves, her performance, the first piece and applause, the second piece and her inability to play? The aftermath outside? Saying that both of them perhaps did have not did not have the required iner strength?

10. The transition to the 21st century? The couple married for half a century? This suburban lives? Joyce and her cancer? Her moodiness? Criticising Barrie – and becoming something like her mother? Barrie and his company, producing the CDs? The visit from the former student, looking for Joyce’s CD, welcomed in, reminiscences?

11. The interest in the playing, the range of CDs, the BBC critic, the planning of the article for Gramophone? The revelation of what Barrie was doing, finding the pianist closest to Joyce’s style, digitally altering the playing, the new CD, online sales? The bloggers and
the response to the sales? The Internet, email?

12. The visit of the adult women who were the two young girls? Memories? Barrie’s explanation?

13. The BBC interviewer, his visits, his questions, his belief – yet the discussions with other critics, from America, his editor? Seeking to verify the truth? The phone calls, his visits, the interviews? Joyce and her going along with the fraud?

14. Joyce’s initial reaction, dishonesty, Barry and his persuasiveness, her agreeing? Their working on a range of performances? Success – but suspicions?

15. Philip and his final visit, Joyce’s collapse, her death? Interrogations of Barrie? The funeral, his alleged willingness to tell the truth? Saying that he perpetrated the fraud – and maintaining that Joyce knew nothing?

16. The aftermath information – and Barrie remaining true to Joyce?

ASTERIX: LE DOMAINE DES DIEUX/ ASTERIX AND OBELIX: MANSION OF THE GODS

France, 2014, 85 minutes, Colour.
Voices of: Roger Carel, Alexandre Astier, Alain Chabat.
Directed by Louis Clichy, Alexandre Astier.

This is another amusing animated version of the celebrated comics by Ren Goschiny and Albert Uderzo. The adventures of Asterix and his fellow Gauls have been portrayed in animated films periodically since the 1960s. There have also been some live-action versions of the stories, notable for featuring Gerard Depardieu her as Obelix, made to look very much like the comic strip character.

This animation film was made in 3 D.

This time there is a more straightforward story. In Rome, Caesar is consulting his advisers and upset that one small area of Brittany would not submit to the Roman Empire. Gets the brainwave of setting up a Roman colony adjacent to the Gauls village. There is even a competition and a Roman family gets the prize and an apartment in the village – though they have to keep supplying documentation and are soon turfed out.

What are Asterix and Obelix and the other Gauls to do. While they are at war with Rome and there are clashes, there is some accommodation with Caesar in the setting up of the village. Nevertheless, the Gauls use their wiles to deceive the Romans and upset Caesar and the village, even appearing in the amphitheatre and offering entertainment with bird sounds.

There are many of the familiar features, especially a potion that gives giant strength to those worlds albeit; there is a range of slaves, especially black slaves and some comedy about an general trying to dispose of a tree which Obelix always picks up and replaces; and, the Gauls have an ability not only to replace a tree but to multiply trees even to a forest, to the continued exasperation of the Romans.

Asterix and his friends want to keep the environment as well is put the Romans at Bay – and habitability to knock down multi-storey buildings almost as soon as the Romans built them up.

And, as always, there are very funny names, which are enjoyably rendered into English funny names – and there is always the dog, Dogmatix.

There is also some final play on Caesar and his famous quote about coming in conquering, Veni, Vidi, Vici.

THE C- WORD

UK, 2015, 90 minutes, Colour.
Sheridan Smith, Paul Nicholls, Michael Maloney, Haydn Gwynne.
Directed by Tim Kirkby.

The C Word is based on a book and a blog by Lisa Lynch. It is a true story.

Sheridan Smith appears as Lisa Lynch, a woman in her late 20s, recently married, working, but diagnosed with breast cancer. The film traces the diagnosis, her work with the doctor, surgery, chemotherapy, recovery from chemotherapy, a period of calm before the cancer recurs.

In order to cope with her experiences, she starts a blog, finds that she is a good writer, also finds that writing is a wonderful outlet to help her cope with her cancer experiences – and that many readers find her blog very helpful, especially women suffering from breast cancer, sharing their experiences with her.

The film shows very directly the effects of chemotherapy, breast surgery and new construction, hair falling out, wigs… She is very well supported by her devoted husband, Paul Nicholls. Her father is a quiet man and is also supportive, a touch of the stoic, while her mother is immediately highly emotionally affected but is also a support.

Sheridan Smith is effective in the central role, making Lisa Lynch credible in all these aspects of her life, and in her illness and the time leading up to her death.

The screenplay makes the point that her book, The C Word, was of enormous help not only to the women suffering from cancer but also for their carers.

1. The title? Cancer? Responses to diagnosis of cancer, by the patient, by spammers, by family, by friends? The role of doctors, surgeons, nurses, anaesthetist, counsellors?

2. The film based on the book and blog by Lisa Lynch? A bestseller and strong influence, especially for women, women with breast cancer, carers, family, therapists?

3. The British setting, families and homes, workplaces, hospitals, therapists?

4. The importance of the blog, Lisa starting it, her skill in writing, as a therapy for her thoughts and feelings, its being read by many people, by her parents, responders to the blog, people make themselves known?

5. Audience response to Lisa experience, of illness, diagnosis, chemotherapy, after maths, the recurring of the disease, final coping? Audiences identifying with her?

6. Sheridan Smith as Lisa? Age, personality, the love for Peter, their life together, the video of the wedding ceremony? To the Dr, the diagnosis, her response, calm? Her reaction to her parents and their concern? Her wanting to be ready for her brother’s wedding? The information about chemotherapy, the progress and the doses, the reaction, losing her hair, checking on the weeks, going to the shop, the diarrhoea and the physical effect, her moods, the effect of writing the blog?

7. Peter, his character, love to his wife, his work, some time off, his continued accompaniment? Reaction to the men at work? His comment about always boiling the kettle? With Lisa’s parents? With blog fans? Meetings in restaurants, photos? The final diagnosis, is asking for time off, and his accompanying Lisa to the wedding and their enjoyment of it? The strong character, commitment and love?

8. The glimpse of the parents, their concern about Lisa, the visits, the father calm, the mother and her being upset, the support of the brother? The parents in their continued visits, working, being present? The wedding and its enjoyment?

9. Lisa, her friends, the discussions about the cancer, the friend who was frank in talking about it?

10. The Dr, always sympathetic, sound advice, encouragement, the x-rays and the cancer under control, its return? The staff at the hospital and their support? The visit to the therapist, sympathetic, her recommending the book, her reaction on discovering Lisa had written it? Lisa’s further visits and being able to talk to the therapist?

11. The recurrence, the treatment, the effect on Lisa, her listlessness, listening to her advisers, with Peter, her parents? The blog? Finding the moment of trans formation? The moments of peace and the outing with Peter and the Sun? Her gradual decline?

12. The death of her friend from the blog, meeting with the other women, the toasts, the talk, the support?

13. The final information about her death and its sadness?

LEGACY

UK, 2013, 90 minutes, Colour.
Charlie Cox, Andrew Scott, Romola Garai, Olivia Grant, Tessa Peake -Jones, Geraldine James, Christian Mc Kay, Simon Russell Beale, Richard Mc Cabe.
Directed by Pete Travis.

Legacy is based on a novel by Alan Judd. The film has been directed by Peter Travis who has directed a range of films including the retrospective on the events in 1998 in Omagh, the thriller Vantage Point, the Judge Dredd film, as well as the television version of The Go- Between.

The setting is 1960s with Charles, Charlie Cox, starting work at the foreign office, given a contact with a KGB officer with whom he studied at the University, Andrew Scott. There are further complications with a prostitute connection, with the various officials at the office, including an interesting performance by stage actor Simon Russell Beale, with Geraldine James as a knowledgeable expert. There is also intimations of a marital tangle with Romola Garai.

The film is set in the dark London, investigations into the KGB and counter-espionage, and the plot by Russian spies to plant boxes all over the country with plans for industrial sabotage.

1. A Cold War Story? The atmosphere of the 1960s? The UK and espionage? Russian spies, the KGB?

2. The London settings, the city, the club, apartments, homes, dark streets and underpasses, the river, foreign office? The musical score?

3. The title, Charles and his father, his legacy, the ambiguities, the final vindication? The name of the Soviet plan? The threat to British security?

4. Charles, his background education, friendship with Victor, Foreign Office, the officials and his tasks? The encounter with the prostitute, the discussions, her refusal, the money, the information about Victor? Charles returning to her, the information about the golf course? Her murder? His phoning it in? The chief and his sending workers to clean up the situation?

5. Victor, past friendship with Charles, studies together, KGB? Charles tracking him down? The discussion by the river, the information about Charles’s father, the compensation money? Further meetings with Victor? Giving the information to the foreign office officials?

6. Charles, going to see his mother, the death of his father, her grief, cleaning out the office, finding the photo, asking his mother about his father’s trips, the suggestion that he was a spy, his mother’s reaction?

7. The officials, the discussions, Hookey, in charge, his manner, the meal and discussions with Charles? Hugo, his relationship with his wife, his affairs? The meal and the blackout? Martha, her knowledge and expertise, identifying the photo and the individual?

8. Charles, following Victor, at the golf course, digging, finding the box, the information? Hookey and his further explanations, stating that Charles’s father was a double agent, his reputation vindicated? And the officials using Charles to get the information about Legacy? Charles, with Victor, examining the second box, the pursuer on the bicycle – Charles chasing, shooting him? The explosives in the box, stopping the detonation?

9. Charles and his personal life, the visits to Anna, her relationship with her husband, his infidelities? Her children?

10. An interesting film about the Cold War and counter espionage by the UK?