BIG GAME

Finland/Germany/US, 2015, 85 minutes, Colour.
Samuel L.Jackson, Onni Tommila, Ray Stevenson, Victor Garber, Mehmet Kurtulus, Ted Levine, Felicity Huffman, Jim Broadbent.
Directed by Jalmari Helander.

Big Name is an old-fashioned adventure film, from a story by the Finnish director.

It is reminiscent of such adventures as Air Force One in the 1990s and is a cousin of such threats to the presidency films as Olympus is Down and London is Down where the intentions of the terrorists are rather similar to those here.

The scenery in Finland, the mountains, the forests for hunters, are quite spectacular and provide plenty of obstacles for the rescue of the President. At the centre of the film is a young boy, turning 13, Onni Tommila, being sent out into the forest to kill his first animal, but finding that he is not adept with his bow and arrows.

The American President is flying in Air Force One to a conference in Helsinki. An alleged hunting helicopter is carrying terrorists who shoot down the plane and those accompanying it. The serious chief of staff, Ray Stevenson, turns out to be the traitor, disgusted with a weak Presiden and sends the President in a safety pod intending to sell him to be terrorists and execute him.

But he is found by the boy who helps him – they find themselves in a freezer taken by helicopter but the boy cuts the connection and they fall to earth, rolling down cliffs into lakes, finding the crashed plane, using ejection seats to escape. Meanwhile, there are confrontations with the chief terrorist and the security head.

Samuel L. Jackson seems to be enjoying himself as a weak President who becomes strong, and acts very well with the boy who has a fine command of English. The character actors in the Pentagon include Vincent Garber as Vice- President, Ted Levine as the general, Felicity Huffman as the CIA chief and, especially, Jim Broadbent is also enjoying himself as an expert – with a twist at the end.

Saturday matinee kind of stuff – implausible but enjoyable.


1. A popular action show? Based in realism but far-fetched?

2. The Finland setting, the beauty of the scenery, the mountains, the lakes? The Washington setting, the Pentagon? The hunting action, in the forest, the President and the boy being pursued? The base camp, the hunters? The helicopter, Air Force One and its interiors, the crash? The musical score?

3. The plausibility of the plot, implausibility and plausibility – and that not mattering for the action and entertainment?

4. In Finland, the young boy, turning 13, the photo of his father with the bear, the challenge to the boy? His wanting to live up to his father, admiration for his father? At the camp? Unable to fire the arrow, his embarrassment? His father supporting him, pressurising the leader? The quest, overnight, to bring back an animal, a deer?

5. The boy out overnight, camping? His coming across the pod, thinking the President came from space, his questions? Opening the door with the code? His arrow, the confrontation?

6. The President, head of security, the detail of Air Force One, the President going to a conference in Helsinki? The President laid back, eating the cookies, the attention of security? The attack, the plane hit, the President in the pod, the betrayal of the head of security, in the past his having been wounded for the President? His shooting the men, parachuting?

7. The men in the helicopter, the leader from the Gulf States, landing, setting themselves up, glasses, the weapons, and ordering the pilot to run, destroying him?

8. Meeting with the security chief in the forest? Tracking the pod, the President missing, finding the boy, finding the President, taking him, in the freezer, the security chief killing two of the men? The helicopter, towing the freezer, the boy leaping onto it, their trying to shoot him, going low in the forest, bumping, the boy cutting the rope, landing with the President in the freezer? Getting him out? The issue?

9. The attack, bumping the freezer, its going downhill, into the water, finding the crashed plane, going inside, the leader getting into the plane, putting the bomb, the President and the gun and cocking it (after his attempt to shoot the security chief), the ejection seats, into the water? Landing near the base camp?

10. The plane, the rescue of the security chief, the boy’s arrow bouncing off him – but upsetting the bullet already within him and his death?

11. The Pentagon, the Chiefs of staff, the CIA head, the Vice President? Bringing in the expert on terrorism? His casual approach, eating the sandwich, his knowledge, information, getting the satellite focus, everybody being able to follow what was happening? The amazement? Losing the President the expert urging Vice President to be sworn in? And the President appearing?

12. Hunters, the puzzlement, the SEAL rescuing the President, the men and hands up, the boy, his father, having provided the deer’s head in the freezer, but the boy wanting to stand on his own feet? The newspapers, with the photo with the President and his medal?

13. The revelation that the expert and the Vice President had engineered the attack on the President, the expert and Vice President in the toilet block and going, scot-free?

14. A boy’s own adventure?

THE SECRET OF KELLS

Ireland, 2009, 75 minutes, Colour.
Voices of: Evan Mc Guire, Brendan Gleeson, Mick Lally, Christen Mooney.
Directed by Tomm Moore.

The Secret of Kells was a nominee for Oscar for best animation in 2009. It has a very distinctive animation style, full of colour and light, drawing inspiration from the books of illumination of manuscripts, including the Book of Kells. The characters are quite stylised, especially in the delineation of faces, facial parts, height and width. And the voices are very distinctively Irish, with Evan Mc Guire as the young brother Brendan, Brendan Gleeson as the Abbott, Mick Lally as the artist, Brother Aidan, and Christen Mooney as the mysterious young woman of the forest, Aisling.

The film was directed to younger audience, perhaps something like Kells for Kiddies, an opportunity to communicate something of Irish monastic history and the history of illumination to the young, introducing them to monastic history and medieval themes.

After an introduction to the history of the period, spoken rather indistinctly by the hero, the film opens out to a more straightforward narrative. Brendan is young man in the monastery, the nephew of the Abbott, interested in illuminated manuscripts but thwarted in his intentions by the Abbott who is concerned about the invasions of the Norsemen and on building a wall of fortifications, even though he was an illuminator in the past.

Brother Aidan who had eliminated a Book of Iona comes to the monastery to continue his work and begins his illumination of a book for Kells. Brendan is eager to help and is commissioned to collect berries for extracting juice for inks, entering into the forest which had been forbidden. He meets a wraith-like one girl, Aisling, who helps him in his quest. Also in the action is the monastery cat.

Aidan shows Brendan the process of mixing inks for a variety of colours. The Abbott discovers what has happened, he puts ban on Brendan’s going out which Brendan refuses.

Also in the action is the design of the star which is to become part of the elimination.

Ultimately, Brendan perseveres with his work, Aidan completes his work of art. Brendan grows older as does the Abbott, the Abbott relenting and their admiring the pages of the book, some of which in their design are reminiscent of the life of the monastery, beautiful in colour and design.

Perhaps adults not familiar with this Irish history may find it helpful and enjoyable as well.

HORSES OF GOD/ LES CHEVAUX DE DIEU

Morocco, 2013, 115 minutes, Colour.
Abdelhakim Rachi, Abdelilah Rachid.
Directed by Nabil Ayouch.

Horses of God is a film well worth seeing for those interested in Islamic fundamentalism, the recruitment of warriors and suicide bombers, the situations, motivations, the teaching, the indoctrination, the consequences and missions.

The film was Morocco’s official nomination for Oscar consideration for 2013.

The film is a fictionalised version of the facts of 2003 and bombings in the city of Casablanca, targeting Jewish people and Western tourists in the city and in the nightclubs.

The film gives quite a background to the young men in Casablanca, the poverty of their lives, home life, attempts to make some money with stalls in markets, yet the drink, the drugs, the fights and crime, harassment by the police and some of them finishing in prison.

The film focuses on Hamid, one of these young men, who undergoes a conversion experience, is welcomed by some of the authorities in the mosques providing a safe community, care, prayer, and reform, so that the young men are susceptible to the training, to the idea of Jihad, honour against the persecutions around the world, ready to go, as they do, to be suicide bombers in the city.

The film is a sobering one, considering terrorism at the time but, at the time of the film’s release, the increasing presence of Islamic State and attempted worldwide recruitment, and success.

1. A fictional account of factual material? Casablanca, 2003, active terrorism, in the city, targeting Jewish people, Western tourists, nightclubs, 45 killed? The Oscar nominee from Morocco?

2. Re-creation of the period, 2003, the city locations, the slums, the streets, markets, homes, prisons, mosques and religious centres? The musical score?

3. Post 9/11, the influence of Al Qaeda, Jihad and videotapes? Terrorism in Africa?

4. The presentation of indoctrination, motivations – not simple black and white?

5. The young men, their lives, poor, slums, the community exploiting them, lack of interest from government, drinking, drugs, the sexual attractions, crime, fights, unemployment? The role of the police, harassment, prison? Susceptibility to indoctrination?

6. The stories of the young men, Hamid, his family, selling oranges, some money for the family, thugs upsetting his store? Throwing stones at the police? Preventing a boss from rape? Prison?

7. The authorities, the introduction, the influence, teaching, indoctrination, yet providing community, care, urging the young men to pray, to reform their lives, and to become model citizens?

8. The motivations from Islam and Islamic teaching, the persecutions around the world? Training in combat? The ideal of martyrdom – and the image of paradise and the virgins…? Sense of honour?

9. The exploitation of the young men, the cause, the commitment? Watching the videos? Asked to be suicide bombers? The ready acceptance? Why such ready commitment?

10. The victims, from the West, not influencing life in Morocco, young men not considering the victims?

11. The impact of the final image, the boys playing football, thoughts about their future, the panning shot, the city, the image of the explosion? Their future? Their ball going into darkness?

ILLEGAL TENDER

US, 2007, 108 minutes, Colour.
Rick Gonzalez, Wanda de Jesus, Gary Perez.
Directed by Franc. Reyes.

Illegal Tender treads familiar ground, drug dealing in New York in the 1980s, drug dealing in Puerto Rico, the transition to the 21st century, the accumulation of wealth from laundered money, and, eventually, truth coming out.

Rick Gonzalez plays a young man from a wealthy household, Wilson, living in a mansion in Connecticut, going to the University. His mother is a wealthy woman, but rather profligate in her behaviour. There is a back story where Wilson’s father was murdered in the 1980s and Wilson’s mother, Millie, took the money and invested it.

When some criminals put the mansion under surveillance, and there is a stash of guns in the house, Wilson becomes suspicious and, after two intruders are shot, he decides to go to Puerto Rico to find out what really happened in the past. He confronts the drug dealer from the 1980s but is beaten. But he also learns the truth about his father, his father’s affair with a young woman, the drug dealers sister, and the reason for his father’s being killed.

There is a climax back at the mansion in Connecticut, some shootouts – and, while Wilson knows the truth, he does not tell his mother the story about the affair and the reason for her husband’s death.

1. A New York and Puerto Rico story? The 1980s, the Bronx, drugs? The contrast with Connecticut in the 21st century, mansions and wealth? Puerto Rico, clubs and drugs?

2. The location photography, the atmosphere in the Bronx, the neighbourhoods, drugs and squalor? Violence? The police? The contrast with the Connecticut landscapes and wealth, towns? Puerto Rico? The musical score?

3. The title, the focus on drugs, cash and investments? The use of the money for the resolution of the plot?

4. Millie, in herself, her relationships, Wilson, her son, the money laundering, Wilson and his being killed?

5. 20 years later, Randy as Millie’s older son, Wilson Jr, his relationship with Ana? His attitude towards his mother, her wealth, behaviour, sexual partners?

6. The mansion under surveillance, Wilson and his reaction, the guns, his mother wanting him to go, his staying with Ana, the two killers, the police and the defence against burglars?

7. Wilson, his character, righteous, with his girlfriend, university studies? The discovery about his family? Going to Puerto Rico? Consulting his aunt?

8. Going to the club, the encounter with Javier, the confrontation, his being beaten?

9. His mother, her character, the money from the 1980s, her investments, Microsoft? Wilson discovering the truth?

10. The siege, the house, the home invasion, the deaths?

11. Puerto Rico, Wilson learning the back story, his father’s affair with Mora, the club called after her, her love, realising Wilson loved Millie, her suicide? Javier and his attempted revenge? Wilson and his mother, his mother shooting Javier?

12. Wilson, learning the truth, but not revealing the full truth to his mother?

LA FRENCH/THE CONNECTION

France, 2015, 135 minutes, Colour.
Jean Dujardin, Gilles Lellouche, Celine Sallette, Melanie Doutey, Benoit Magimel.
Directed by Cedric Jimenez.

William Friedkin’s 1971 film, The French Connection, was an Oscar winner and has become something of a cult police thriller dealing with issues of drugs.

The story and the American film form the background of this French thriller, portraying a French syndicate, La French/ The Connection, operating in Marseille from the mid 1970s into the 1980s. It shows the syndicate at work, the laboratories for preparing the drugs, the deals, haggling about prices, smuggling into the United States with drugs hidden in vans, the wealthy way of life of those in charge, the henchmen and their work, pressure from police investigations.

This is also the story of the work of the police, focusing on Pierre Michel, played with authority by Oscar-winner (The Artist) Jean Dujardin. He worked with juvenile crime and drug addiction but was promoted as a magistrate to head the squad for pursuing the drug dealers, something he did with integrity, coming from an office into the field, learning as he went, shrewd in getting information and making connections, organising his squad to make a variety of raids, sometimes destroying laboratories, sometimes arresting criminals.

The screenplay builds the contrast between Pierre Michel and the leader of the syndicate, played by Gilles Lellouche, a Neapolitan working in Marseille. The screenplay make something of a parallel between the two men and their home lives, their devotion to their wives and families.

The film offers a lot of detail of police work, and while there are action sequences, chases and shootouts, the film is more of a drama rather than a thriller.

The film ends sadly with the assassination of Pierre Michel who had promised the new minister in the Mitterand government to give him headlines with a breakthrough against the syndicate. He does get the headlines when the boss is arrested.

An interesting look, French style, at familiar material, but based on fact.

1. 21st century French thriller? Retrospect on the 1970s and 1980s?

2. The historical background, drugs in Marseille in the 1970s and 1980s, the French and Italian criminals, their connections, heroin from Turkey, processing in Marseille, shipments to the United States, the connections with the US? French police, investigations, political concern?

3. Audience familiarity with the film, The French Connection, giving a background for this film?

4. The location photography, the city of Marseille, the Mediterranean, the buildings and landmarks, the beaches, restaurants and clubs, homes, police precincts, locations outside the city, buildings and laboratories? An authentic feel? Musical score?

5. The opening, the car pursuit, the shootings? The background to drug lords, the influence, their violence, the expansion of their empires, the workforce and the pressures?

6. The introduction to Pierre Michel? Working with juveniles, the interview with the girl addict, her arms, his threats, wanting the information about the boss? Her later return, giving the information, Pierre’s visit to her mother, the news of her death and the overdose? Murder?

7. Pierre Michel, as a character, his work with juveniles, the interview with the chief, his promotion? Meeting his associates, listening to them, their being practical, he being an office man, learning? The collaborations over the years? His reliance on them? Their admiration for him? Their celebratory parties?

8. Pierre, his wife, children, the many domestic scenes, balancing his police work? The tensions for his wife, her sometime desperation, wanting to leave, the phone call and his plea? Her supporting him? Her fears? Her apprehension when he was shot, running down the hill, her grief? The funeral? The effect on the children?

9. Pierre, talking to the girl about addiction, his own gambling addiction, able to reform? Yet its hold on him with his compulsion to catch the criminals, his obsession with being present, with his job? At the risk of losing wife and family?

10. The introduction to the drug lord? His Neapolitan background? His wife, his devotion to her, something of a parallel with Pierre and his wife? The happy scenes together, the cake for the anniversary, getting the Krypton club? Her standing by him? Her watching his arrest?

11. The workings of the drug syndicate, the boss and his meeting with those wanting to invest, the chemist, the laboratories, the raids, starting again? The American connections, the vans filled with drugs? The discussions about prices, compared with drugs from Turkey?

12. The characters of the various members of the drug syndicate, lieutenants, their advice, the loyalties, thugs and killings, the risk of informants, the years passing, prosperity? Da Costa and his role, his devotion to Dora, the information for the police, the siege of the house, the taking of the lab, the drugs, his being cuffed, interrogated, Dora persuading him to give information, the promise of protection?

13. The years passing, the work of the police, gathering information, the files, the various raids, Pierre and his growing into the job? The collaboration with the local police – and their lack of cooperation, connections with the dealers, his being taken off the case?

14. The change of government, President Mitterand, his officials, Pierre going to see the Minister, promising headlines, his being put back on the case?

15. The boss, the chance encounter with Pierre, the plan for Pierre’s death, the cycle rider, the shooting?

16. The film as a tribute to the police, to Pierre, his dedication, and the smashing of this drug ring, with collaboration from the Americans, Pierre going to the United States, the DEA?

17. A fast-paced action film, drama rather than thriller, the focus on investigation?

FELIX AND MEIRA

Canada, 2014, 105 minutes, Colour.
Hadas Yaron, Martin Dubreuil, Luzer Twersky.
Directed by Maxime Giroux.

Felix and Meira is set in Canada, the city of Montréal, and more specifically in an enclosed Jewish community, Hasidic in its traditions and outlook.

Meira is a young woman, wife and mother, married to an earnest Hasidic man, steeped in the traditions, devout, but with somewhat chauvinistic expectations of his wife and her behaviour. Meira, has a love of music, finds the restrictions overwhelming, does not find good company in the other wives.

A chance encounter with a man at a bakery leads to further meetings. He has come to the city for the burial of his father, a man who had little time or for his son. When Meira visits, she is able to listen to music, and her world begins to open up – even to overcoming the injunction not to look a person in the eye when speaking and communicating.

The husband tries to influence his wife but she is caught up in this broader world, in the world of Felix – and, although she relishes the freedom, which is burdened by the past restraints. The film ends with a trip to Venice – which may or may not lead to happiness.

A quite slow-moving drama which gives the opportunity for the audiences to identify with the characters, situations and challenges.

1. A Canadian story? The Jewish story? Jewish perspective, the perspective of audiences outside Judaism?

2. The Canadian city, homes, synagogue? The family, Hasidic? The feel, the isolation, place in society? The contrast with the “outside” world? The locations, the atmosphere, the musical score and use of Jewish themes?

3. Hasidic men, their dress, the customs, expectations, marriage, family and children, men treating their wives? Love, sexual relationship? Control? Audience response to the Hasidic men? The wives?

4. Meira, a woman in this society, accepting her destiny, critical of her destiny? Her relationship with her husband, the Hasidic customs, prayer, gatherings of men? Women in the synagogues? Her dreams, hiding the music, loving music, sketching? Her hopes, the beliefs, relationship with her daughter? Interactions with her husband, discontent? The detail at home, going out, the other women and her relationship with them? Coming to the house?

5. Felix, his age, experience, the death of his father, the feelings of estrangement? His meeting Meira, food in common? The relationship, his being secular, not religious, his comment about the emptiness of his life? The gradual friendship with Meira, her coming to the house, wanting to listen to music?

6. The husband, his background, the puzzle with his wife, his requirements, wanting her to change? Going to the synagogue, study and prayer? His challenge to his wife, how sympathetic, able to understand what she was going through – and his hopes, the possibility of letting her go?

7. Felix asking Meira’s advice, that he wasn’t religious, her reaction, gradual response at first, gradually gaining confidence, the visit, the music? Her opening up, the difficulty of looking men straight in the eye, the trying on of the jeans…?

8. Felix, the change in him, his apartment, Meira’s visits? His donning the Hasidic garb?

9. The development of the relationship, how much love, her desire for freedom, how much independence?

10. Felix, his encounter with Meira’s husband, the interactions, understanding?

11. The finale, Venice, the couple together, the wisest of decisions? their love, the future?

THE GO-BETWEEN

UK, 2015, 90 minutes, Colour.
Jim Broadbent, Jack Hollington, Joanna Vanderham, Ben Batt, Stephen Campbell Moore, Lesley Manville, Samuel Joslin, Vanessa Redgrave.
Directed by Pete Travis.

The 1971 film version of L.P.Hartley’s celebrated novel, The Go- Between, directed by Joseph Losey, is considered a classic. It starred Julie Christie and Alan Bates, with Dominic Guard as the young boy who was the go-between and Michael Redgrave as his older character. It was a period piece, re-creation of an era in English history, beautiful in its settings, costumes and decor.

Much of this is reproduced in this new version, made a television.It has been directed by Pete Travis who has had a varied career as a director, the portrayal of the atrocities in Omagh, the complex assassination thriller, Advantage Point, and a television Henry VIII, and a version of Judge Dredd.

Jack Hollington is very good as the young boy, caught between two lovers, having to keep secrets, under suspicion from the upper-class hosts at the mansion where he is staying. Joanna Vanderham has the Julie Christie role and Ben Batt is quite smouldering as the Alan Bates character. Attention is given to the post-war period, 1950, 50 years after the initial events, with the young boy now a middle-aged man, played effectively by Jim Broadbent, re-visiting the past, especially with Vanessa Redgrave as the older woman.

The film recreates the atmosphere of the period, with the upper-class (Lesley Manville standing out as the disapproving mother with Stephen Campbell Moore as the war veteran intended for marriage) and the contrast with the working classes.

Comparisons will inevitably be made with the original film but, for those interested in more recent interpretation, there is much to commend in this film.

1. This film in itself, for television? Comparisons with Hartley’s novel? With Joseph Losey’s 1971 film and its being considered a classic? The television style, for a television audience?

2. Themes, childhood, innocence, remembrance? The child being groomed, used, confused, involved not understanding, the effects immediately, the consequences? At the time, later?

3. The framework, the elderly Leo, in the train, 1950, remembering 50 years earlier, reflecting on his experience, himself as a young boy appearing, the discussions, the effect of each on the other, remembering? The train, arriving, the search, Leo seeing Marion’s grandson? His surly attitude? Meeting Marion, talking, her plea about her grandson, her memories of the past, exhorting love, Marion continuing to ask him to be a go-between? What had been achieved by the end?

4. 1900, the look, costumes and decor, train travel, the mansion, the rooms, lavish, the meals, the party, social life, the connection with the village, the extensive cricket match? The local farmers and their properties? Class distinctions? The musical score?

5. Leo’s story, his age, his birthday coming up? His friendship with Marcus, from school? His mother, the old clothes, trying to keep up appearances, his reaction to all the characters, being accommodating? Marion liking him, wanting to go shopping, the excuse to meet her lover, Leo and the secret? Her writing the letters, his becoming the go-between, the effect for Marion, the effect for Ted, his manner with each of them, the confidentiality? Marcus being sick, giving Leo the opportunity?

6. Marion, her age, expectations, the domination of her mother, class expectations, the meeting with Ted, his concealing his feelings? Her writing the letters, the meetings, the sexual encounter, the passion? Her mother’s suspicions? The presence of Hugh, expected that she married him? The cricket match, Ted and his achievement, Leo as 12th man? Her playing for Leo to sing? Leo’s knowing the truth, her wanting a further letter delivered, accusing him of wanting money, a Shylock? The letter, the delivery, Leo changing the time for Ted? The lies about Marion visiting sick? Leo’s birthday party, the mother’s denunciation, taking him and discovering Marion and Ted together?

7. The mother, harshness, conscious of her class, the treatment of people, suspicions of people in the village, of Ted? Promoting Hugh? Her treatment of Leo?

8. Hugh, the experience in the Boer War, his disfigurement in his face? Expecting to marry Marion? Leading the cricket match, his ability, inviting Leo to be 12th man, Leo and his achievement and praise? Hugh talking with Ted, trying to persuade him to enlist?

9. Ted, in himself, his work, relationships, class issues, the cricket match, his singing? The discussions with Leo – and the
awkwardness of the facts of life discussion, Ted’s apology? His not wanting to go to the war? The sexual encounters, love for Marion, their being discovered? His killing himself?

10. Marion, pregnant, marrying Hugh, her son, her grandson looking like Ted – and his reaction to Marion, considering that he was cursed? The Victorian era, Edwardian era, the 1950s and change in England, in retrospect?

SONG ONE

US, 2014, 86 minutes, Colour.
Anne Hathaway, Johnny Flynn, Mary Steenburgen.
Directed by Kate Barker Froyland.

Song One Is a brief romantic drama, with Anne Hathaway in the lead, playing a research student, Franny, working in Africa who returns home to be with her brother after his being involved in a car accident and in coma in hospital. Her mother, Mary Steenburgen, was a freewheeling type in in Paris in the past and has some loving clashes with her daughter.

The brother was an aspiring musician, and was a great admirer of James Forrester, played by musician Johnny Flynn. When Franny goes to a club, she meets Flynn, getting him to visit her brother, and, as expected, forms a sexual attachment.

There have been tensions between brother and sister but she keeps vigil which means that when he wakes up, there is a reconciliation.

There is an emphasis on music, the various songs that James Forrester has composed – and his final songs.

1. A music story? People and music?

2. New York City, locations, the streets, clubs, venues the gigs, apartments, hospital? Philadelphia?

3. The musical score, the range of songs, performance?

4. Henry’s story, playing on the streets, busking, listening to music, the accident and the explanation about the driver trying to stop, Henry not noticing the car? In coma, in hospital? His mother’s care, asking Franny to come home, friends and her part in the clash with her brother?

5. Franny, going into her brother’s room, the posters, James Forrester, his diary, the CDs and his recording? In the hospital, vigils, present when he woke, his recognition of her?

6. Franny’s story, the rituals of the wedding, her observing, her Ph.D., Morocco? The news, going back to New York City? Her relationship with her mother, communication? Her feelings about Henry, the information about James Forrester, the search, discovering the ticket, going to the gig, James and talking, the CD, his going to the hospital, the continued discussions, sharing, the individual, the growing relationship, the sexual encounter, James and Franny going to the different clubs, the performances? His playing for Henry? His singing, and Franny singing? Philadelphia, singing at the wedding, leaving to go back to the UK?

7. James, from England, his music, his style of performance, his range, vocal range, melodies and lyrics? His fans, the autographs, meeting Franny, going to the hospital, his guitar, playing, the different venues? His apartment, the relationship, sexual encounter? With the mother, going to the meal, the discussions, hearing her story of the past? Philadelphia, the wedding photos, performance, Henry waking, his final songs?

8. The mother, her style, the memories of Paris in the 1970s, her studies and degrees, relationships, marrying, the hippie style, the rockstar, her husband, her children? Her concern about Henry, the visits, smoking, talking with her daughter, food, James’s visit to the hospital, the meal? Her bringing out the accordion? Love?

9. The background of the music scene in New York City?

10. An emotional story, coma and recovery, parental love, sisterly love, music and a love story?

THE WEDDING PARTY

US, 1969, 92 minutes, Black and white.
Charles Pfluger, Jill Clayburgh, Robert De Niro (Denero), John Braswell.
Directed by Brian de Palma.

Perhaps the principal reason for seeing this film is that it is one of the early full length features by up-and-coming director, Brian De Palma. In the late 60s he had made a number of short films and a feature film, Greetings. The Wedding Party was a more ambitious film, photographed in black and white, featuring some of his associates including two who would become stars, Robert De Niro and Jill Clayburgh.

While there is a screenplay, many of the sequences have the impression of improvisation. The photography has some of De Palma’s idiosyncratic style and there is an underlying sardonic humour as well as serious themes.

The occasion is a wedding, the arrival of the groom – with overtones of slapstick comedy, silent film style – the mansion, the family, the bride and her concern, the groom and his friends, possible temptations.

While it still has some entertainment value, it is still principally a work of historical interest, noting De Palma’s succession of thrillers, Carrie, Obsession, Dressed to Kill, Blowout in the 1970s and such classics as Scarface and The Untouchables in the 1980s.

1. Film of the 1960s, young filmmakers, cast, issues?

2. Brian De Palma, the beginning of his career? Robert De Niro and the cast?

3. Black-and-white photography, the countryside, the locations, the boat, the cars, the house, the estate, the surrounding countryside? The musical score?

4. The title, the chapter headings, the Complete Guide, the bridegroom and the various chapters and their being illustrated?

5. The situation, the arrival, the whole family gathering, Charles and Josephine, the friends?

6. The farcical opening, the car, the falling luggage, the speeding up of action?

7. Charles in himself, engaged, the preparation of the marriage, Josephine? Arriving, the talk, the kiss – and the doubts?

8. Josephine, her dominating mother, the various members of the family, her aunt?

9. Charles’s friends, the characters, arrival, the conversations, trendy, movie references?

10. The Rev Oldfield, genial, in the house, the discussions, the walks, his advice, the meals? The preparation for the wedding? The ceremony?

11. The international visitors –allr played by the one actor? French? European? The Indian? The car and the plane?

12. Golf, the father, the philosophy of the over 65s?

13. Charles, becoming reluctant, his friends, walking, Singing in the Rain…?

14. The long encounter with the sister, at the table, her awkwardness, his flirting, going to the room, the storage room, the record, the cigar, falling, the roof? Piano, sexual advances, out the window…?

15. The rain, wet, drinking, playing, Josephine and her reaction and insistence?

16. The final banquet, speeding of the camera, the speeches, Charles imagining the wedding? Hit by the car, the drinking, the dancer?

17. The mother, Charles, the secret?

18. The wedding day, the rain, Charles running to the wharf, the children, the flowers, the father and mother? The frantic preparations? Charles hiding, the bike, hitching? The quarry, the boat, returning to the marriage?

19. And its future?

ROXIE HART

US, 1942, 75 minutes, Black and white.
Ginger Rogers, Adolphe Menjou, George Montgomery, Lynne Overman, Nigel Bruce, Phil Silvers, Sara Allgood, William Fawley, Spring Byington, George Chandler.
Directed by William A.Wellman.

Originally, this was a 1926 play, filmed in 1927, a silent film, keeping closer to the play than this film version does. The Oscar winning Chicago, 2002, goes back to the characterisations and issues of the play which was somewhat sanitised for this version because of the restrictions of the Motion Picture Code.

The setting is Chicago, Roxie is a dancer and confesses to murder of her husband in order to enhance her career. Ginger Rogers had just won an Oscar for Kitty Foyle in 1940 and had proven herself a substantial actress and not only just for dancing in Fred Astaire films. Adolph Menjou is a lawyer, a flamboyant performance, and there is a whole range of character actors of the period in supporting roles. Direction is by William A. Wellman who directed a wide range of films from the 1920s to the 1950s, including the first Oscar-winning film, Wings.

The running time is very brief, and draws on some of the screwball comedy styles of the 1930s.

1. 1940s story, in the light of Chicago? Entertaining, the period, the touch of the spoof?

2. Brief running time, a small film, the work of an action director? Ginger Rogers and having received an Oscar? An effective supporting cast?

3. Based on a play, the tradition of screwball comedy, spoofs? The staging, the world of gangsters? The world of the press? The world of courts and law? Repartee and wit? Song and dance? Fast and timing?

4. Black-and-white photography, the sets, the period, costumes, decor, style? The courts?

5. The structure, headings, titles? Homer and his telling the story, the bartender, the involvement, the toasts – and the end and the final joke with Roxie and the children?

6. The situation, Amos and Roxie, the murder, the police, the press? The setup? Roxie as a character, agreeing to participate? The character of Amos? The photos?

7. Roxie, the charges, in prison, her glamour, the response of the press, the story and the parents' phone call, Mrs, Potter, the role of Billy Flynn, dirty, Amos and the pregnancy, Homer and the weakness? The range of characters? The touch with song and dance?

8. Billy Flynn, his reputation, style, with Roxie, the court?

9. Amos, murder, death? Roxie, escape? His being tried, guilty?

10. Howard, the reporter, interest of the newspapers, getting information, the research, the interrogations, Roxie and the questions?

11. In the court, the testimony, the witnesses, the verdict? Roxie and her response?

12. The role of Howard, journalist, interest in Roxie – and the end, marriage and children?

13. The stage and film versions of Chicago, audiences becoming familiar with the characters, the change in the plot, more sympathy for
the husband, and Roxie being not so innocent?