A CHALLENGE FOR ROBIN HOOD

UK, 1967, 85 minutes, Colour.
Barrie Ingham, James Hayter, Leon Greene, Peter Blythe, Gay Hamilton, Alfie Bass, John Arnnat, Eric Flynn, John Gugolka.
Directed by Pennington Richards.

Robin Hood stories are always popular. Silent films, Cornell Wilde as The The bandit of Sherwood Forest, television series, a Disney animation, Sean Connery as an older hero in Robin and Marian, Patrick Bergen and, at the same time in the early 90s, Kevin Costner as Robin Hood, Prince of Thieves. And, for the 20th century, Russell Crowe with Cate Blanchett in Ridley Scott’s, Robin Hood.

This is a more modest contribution, from the mid 1960s, a surprising film from Hammer Studios who had emerged in the 1950s as a classic studio for horror films, especially variations on Dracula and Frankenstein themes and, especially, with Peter Cushing and Christopher Lee.

This film offers some background as to Robin Hood’s identity, Norman living with a Norman family, yet friendly to the Saxons, saving the life of a young boy, falling foul of his adoptive brother after his father had bequeathed money to him – with the brother teaming up with the Sheriff of Nottingham to eliminate all rivals.

Robin goes to the forest with Friar Tuck, saving Will Scarlet from the gallows, persuading Little John to join him – and the leader of the outlaws in the forest being Alan a Dale. There is a momentary hesitation about Maid Marian who seems to be aloof – but then we realise that the real Maid Marian is posing as the Maid.

Barrie Ingham is Robin Hood, quite a dashing hero. Alfie Bass has a cameo as a pie maker – and pies being important for one of the climaxes to rescue people from the Sheriff of Nottingham.

A modest but pleasing addition to Robin Hood stories.

1. The perennial popularity of Robin Hood? Version of the 1960s? From Hammer Studios and their otherwise reputation for horror films?

2. Re-creation of the period, the forests, the castle, the joust, the fair, costumes, decor? The rousing score?

3. The introduction, the hunt, the picture, his death, Stephen defying Roger, the role of Wallace? Letting the boy go? The intervention of Robin? Alan and the antipathy towards the Normans, suspicion of Robin?

4. The origins of the Robin Hood story, the Merry Men? The death of Richard the Lionheart? The castle, the father, his loyalty to the men in the forest, his hearing the news of Richard, dying, his will – and Roger tearing it up? Banishing Robin? The fight with Henry and killing him? Using Robin’s weapon? Friar Tuck witnessing this, warning Robin, their diving into the moat, going into the forest? Will Scarlet being blamed, arrest, the plan for his execution? The place of Little John in the castle, the wrestling?

5. Tuck and Robin in the forest, the Sheriff of Nottingham, his men, their escape? Meeting Alan, the fight between the two with the poles? The acceptance of Robin, his clothes and the change? The plan, the outlaws in the forest, surviving? The decision to take money from the rich and give to the poor? Including themselves?

6. Life in the forest, relationships, friendships?

7. At the castle, Maid Marian and how haughty attitude towards the maid? The irony in the disguise and Marian in the castle? Stephen and his wanting to see his sister?

8. Robbing of the wealth man, the fight, the denunciations?

9. The man with the pies, the comedy, the dray, Tuck getting the pie? The payment to the pieman? Going to the fair, in disguise, Robin as Friar, deciding to enter the competition, Masked Monk, fighting with Little John, the plan, the defeat, the defying of Roger, Roger sentencing Robin to death? The Sheriff observing? Justin winning the joust, his collaboration in the scheme?

10. The action, Alan and the company, the dray, rescuing Stephen and Marian, throwing the knife, Robin and Will cut free, the pie fight and the defeat of the troops?

11. In the forest, the money collector, merciless, burning the poor house, taking the young man to prison, trapped by the outlaws, the gold taken, his clothes taken, his being sent through the forest?

12. In the castle, Roger and his plans, using Marian as bait, the sheriff?

13. Robin as prisoner, his message to the steward, opening up the secret passage, allowing the company to enter the castle? The fight, the death of Roger?

14. The happy ending – and the establishing of the Robin Hood myth?

EJHDEHA VARED MISHAVAD!/ A DRAGON ARRIVES!

Iran, 2016, 107 minutes, Colour.
Directed by Mani Haghighi.


A Dragon Arrives is an intriguing drama from Iran.

The film is set in the present but begins in the mid-1960s, an investigator being interrogated, grilled about what happened to him on an archaeological site. It emerges that several of his associates at the dig are also being interrogated by a representative of a mysterious agency.

The film is set on an island off the coast of Iran, Qesham, a desert island with high mountains. The audience is told of the story about the British adventurer, Baffin, who explored northern America and gave his name to bay and island. He went to Iran to negotiate a trade deal with the Portuguese but the Portuguese were massacred and their boat stranded on land. This is visualised in flashback.

The film moves to the present with the director himself discussing issues with his mother, her finding a box with documents and mementos of the period, and the director’s desire to make a film about the situation as well is to investigate what happened. There are sequences with his team of researchers and writers, doing interviews, especially with the interrogator from the 1960s who is still alive, and a woman involved in theatre design (with a rather long theatrical sequence presented, though its purpose is not clear).

Gradually, the events are uncovered, mystery brought out – that there is an earthquake when the investigators started digging and holes emerge with the quake as well as mysterious sounds and the suspicion of the presence of a strange creature. Another part of the plot involves a father and his daughter, his suppressing her, and her giving birth to a baby which is taken on by the sound engineer of the expedition and who becomes very attached to her, even rescuing her – and the researchers interviewing her later.

The film has its moments of mystery, of excitement, of puzzle.

1. The true story, invented elements? 1965, the exploration and digging? The later discovery of the tapes? The box? Interviews? The title?

2. The locations, the sea, the desert, the mountains? The musical score?

3. The story of Baffin, his exploration in the Arctic, British background, coming to Iran, the treaty, the clash with the Portuguese, the confrontation, the massacre, the grave, the ship and its being stranded in the desert?

4. 1965, and the explorer’s internment, the interrogator, the intensity of the questions and answers, his being unconscious, internment? The mystery, his attempts at the explanation? The role of the interviewer – and his later being found alive and giving information for the film?

5. Interrogation, the agency, the purpose of questioning? The mission, the personalities, the locals, the Indian workers coming in, the digging, the equipment, the fights, the assistant technician for sound? The assistant? Working together?

6. The experiences of the earthquakes, locals, the effect on the Indians, the holes, the Indian falling through, his rescue? Intimations of the creature?

7. The local, the shark hunter, his daughter? Death? The birth of the baby, the screams? Keyvan and his care, going back for the baby, the rescue, the old woman giving the baby, shooting the man?

8. The escape, the killings, Barbak and his death, urging them to go back to the baby, the chase, burying him in the water?

9. Later, the mystery, the interrogator, the woman from the theatre, the sequence of the performance of the play and its purpose? Barbak, the message, the box? The assistant, giving the woman the message, the search of the box, its contents? 1982, Keyvan returning in 1987, his death?

10. The director, interest in the story, the discovery, the role of his mother, the box and the search, learning, the further research by the team, the interviews, the writing of the screenplay? The effect?

GAMBLING LADY

US, 1934, 66 minutes, Black and white.
Barbara Stanwyck, Joel Mc Rea, Pat O' Brien, Clare Dodd, C. Aubrey Smith, Robert Barratt.
Directed by Archie Mayo.

During the early years of the 1930s, Barbara Stanwyck appeared in quite a number of films, building up a reputation, becoming a leading lady – which she was to be for the next 30 years, never winning an Oscar but certainly deserving of many.

In the brief running time, this is a story of gambling, a man of integrity bringing up his daughter, Lady, as honest, but his killing himself and her going to work for a syndicate chief. She maintains her integrity, is in contact with a wealthy gambler, C. Aubrey Smith, and marries his son, Joel Mc Rea. A bookie, Pat O’ Brien, is also in love with her.

The developments include murder charges, jealousy between the couple, trickery from a femme fatale – but all works out well in the end.

1. 1930s entertainment? Barbara Stanwyck and her status at this time?

2. The setting, gambling, locations, the work in the casinos, games and cards? Police, courts? The musical score?

3. The situation, Lady and her father, honest upbringing, the integrity of her father, his debt, the syndicate dominating him, his killing himself rather than cheat?

4. Lady, the effect on her, going to work for Fallin, a crook, the syndicate? Integrity, reputation, his placing a dishonest dealer and her loss of reputation?

5. Charlie, the bookie, love for her? Garry, his background, love, her choice?

6. Peter Maddison, gambling, and his friendship, not approving of the marriage to Garry, wanting to buy Lady off, seeing his mistake? The cutting of the cards, her marrying Garry?

7. Married life, touches of jealousy, Sheila and her return from Europe? Lady playing cards, winning the jewels? Charlie, arrested, the asking Garry the money for bail, his refusing? Her pawning Sheila’s jewels? Charlie, knowledge of the syndicate, his murder? Garry, the article about Lady and Charlie in the papers? The issue of the ticket, the pawning, Garry and his fight with Charlie, his death, the arrest? The bail? The divorce?

8. Peter, knowing of Lady’s integrity, Garry discovering the truth about Sheila? Reconciliation?

OPERATOR 13

US, 1934, 85 minutes, Black and white.
Marion Davies, Gary Cooper, Jean Parker, Katherine Alexander, Douglas Dumbrille, Sydney Toler.
Directed by Richard Boleslawski.

Operator 13 is an entertaining Civil War drama, capitalising on the screen presence of Marion Davies, being both comic and serious, with Gary Cooper as a leading man.

Marion Davies portrays an actress entertaining the Union troops who is asked by a fellow-actor to go undercover in the South, which she does as an octaroon maid. She is caught up in passing on information, escapes but is asked by Pinkerton to go back to the South in order to trap the Southern captain, played by Gary Cooper, who has been attracted to her and she to him. Once again, posing as a Southern lady this time, she gets information, especially from a family she was staying with, and is able to effect a Union victory over the Confederates.

Once again, she is exposed and has to flee, the captain pursuing her – but each having a declaration of love for the other.

1. An entertainment of the 1930s, for Marion Davies fans, Gary Cooper fans?

2. Black-and-white photography, the Civil War, the Northern settings, the Southern settings, offices, mansions, the city of Richmond, battle sequences? The musical score?

3. The title, espionage?

4. The Union, experiencing defeat, Bull Run? The players, performances, the soldiers? Pauline, her status, spying? The encounter with the authorities, with Pinkerton? Gail, being asked to go undercover, the reasons for her agreement, loyalty to Pauline, patriotism?

5. Going to the south, Pauline as a Southern lady, Gail as her made, doing the washing, overhearing information, the means of passing it on, the ball, the captain, his suspicions of Pauline, the evidence, arrest, her going on trial, Gail as a witness, her credibility, the sentence, the two women escaping to the north? Pauline out of espionage?

6. Gail, Pinkerton wanting her to trap the captain, her jeering at the troops, her name blackened, Lincoln offering a pardon, the going to Richmond, her being a Southern heroine, as a lady, her background story, with the family, talk in the South, patriotism? The groom as a spy? Her passing on information, the effect of the battle, the captain and the mystery about who was the informant? The brother, his military background, the information? The experience at the battle scene? Her escape the uniform, the captain shocked to see her, the gun and her escape?

7. Hiding, the groom, his being shot, the love of the captain, the house being searched – and the parting of their ways? Until the end of the war?

THE CHASE

US, 1946, 86 minutes, Black and white.
Robert Cummings, Michele Morgan, Steve Cochran, Lloyd Corrigan, Jack Holt.
Directed by Arthur D. Ripley.

Film is based on the novels by Cornell Wooldridge were very popular in the mid 1940s. Black Angel was also filmed from one of his novels that year – and this one and Black Angel also starred Peter Laurie. The title of the original novel was The Black Path to Fear.
The setting is Florida after World War II with Robert Cummings as a former Navy man down on his luck, finding of wallet, deciding to return the wallet to its owner who turns out to be a racketeer, an early role for Steve Cochran. Peter Lorre is his cynical associate.

The gangster is impressed by the Navy man, employs him as a chauffeur – in a car which he can control from the back seat, testing his nerve by trying to beat a train across a level crossing. His wife, Michele Morgan, is virtually imprisoned in the house, goes for drives with the chauffeur and persuades him to take her to Cuba.

There is an unexpected psychological twist in the trip to Cuba, the couple in Havana, being refused transport to the wharf, the sudden death of the wife, the police investigation, Peter Lorre and crooked connections with people in Havana – only to find that this is a kind of dream and the sailor goes to a doctor friend – and the trip to Havana takes place again, with the melodramatic ending with the gangster’s car racing against a train.

1. The work of the novelist? His crime dramas? Psychological dimensions?

2. Florida, black-and-white photography, the streets, the mansion, the open road, the trains? Havana, nightlife? The musical score?

3. Scott, in the Navy, hungry in the street, finding the wallet, his breakfast, going to the house, encountering Gino and his cynicism, meeting Eddie, being hired as the chauffeur, in the car, Eddie with his controls from the back, the sudden braking for the train? His work, the encounters with Lorna, taking her for drives, the discussions, her wanting to be free, his arranging the tickets for Cuba?

4. Eddie, tough, his attitudes, control of the car, working with Gino, the encounter with the businessman, pressurising him, trapping him in the basement with the brandy, the fight and his death? Treatment of Lorna, harsh? At the club, encountering the doctor? The information about the ship, the crash of the car?

5. Gino, sinister, cruel, the Havana sequence and his threats to the woman?

6. Lorna, poor, imprisoned in the house, relying on Scott, the tickets?

7. The surprise of the two scenarios, going to Havana on the ship, the carriage, the refusal of the driver, the bar, in the street, love, her
being stabbed, the police, the investigation about the knife, the testimony of the owner of the shop – and the scenes with Gino?

8. Scott’s mental state, the discussions with the doctor, remembering, the second version of the trip to Havana?

BLACK ANGEL

US, 1946, 81 minutes, Black and white.
Dan Duryea, June Vincent, Peter Lorre, Broderick Crawford, Constance Dowling, Wallace Ford.
Directed by Roy William Neill.

Black Angel is based on a novel by Cornell Wpoolrich, prolific author from whose novels many Hollywood films were made.

The setting is Los Angeles, a blackmailing singer, her murder, the variety of suspects including her estranged husband, played by Dan Duryea, an infatuated man, the owner of a nightclub. When the infatuated man is found guilty of the murder, his wife, played by June Vincent, tries to prove his innocence, teaming up with the estranged husband, suspicious of the nightclub owner, Peter Lorre, he playing the piano and she singing – until there is a resolution, based on a psychological problem. Broderick Crawford is the police Inspector.

This is the last film directed by Roy William Neill, a prolific director of small budget dramas and thrillers – most of the previous films to Black Angel were his films of Sherlock Holmes, played by Basil Rathbone.

1. The writer, his novels, psychological perspectives on themes? Crime?

2. Los Angeles, black-and-white photography, the 1940s? Hotels, apartments, clubs, streets? The musical score?

3. The title, Mavis in herself, singer, her treatment of her maid, not wanting to see her husband, his composing her songs, the revelation about the blackmail, her death? The mystery of the brooch?

4. Martin, his relationship with Mavis, composing her songs? His drinking, refused entry to the apartment? The concern of his friend, saving him from his drink, locking him in his room? The aftermath of the death? Catherine going to see him, the bond between the two, the visit to Kirk in prison, his stopping drinking, the idea of the duo, the audition for Marco, success, his playing the piano, composing songs? Warning Catherine about Marco approaching, their being caught, thinking again, his psychological treatment, his discovering the truth, going to Catherine’s house, the surrender?

5. Catherine, loyal, supporting her husband, her dismay at his sentence, overhearing the words about Martin, going to see him, the visit to prison, the plan about the singing, the audition, Marco and his attraction, the issue of the safe, her being caught, going home at the end?

6. Kirk, the visit to Mavis, his infatuation, finding her body, the arrest, Catherine and her support, in court, condemned, in prison, saved?

7. Marco, going into the apartment, his initials on the card, his ownership of the club, the audition, his treatment of his staff, liking Catherine, the treatment? The truth about Mavis and his daughter and his prison sentence? Captain Flood vindicating him?

8. Captain Flood, watching, arresting Marco, explaining things at the club, Catherine phoning him, his coming and Martin’s confession?

THE LADY IN THE VAN

UK, 2015, 104 minutes, Colour.
Maggie Smith, Alex Jennings, Jim Broadbent, George Fenton, Deborah Findlay, Roger Allam, Frances de la Tour, Dominic Cooper, James Corden, David Calder, Sam Spruell, Stephen Campbell Moore.
Directed by Nicholas Hytner.

The Lady in the Van began its life as a memoir by Alan Bennett, the celebrated playwright. He published the memoir and then adapted it to a theatre piece in the early 2000’s. It seemed a perfect theatrical piece for Maggie Smith is the subject, the lady in the van, Miss Shepherd.

A decade later, he has amplified the memoir and the play, opening out the story, being able to film in the street, have a real van, bring in the neighbours and their life in the street, expand the story of Miss Shepherd, with scenes in the countryside, Miss Shepherd visiting her brother, Bennett visiting his mother, shops, the hospital, the church.

Miss Shepherd was an eccentric character, rather curmudgeonly in her attitudes and behaviour, travelling around in the van and settling in a street in Camden Town, finally moving into the driveway of Alan Bennett’s house, setting up a residence, able to get a pension, and living her eccentric life. She was roughly dressed, was not very good on hygiene, toilet going, washing, and she and her van smelt.

The film opens enigmatically with Miss Shepherd driving her van, hitting something or someone, blood on her broken windscreen and her driving away from the scene. Later, we see her returning to the scene and kneeling and praying on the road. It is only at the end of the film that there is an explanation of what happened and who was responsible. Nevertheless, she had a lifetime of guilt, avoiding the police, relying on prayer, confession.

The film is also a study of the playwright, Alan Bennett. By the 1970s he had a strong reputation and is seen going to the National Theatre and presenting his monologues. Bennett has the interesting device of creating two selves, his inner self usually sitting at the typewriter creating the story and the memoir, then his outer self who has to deal with Miss Shepherd and the dialogue between the two, the criticisms about his behaviour, his attitudes towards Miss Shepherd. At the end, there is a scene of filming with Alex Jennings as Bennett, an excellent portrayal in both his personas, and the real Alan Bennett coming to watch.

At the time of the making of the film, Maggie Smith was 80, a career of over 55 years on stage and screen, the end of her period as the Dowager, the opposite kind of character yet dominating, in Downton Abbey. She is a commanding screen presence with a commanding character, a character who will remain a long time with the audience.

The director is Nicholas Hytner, director over many years at the National Theatre and director of stage and screen versions of Bennett’s The History Boys. There are some incidental pleasures throughout the film as a number of character actors from the British stage have some moment re-cameos, including James Cordrn, Dominic Cooper, Jim Broadbent, Stephen Campbell Moore, Roger Allum, Frances de la Tour.

This is very much a film of words as well as of images and action, a film that challenges compassion for the homeless, not underestimating the harshness of the character of this homeless woman. We see her as a pianist when she was young, remember her time in the convent, her memories of being a stretcher bearer in the war, and, of course, the repercussions of the accident – and the telling scene when she goes to confession and the priest tells her that she had confessed this so many times but that forgiveness was not like a bus ticket, it did not expire.
The film ends with some touches of surrealism: a scene of filming in the Street where actual Alan Bennett comes to watch and then Miss Shepherd dying and, after death, encountering a new friend, the man killed in the accident – and she has a visual ascension into heaven, with a realisation that God certainly has compassion on characters like Miss Shepherd.

1. Based on a true story? Embroidered and imagined? A type, the car? The period?

2. Alan Bennett and his career, his actual experience of Miss Shepherd, the neighbours in Camden Town? The timid man, quietly gay, the presentation of the two selves and their dialogue? Helping audience attitudes deal with the puzzle of Miss Shepherd?

3. Camden town, the 1970s and the 1980s, the street, the accident and its aftermath, going up the street, the shops? Miss Shepherd visiting her brother? Bennett visiting his mother? Church, hospital, funeral? The musical score?

4. Maggie Smith and her career? Based on a piece of the theatre? Opened up? Words, images, action?

5. Alan Bennett as a character, his work in the theatre, his monologues and plays, the presence of his mother, the phone calls, the visits, her illness, losing her mind? Bennett and his neighbours, Vaughan Williams’ widow, the couple, the friendly mother with her children? Encountering Miss Shepherd, knowing that she was in the street, her van, moving outside his house, the yellow paint, the bags outside, the interiors, the shopping, and issues of the toilet, going into his house, later toilet episodes, her smell, coming into the drive, talking with him, the friendship, establishing a residence, the pension, going away and returning? Bennett and his two selves, the outer and inner, their arguments?

6. Miss Shepherd, the initial accident, the blood, the windscreen smashed? The police, avoiding the accident, on the run? The corrupt policeman and his visits, collecting the cash, his later comment at her funeral? Her sense of guilt? Catholic background, her prayer, kneeling on the road where the accident took place, the images of the Blessed Virgin Mary, the mystery of her life, her harshness and intolerance, self-centred, disagreeable?

7. The story, the initial credits sequences and the young woman playing the piano, the orchestra? Her relationship with her brother, the visits, his wife forbidding the visits? Her giving the note and the address to Alan Bennett? As a nun, being ousted, playing the piano? Prayer, going to confession, the priest and his treatment, her frequent confessions, explaining that forgiveness was not like a bus ticket, that it did not expire, going to Mass, Communion? The ritual of her funeral?

8. Her brother, his character, welcoming Bennett?

9. The social worker, her concern, discussions with Bennett, with Miss Shepherd? Going to hospital? Her enjoying the ambulance lift? The time in hospital, the kindness of the staff, her being bathed, the effect, discovering the piano and playing?

10. The neighbours, the snobbish couple, the mother with the children and her kindness, the men, Vaughan Williams’ widow? Over the years, some against her, accepting her, their all attending her funeral?

11. Miss Shepherd and not changing, her moments of enjoyment, with the ice cream, the ambulance, playing the piano? Yet harsh, disagreeable?

12. The change in Alan Bennett, accepting Miss Shepherd, experience, her using him, some liking for her?

13. The pathos of her death, the social worker, Bennett? In church, the funeral?

14. After her death, appearing to Bennett, finding the victim of the accident and his becoming her friend? And her ascension into
heaven?

15. The scene of filming the episode, the actor is Bennett, and the real Bennett coming to watch?

16. A film about the homeless, their condition, mental state? Human nature, hardness, hardships, the kinder side?

HAIL, CAESAR

US, 2016, 106 minutes, Colour.
Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Scarlett Johansson, Tilda Swinton, Frances Mc Dormand, Channing Tatum, Jonah Hill, Veronica Osorio, Heather Goldenhersh, Allison Pill, Max Baker, Fisher Stevens, John Bluthal, David Krumholz, Clancy Brown, Christopher Lambert, Jack Huston. Narrated by Michael Gambon.
Directed by Joel and Ethan Coen.

The Coen Brothers have had over 30 years success in making films, great critical success, audience fans, Oscars and awards from festivals including Cannes.

Perhaps, over all these years, they have had a special secret Bucket List of all the movie genres they would like to work in. And their output has been quite varied. With Hail, Caesar, they seem to be putting into practice all those wishes. And successfully, both as hommage as well as spoof.

The title. At the beginning of the film, Hollywood, 1951, is a Roman epic called Hail, Caesar. This gives them the opportunity to have ranks and ranks of marching Roman legions, slaves in captivity, and a star for the leader of the legions, Autolychus, George Clooney – adept at speaking some hammy lines, hammy performance as well is getting himself abducted by an alleged study group, naming themselves The Future, actually a Communist cell, giving Clooney lectures on politics and economics, on dialectic, with, of all people, the thinker, Herbert Marcuse, present in the group for discussions. (For Australian audiences and audiences of The Vicar of Dibley, John Bluthal plays Marcuse). Shades of the anti-Communist feeling of the time.

In fact, the focus of the film, is the manager of Capital Studios, Eddie Mannix, played very seriously with touches of irony by Josh Brolin. He is a fixer, on the phone to New York, getting reports from all the film locations, from the directors in the studios, handling temperaments, PR, arranged marriages, stars going into rehabilitation for drying out, dealing with the gossip columnists (in this case, two terrible twins both played very effectively and tartly by Tilda Swinton).

The opening is very surprising for a Coen Brothers, a close-up of a crucifix, extreme close-up of Jesus on the cross, followed by a confessional sequence (later to be repeated more seriously). Eddie is a Catholic (although there is a long history of Jewish heads of studios). He is also ecumenical for Hail, Caesar, because of the sequences with Jesus, the subtitle of Hail, Caesar is a Tale of the Christ (straight out of Ben Hur). In fact, Jesus comes out very well from the film, a reprisal of the Nazareth and cup of water sequence from Ben Hur as well as a final crucifixion scene with Autolychus coming to the cross and making a long speech, more heartfelt after his abduction and reprimands from Eddie, which could have fitted into any Crucifixion story – although, tension is broken right at the end when Clooney forgets his keyword, “faith”. (There are also memories of The Robe and a small homage to The Life of Brian in Roman pronunciations.)

There are lots and lots of other things in the film, Alden Ehrenreich standing out as a cowboy in a B-budget Western where he can do somersaults on his horse, get caught on a tree branch and shoot his enemies and get back on his horse. he is an expert at the lassoo, even with a string of spaghetti, and is seen singing in a romantic western scene. He is very funny when he is transferred, orders of New York, to go into a drawing-room drama where his cowboy gait and his terrible accent need the exasperated but charming attention of the director, played by Ralph Fiennes.

We also go into the editing room for a cameo by Mrs Coen, Frances Mc Dormand, smoking heavily and then her scarf getting caught in the projector and her almost choking!

There is a musical with a reminder of On the Town and South Pacific, sailors ensemble dance led by the singing and dancing Channing Tatum – his character is revealed to have a much more complex side, to do with Clooney’s abduction. There is Scarlett Johansson doing an Esther Williams in a swimming sequence – exuding innocence until she opens her tough mouth.

Many, many things to enjoy about the film, narrated by Michael Gambon, some fine casting and performances (and a question for trivial pursuit in the scene where Josh Brolin talks with the director played by Christophe Lambert, what they have in common is that they were both married Diane and Lane!).

The Coen brothers have done it again, and enjoyably.

1. 30 years of Coen Brother films, their reputation, consistency? Humane, humorous, sardonic, spoofs? Serious elements?

2. Hollywood 1951, Capitol Studios (and echoes of MGM), the manager’s office, the studios and the sets, location filming, the Malibu mansion, the submarine sequence, the film premiere, the editing room, restaurants, cars of the period, costumes and decor?

3. The musical score, the range of songs, fitting the background of the films being made, the musicals and the songs, the romantic songs, the cowboy songs…?

4. The Coen brothers and their Bucket List of types of movies to be made: a Roman epic, a religious epic, singing western, swimming entertainment, melodrama and drawing room comedy, musical like On the Town?

5. The narration by Michael Gambon, his accent, tone, the story, sardonic?

6. The focus on studio life, Eddie Mannix, as the boss, a Catholic instead of the Jewish head of studios, a problem solver, at all hours, love for his wife, his children, the son with baseball and success, the toys from Lockheed? The offer from Lockheed and the reasons for it, security, ten-year contract, options? His prayer, the rosary, going to confession, confessing cigarettes, lying to his wife? The repeat of the Lockheed negotiator, at confession, the question about easy work and hard work, the priest on the inner voice, the voice of God, doing the right thing? Eddie and his decision to stay with the studio?

7. The focus on Hail, Caesar? The spoof of Ben Hur, a Tale of the Christ? The Roman legions marching, the slaves, the presumption of the Roman soldiers, the vision of Rome, release? George Clooney as Autolychus? His hammy lines and performance, working with Gracchus? The marching sequence and pushing through the slaves? Romans before slaves? The banquet, the background of the extras and the poison in the chalice? The encounter, the laughter? The poking fun at the pronunciations? The finale of the foot of the cross, the parallel with Ben Hur and Jesus with the water at Nazareth? The crucifixion sequence, the emotional reality – and Baird forgetting the word ‘faith’ and the crew listening,rapt, then laughing?

8. The ecumenical consultation, the Orthodox presence, the worry about jumping from one speeding chariot to another? The common sense of the Protestant representative, the Rabbi, his sardonic comments, forbidding the image of God, Jesus not God, the argument with the priest, the priest and aspects of Jesus and theology, humanity and divinity, yes and no… But thinking the screenplay was respectful?

9. The focus on Hobie, the western, on location, the comedy with his gymnastics on the tree, shooting, on the horse? The premiere of his singing western and his skill in singing – despite the comedy going on and the man falling in the water? His demonstrations of lassoing, skipping, using the spaghetti strand is a lasso? The history of his casting, on the sets, his western abilities, saying a line, getting promoted? His being cast in the drawing room comedy by Nicholas Schenk, orders from New York? In a suit, awkwardly walking like a cowboy, his accent, repeating the scene, the director and his being nice, exasperated, training for the line, his difficulty in saying ‘twere’? And the irony of the scene in the editor’s room – and the line being simplified to “it’s complicated”? The premiere, enjoying it, his date, the discussions, the lasso demonstration? His visiting Eddie, learning about the situation of the abduction, seeing the case at the premiere, following the driver, entering the house, bringing Baird back to Hollywood, the discussion in the car?

10. Baird, all about him, as a star, womanising, drinking? George Clooney and the role? The performance, his being drugged, the abduction, wake up, the vacuuming lady, meeting the study group, the explanations, the discussions about economics, capitalism, the presence of Herbert Marcuse and his theories? Baird giving Marcuse stories about dialectic? His being converted to communism, signed up, his being brought back, proselytising, the visit to Eddie, his theories, Eddie slapping him and telling him to be a star?

11. Dee Anna, Scarlet Johansson, the Esther Williams parallel, swimming, underwater, the crown, the girls and the costumes, the movement and design, the Busby Berkely style, the orchestra playing, the mermaid rising from the depths, angry, throwing the crown at the conductor, the costume tail too tight? Tough? Two failed marriages and the explanations, the type of men chosen for her weddings? Pregnant, thinking the Swedish director was the father? The decision to adopt, Eddie and his move, the discussion with the lawyer, Silverman and his presence, signing all the documents, the fall guy even going to prison for the stars, Dee Anna impressed, and then the news of their marriage?

12. Laurence Laurent, reef finds, the dandy English director in Hollywood, accent, behaviour, dress? Trying to direct Hobie, coaching him, the exasperation, the repetition of the line, twere? Going to Eddie, desperate?

13. The story of Wings and Eagles, the scandal, the explanation about Laurent and his men, Baird, Burt…?

14. The visitor to the editor’s office, smoking, the scenes from the film, getting her scarf caught in the projector and almost choking?

15. The Swedish director, his moods, father of the child – but with the photo of his wife and children at home?

16. Channing Tatum and the sailors’ musical, On the Town, the sailors, the barman, the song about Dames and echoes of South Pacific, the tap dancing?

17. The irony of Burt owning the mansion, his being the leader of the study group, Communist, the rowing to the submarine and its emergence, his going to Moscow, the farewell, the dog and the case of money sinking in the water?

18. The twin gossip columnists, echoes of Hedda Hopper and Louella Parsons, the interviews with Eddie, the two sisters and their similarity, their manner, haughty, secrets and scoops? At the premiere party? Threatening Eddie, the story – and his arguing the journalist out of it, Burt is a Communist, a Communist as the source of her news…?

19. The representative from Lockheed, the development of planes and jets, the offer of the job, the toys as a bribe?

20. Eddie, at home, the meal, his pleasant wife, the children, her supporting him? Whatever he thought best?

21. The film as a spoof, Hollywood and celluloid dreams, moneymaking enterprise – but an affectionate of hommage as well as spoof?

TOWER OF TERROR

US, 1997, 89 minutes, .Colour.
Steve Guttenberg, Kirsten Dunst, Nia Peeples, Michael Mc Shane, Amzie Strickland, Melora Hardin, Alistair Duncan, Lindsay Ridgeway, John Franklin, Wendy Worthington.
Directed by D.J.Mc Hale.

Tower of Terror is a Disney film, with touches of horror, the designed for the family, especially children’s audience which adults will be able to sit through. It is a screen version of one of those rides at Disneyland/Disney World.

Steve Guttenberg plays reporter for one of those National Enquirer sensationalist tabloids, but has fallen on bad times. His girlfriend is giving up on him. He decides to go to the site of an old hotel where, 60 years earlier, something dreadful happened. His partner in work is his niece, Anna, Kirsten Dunst, early in her career.

The film spends most of its time with the investigation, wandering through the hotel, its creepy atmosphere, encountering some of the staff, especially a busboy from the time who gives some explanations what happened.

The film also goes back the 60 years, to the heyday of Hollywood in the 1930s, to a child star, her parents, her guardian, agents… And a celebrity party. When the star and her parents and guardian get into an elevator, it can go only to the 11th and for 60 years, the people trapped in the elevator have wandered the hotel unable to get out.

The journalist encounters an elderly woman who tells the story of the time, with a touch of the witch, but a revelation in this that she is sister of the child star. There had been some suspicions of the guardian – but these are false suspicions.

The task is for the investigators to find something that belonged to each of the ghosts and, at Halloween, having these possessions, enabling the ghosts, at last, to be free.

There is also a mysterious young woman, an applicant to be a journalist, who intrigues the journalist – but is finally revealed as one of the ghosts.

This is all PG rated fright and fantasy, focusing on the investigation, a range of characters from the past and the present, members of the heyday of Hollywoodland - and something to entertain the young children.

MO' BETTER BLUES

US, 1990, 130 minutes, Colour.
Denzel Washington, Spike Lee, Wesley Snipes, Giancarlo Esposito, Robin Harris, Joie Lee, Bill Nunn, John Turturro, Dick Anthony Williams, Cynda Williams, Nicholas Turturro, Samuel L. Jackson.
Directed by Spike Lee.

Early in his career, Spike Lee was proclaimed a phenomenon – writer, producer, director, actor. She’s Got a Have It and Do the Right Thing were arresting and thoughtful. This film is much more ambitious, more personal, with big studio production style.

This is a film for African American audiences, for blues fans, for those would enjoy the soundtrack. The central character is a self-centred trumpeter, his relationships, ambitions with his band, and his sentimental redemption.

The film is stylish. But the characters tend to merge with the background and it is hard to appreciate (or, at times, be interested in them). Even Denzel Washington seems, at times, submerged by the plot – which makes the film long and, for those not captivated, tedious – perhaps it should have been mo’ better.

1. Spike Lee and his career, his films, collaborating with Denzel Washington? This film early in his career?

2. The African American themes? The perspectives up till 1990? The blues themes, music and performances?

3. The title, the euphemism for sexual experience? The soundtrack, the blues and performance, the band, the individuals and their instruments, singers?

4. The American appeal, to the black audiences, to world audiences – more observation than empathy, or increasing empathy?

5. Bleek, as a boy, practising the trumpet, his mother and her demands, the role of his father, less influence?

6. Bleek as an adult, his character, self-centred, ambitious, music, the trumpet? Forming the band? The range of players in characters, their instruments? The Bleek Gilliam Quartet?

7. The character of Shadow, music, personality, on stage, performance, the rivalry with Bleek, the effect on each of them, the effect on the band and their morale?

8. Bleek, selfish, the significance of the two women in his life, handling situations, not respecting them, decisions?

9. Clarke, the sexual appeal, her ambitions to be a singer, her hopes, the sexual relationship with Bleek, the incident in biting his lip which he needed to play the trumpet? Ultimate decisions?

10. Indigo, being a teacher, thoughtful, more in command, interactions with Bleek?

11. The club, the owners, contracts, success, and issues of payment?

12. Giant, friend with Bleek, as played by Spike Lee, diminutive and the irony of his name? Finances, deals, contracts, not as confident a manager as he could be, and his gambling problems?

13. The years passing, crises for Bleek, decisions to be made? Possible redemption for him?

14. The end, the montage of Love Supreme and its impact?