UNDERCOVER BLUES

US, 1993, 90 minutes, Colour.
Kathleen Turner, Dennis Quaid, Fiona Shaw, Stanley Tucci, Larry Miller, Obba Babbatunde, Tom Arnold, Park Overall, Richard Jenkins, Saul Rubinek, Dave Chappelle.
Directed by Herbert Ross.

The perpetually teeth-sparkling and smiling Kathleen Turner and Dennis Quaid as Jane and Jack Blue, lovey-dovey parents of cooing baby but are also ex-spies. We can probably guess the rest…

But Stanley Tucci has an amusing cameo as a street thug who calls himself Muerte (Death) and Fiona Shaw gives a caricatured caricature of an eastern European villain.

It is set in New Orleans, blends comedy and James Bondish action. but it may be a conspiracy – by grinning so much, the stars also put its audience off with all the family and baby niceness that the audience will clamour for more violence!

Interesting supporting cast including Larry Miller, Tom Arnold, Richard Jenkins as the agent. And directed by Herbert Ross who had a 25 year career with a range of film entertainments, including screenplays by Neil Simon and Stephen Sondheim, dance films like The Turning Point, Nijinsky, and his first film being the musical remake of Goodbye Mr Chips.

1. An entertaining comedy, with touches of action? Marriage, family, babies? Crime in the streets? Espionage?

2. New Orleans, the city, family life, crime, the agency? The musical score?

3. The title, the Blues family, and the blues!

4. The Blues and their past careers, Jane as particularly tough and effective, Jeff and his joking, wisecracks, laid back, yet strong in action? The past successes or not, deciding to give up their work? Frank, the gifts, the barnyard with Jeff playing with it, the blanket from the White House? Frank recruiting them again?

5. The baby, the discussions about the names?

6. Muerte, his opinion of himself, the master criminal, outlaw, his name of Death? His behaviour, the muggings, shouting, the switchblade? Ozzie as his
partner? The confronting of Jeff and the baby, Jeff giving the wallet, but showing no fear, irritating Muerte, his stalking the Blues?

7. Novacek, her Czech background in a Communist era, the Cold War, escaping from arrest, her appearance as a dotty Countess, her arms deals, stealing chemicals, her thugs? The encounter with the Blues in the past? Stealing the C 22? The Blues to confront her and bring her down?

8. The New Orleans police, the encounters with the Blues, Sawyer and his being against them, Halsey and his being pleasant?

9. The Newmans, on vacation, the bickering couple, arguing about the baby’s name, and not believing that the Blues were spies?

10. An easy entertaining concoction?

THE WINTER'S TALE/KENNETH BRANAGH THEATRE COMPANY'S THE WINTER'S TALE site

UK, 2015, 150 minutes, Colour.
Kenneth Branagh, JudI Dench, Miranda Raison, Hadley Fraser, John Shrapnel, Jessie Buckley.
Directed by Kenneth Branagh, Rob Ashford.

This film version of the stage performance in London’s Garrick Theatre offers audiences an opportunity to see the performance of a Shakespearean play which is not so well-known.

It has its status as one of Shakespeare’s later plays, one of melancholy, one of eventual hope and reconciliation. Kenneth Branagh’s company has brought it to the stage, had great respect for the text, and, as a critic said, offers a masterclass in Shakespearean production.

Kenneth Branagh has directed a number of Shakespearean films, Henry V, Much Ado about Nothing, Hamlet, Loves Labours Lost, As You Like It and a film version of the stage production of Macbeth. He also played Iago in the film version of Othello with Laurence Fishburne.

This film is a fable, set in an imaginary land, ruled over by a King, who is married to a loving wife who is expecting their child. He is visited by a long time friend from another kingdom. He has many people in court on whom he can rely, especially the attendant to his wife, Paulina.

However, the strong theme is that of jealousy, very reminiscent of Othello, though there is no Iago ago in this story, the King, Leontes, making himself jealous. He suspects his friend of having a relationship with his wife, accuses her, imprisons her and sentences her to death.

The scene changes and moves to a foreign land where Paulina’s husband, unnecessarily attacked and killed by a bear, has taken the infant, Perdita, meaning ‘lost girl’, and entrusted her to a local shepherd who brings her up as his daughter.

The film becomes very bucolic, with all kinds of celebrations, pantomime, dancing and flirting, and some rogues and conmen. However, the son of the kinig who raised Leontes’ jealousy, is in the country in disguise, and falls in love with Perdita. And she him. There are romantic scenes of wooing.

And then, everybody goes back to Sicily, the son is revealed in his true character, though he is spied on by his father in disguise, who treats him rather badly in the Leontes’ vein.

The other aspect, the climax of the story, is Leontes’ grief, repentance, Paulina taking him to see the statue of his dead wife, his grief, confession, and then her coming alive with happy reconciliation all-round.

Judi Dench is most impressive as Paulina. Miranda Raison is effective as Hermia and Hadley Fraser as the rival King.

While it is a filmed play, there is enough to continually keep audience attention for this opportunity to see a rarely-performed Shakespeare play.

THE IMPORTANCE OF BEING EARNEST

UK, 2015, 150 minutes, Colour.
David Suchet, Emily Barber, Michael Benz, Philip Cumbus, Imogen Doel, Michele Dotrice, David Killik, Richard O' Callaghan.
Directed by Adrian Noble.

This Oscar Wilde play has taken its place of one as one of the most popular in English literature and theatre. First performed in1895, it has been continually performed, many actresses taking on the role of Lady Bracknell including Patricia Routledge and Maggie Smith, and in film versions, Dame Edith Evans setting the tone in the 1952 version by Anthony Asquith, followed by Judi Dench in Ol Parker’s less than admirable version, omitting key lines…).

The novelty in this production, the play filmed at the Vaudeville Theatre in London, is that the role of Lady Bracknell is taken by celebrated actor, David Suchet (following the footsteps of such actors as Geoffrey Rush who performed this role in Australia).

The important thing is Oscar Wilde, his wit, his way with words, his style (over sincerity, as the text of the play suggests), the farcical coincidence.

The title is important, the two characters using the name Ernest, for flirting, for proposals, the comedy about christening.

The film opens with Jack and Algy, 19th century men about town, full of style, rather vapid conversation, with some wealth, generally inherited, uttering all kinds of paradoxes about life and truth, Algy inventing the character, Bunbury, who is perpetually sick and therefore has to be visited in the country while Jack has invented his troublesome younger brother, Ernest, in London, whom he has to visit and try to improve. In these sequences, the butler, Lane, has some very effective sardonic lines.

The focus of the film and the play then centre on Lady Bracknell, a fairly formidable harridan, full of pomp and circumstance, a woman of society yet critical of it, a parody of wealthy English women in London Society of the period. Her daughter is in Gwendoline who has fallen in love with Jack, thinking he is Ernest. In many ways, she takes after her mother. Jack proposes and Lady Bracknell interrogates him about his origins – leading to the film’s discussions about the handbag in the cloakroom at Victoria Station. David Suchet does some different business with the utterance, ‘Handbag!!’, beginning to titter in humour at this thought. Rashly, Jack gives the address of his country estate where his ward, Cicely, lives, and Algy takes advantage of it.

The second act is in the country, introducing Cicely, 18 years old, disliking studies, working with Miss Prism, imagining her uncle’s worthless brother, Ernest, keeping the diary, for her secrets, and creating an engagement. She is a wilful, sometimes silly young girl. When Gwendoline arrives, they are friends, but then, thinking that each is engaged the same person, they become enemies. Jack arrives, in mourning, with the news of the death of his brother – who has already turned up in the form of Algy. This brings the two women together, the criticisms of the men, asking for explanations and excuses – and easily satisfied because they are in love.

Michele Dotrice is in the vein of Margaret Rutherford as Miss Prism, infatuated with Canon Chasuble, Richard O’Callaghan?, who has some amusing lines about his sermons for any occasion, and his being in favour of christening with his sermon against the Anabaptists. Miss Prism is quite giddy in his presence.

The denouement of the whole charade comes with the presence of Lady Bracknell, her snobbish attitude towards Cicely, hearing how wealthy she is and changing her tone, and then the humour with Miss Prism returning the whole revelation about the baby, the manuscript of the three volume sentimental novel, and the handbag in Victoria Station.

And Jack, looking up information about his military father discovers, of course, that his real name is Ernest Jack.

For those who are not familiar with the play, there is the delight of hearing the language, the witticisms, the satire, and the spoof of British society. With those who know the play well, there are the comparisons with previous versions, especially Dame Edith Evans, whom David Suchet seems to be channelling in a loud and demanding performance, and her dominating performance in the 1952 film, the archetypal Lady Bracknell.

THE BRIDE WORE RED

US, 1937, 103 minutes, Black and white.
Joan Crawford, Franchot Tone, Robert Young, Billie Burke, Reginald Owen, Lynne Carver, George Zucco, Mary Phillips, Dickie Moore.
Directed by Dorothy Arzner.

This is something of a 1930s fairytale, set in the Italian city of Trieste and then in a mountain resort in Italy. It is the story of an impoverished singer who, by chance, is chosen by an extravagant Count (George Zucco) for an experiment to test whether people are the same whether they are rich or poor. He pays for her to spend two weeks, all expenses paid, in the Italian resort – and she accepts.

The singer was played by Joan Crawford who was establishing herself as a more important star by the mid-1930s. She co-stars with Robert Young and with Franchot Tone (her one-time husband). In the supporting cast is Billie Burke, a touch less flighty than usual, and Reginald Owen as an Admiral. Joan’s performance is a blend of charm and hardness.

The film is based on a play by the prolific Ferenc Molnar (films based on his plays include Carousel, Breath of Scandal and One, Two, Three).

One of the most important factors in the film is that it was directed by Dorothy Arzner, the only woman director in Hollywood from the 1920s to the 1940s, a member of the Directors Guild when it was established, directing some silent films and 14 sound films including Christopher Strong with Katharine Hepburn. From the 1960s until her death in 1979, she taught at UCLA.

1. MGM films of the 1930s, romantic dramas, comic touches, fantasy?

2. MGM production values, black and white photography, the city of Trieste? The resorts, the hotels? The scenery? Into Italy, the mountains, the lakes? The musical score?

3. The film as a Joan Crawford vehicle, her status at this time? in Trieste, the singer, hungry, the meeting with the Count, the meal and her wanting meat, his offer, her acceptance? Going shopping, travelling, not met at the station, Giulio and his cart, talking with her, the hotel, the manager and his behaviour, pleasing the Count? Giulio’s cousin and serving her? The room, finding Maria, the bond between the two, the talk and memories, her pretence, and enjoying the situation? For two weeks?

4. The dining room, the Admiral and his sending the note, her tearing it up, his approach? Going to the table? The Countess and her suspicions?

5. Giulio, the postman, his father in the job, cheerful man, his cousin and eating blackberries instead of delivering telegrams, his work, the attraction, the music and the Festival, his many cousins?

6. Rudi, his behaviour in Trieste, the playboy, with women? His friendship with the Count? At the resort, with the Countess, the Admiral, with Maddelena, her being in love with him? The upper-class? With Ann, suspicions, the Admiral remembering stories from the past, the Countess sending the telegram, its eventual arrival?

7. Rudi, with Maddelena, with other women, attraction and, going out with her, sharing, and ambitions, what she wanted? Maria urging her to reality? Her decision about marrying, tough stances?

8. Her visits to Giulio’s office, nature, generally, sense of freedom? And Giulio delaying the telegram?

9. Ann, in love with Giulio, his knowing the truth, his reaction?

10. Rudi, determined to marry, the red dress, wearing it in public, Maddelena being very nice to her? The decision to go, wearing the red dress, given to Maria, hearing the music from the restaurant, shutting the door, packing – and then the exposé, her reaction, the Admiral and stories, to the Countess, and
always nice to Maddelena?

11. Her wanting to see the pines – and Giulio giving her a lift again?

COUP DE VILLE

US, 1990, 99 minutes, Colour.
Patrick Dempsey, Arye Gross, Daniel Stern, Annabeth Gish, Rita Taggart, Joseph Bologna, Alan Arkin, James Gammon.
Directed by Joe Roth.

Advertising and trailer are somewhat offputting – three Yahoos in 1963, driving a Cadillac from Michigan to Florida. However, the actual film is quite enjoyable.

The three brothers are Yahoos in their way, but there is more to them than that. They bicker, they fight but, eventually, get to know and appreciate each other better. There are tensions with their father which are faced with realism, feeling that is not sentimental.

It is not easy to like the brothers (or even their father) but the film shows how they clash and argue and, hopefully, reconcile. it is unexpectedly affecting.

1. The title, the car, a road film, travel, Michigan to Florida? A piece of Americana?

2. The variety of locations, going through the different states, the field, the terrain? The musical score?

3. The situation, the father and his sons, their growing up, their not having seen one another for five years? Organising the car, the Cadillac, from Michigan? The gift for his wife? Getting the sons together, their tensions, the bonds, the journey, their arrival?

4. The sons as kids, fighting, their personalities, the different ages, backgrounds? The clash, the journey, learning to appreciate each other?

5. Bobby, the youngest, reforms school, rebel? Buddy, more solid in character, his career, the girlfriend, yet a dreamer? Marvin, older, military, his approach to people and life?

6. Tammy, relationship with the family, with each of the brothers?

7. The portrait of the uncle and his contribution?

8. Doc, talent with cars?

9. The arrival, the relationship with their mother, the relationship with their father, sorting out some of the difficulties, some reconciliation? The touches of feeling and hope?

YOUNG GUNS 2

Audiences who liked the original, Young Guns, will like this sequel. It is more of the same: a grimy, dusty West, cattle wars, outlaws, gun violence.

Emilio Estevez seems less over the top manic than originally as Billiy the Kid. William Petersen creates an interestingly ambiguous Pat Garrett.

Whether Young Guns will revive interest in the western is not certain. It portrays the down side, the mix of legend and ugly facts. Direction is by New Zealander, Geoff Murphy (Utu, Quiet Earth. This is facts and legends in a grimy West.

1. The original film and its success? The story of Billy the kid, of gangs, of law and outlaws? The praise for this sequel? More about Billy the Kid and Pat Garrett?

2. The location photography, the West, terrains, towns, cattle spreads? The world of outlaws? The world of the law, of government? The musical score and songs?

3. Audience knowledge of Billy the Kid and Pat Garrett? Facts, legends, the range of movies about them?

4. The old man, story, claims, wanting pardon?

5. Billy the Kid, Fort Sumpter, his reputation, the cowboy, Tunstall’s death, Chisholm and his reaction, the government intervening, Pat Garrett and his relationship with Billy? Garrett accepting the job, the price, the pursuit? Billy and his friends, as a gang of Young Guns, his relationship with each of them, the newcomers, with Doc, the death of Bollinger? His being an outlaw, his death?

6. Doc, as a person, friend, the group, the variety of characters, relationship with Billy, with each other, riding together?

7. Chisholm, the land, his ownership, partner, attitude towards Billy, hiring Garrett?

8. Garrett as a character, with Billy, with Chisholm, with the Governor? Given an opportunity, his decision, riding, pursuit of Billy?

9. The bordello, its burning?

10. The legends of Billy the Kid – and this film as a contribution?

BAXTER

France, 1989, 82 minutes, Colour.
Voice of: Maxime Leroux. Lise, Delamare, Jean Mercure.
Directed by Jerome Boivin.

Baxter is a bull-terrier. This is a dog’s story – and an off-beat French fable it is.

Baxter’s voice-over tells us what it is like to be a dog (with no feelings of humanity, but wanting to be disciplined and trained). The audience sees humans from Baxter’s severe canine point of view – an old lady who is afraid of him, a young married couple who are affectionate (and their baby whom Baxter resents), and an alarmingly odd 10-year-old neo-Nazi boy with whom Baxter feels at home, until…

If this sounds offbeat, it is. The French have discovered the humane and the beast and the beast in the human. Done with verve and style – the shadow side of our alleged best friend.

1. A dog’s life? A French version?

2. The idea, the dog’s perspective, dogs and humans, the dog stories? Baxter’s voice, Intonation, vocabulary, observations?

3. The French setting? The structure with chapters indicating Baxter’s attitudes in progress? From the end? The niece, the gift of the dog to her aunt? The aunt’s story? Baxter going to the couple, the experience with the baby? Going to the neighbouring family, the Neo- Nazi boy? The narrative?

4. Baxter, his appearance, voice, tone, narrating, feelings? Canine feelings, instincts, the touch of destruction, liking discipline and obedience? Being given as a gift, life, wariness about the woman, in the house, destroying her clothes, the aunt and her talking to relations and neighbours, the kindly man, a friend? Baxter as a pet, his style, causing trouble, yet his intentions, friendship, her death? His trying to understand, his appreciation?

5. Across the street, the pregnant woman, pleasant, his going to live with them, not understanding her pregnancy, her suspicions, the birth of the child, seen as a creature, his descriptions, dislike? Baxter’s puzzle about humanity? Wanting to get rid of the baby, the plan for the pool, the rescue of the baby, the parents being upset? The gift to the boy?

6. The boy, with his parents, in his room, poring over the books about Hitler and Eva Braun? The dogs? The gift? His treatment of Baxter, Baxter wanting some human similar to himself, the meanness? The boy and his school friend, their talk, on the bus, mowing lawns, getting money, the teacher, play? The girl, the angry father, training the dogs, her attraction to the boy? Baxter getting out, impregnating the dog, the father’s anger? The puppies? His instinct about the puppies, about the boy, suspicions of the boy and his intention to destroy the puppies? The boy and his urging Baxter on to kill his friend, Baxter not wanting to kill, not having this mean instinct? The battering of the puppies? Baxter and his being battered to death?

7. The puppies, starting the cycle again, the voice of the puppies and its perspective?

8. The comparisons in the behaviour between dogs and humans? Good and bad? The treatment dogs? Canine victims, human victims? Human nature and nature?

AN AMERICAN TAIL: FIEVEL GOES WEST

US, 1991, 75 minutes, Colour.
Voices of: James Stewart, Erica Yohn, Cathy Cavadini, Nehemiah Persoff, Dom De Luise, Amy Irving, John Cleese, Jon Lovitz.
Directed by Philip Nibbelink and Simon Wells.

An American Tail was very popular during the 1980s, the story of mice migrating from Europe, paralleling the Jews persecuted by the pogroms and Cossacks, to New York City.

In bright colour, with lively characters, the film and its entertainment was a reflection on immigrants. This film is similar insofar as starts in New York City, the population of the Jewish mice and their struggle for survival, the picture of the family, especially with the young son, featured in the first film, Fievel.

Fievel is a lively mouse, friendly with a cat, Tiger, voiced by Dom de Luise. He is in love with Miss Kitty, voiced by Amy Irving. There is a villain, Cat R. Waul, voiced by John Cleese, who is campaigning to entice all the mice in New York to migrate West where he would employ them in building up his own empire and then, with his cat thugs Folks, devour them as mouse burgers.

The families go West, but fievel finds himself off the train, trudging through the desert, encountering Tiger, who has tried to go West, being roasted by a group of Indians who think he is a God.

Eventually, Fievel arrives in the town, tries to expose the cats, while their leader is infatuated by music and voices and has employed Fievel’s sister, Tania, to sing in the saloon to the delight of the gambling cats.

Fievel tries to employe the sheriff, Wyatt Burp, voiced by James Stewart, to help him overcome the cats – which he does.

The film relies on audience response to the treks to the west, the dangers in the western towns, law and order – but all in the form of cats and mice.
There is a pleasant brother by James Horner – which audiences may find familiar, and then think of the theme from Titanic, six years later.

1. The popularity of An American Tail? Popular sequel?

2. The US, the 19th century, the traditions, Go West? Hopes, pioneers, exploiters? The Jewish theme?

3. The range of the voice cast?

4. The animation, bright, colourful, the characters, New York City, the train, the western town, and some? Humour? The musical score – and the range of songs, especially Tania’s ballad?

5. Fievel, his appearance? Family, his parents, his sister, all mice, Tiger as his friend? The migrant family?

6. Feivel and his imagination of the wild west? Wyatt Burp, James Stewart’s voice, the scenario, action, shootout, hero, waking up?

7. Cat R. Waul, John Cleese’s voice, British but pretending to be American? Henchman cats, the puppet, his appeal to the mice and his lies, his plan, the eagerness of the mice given tickets for the train, on the train, the meeting with Feivel?

8. Tiger and Miss Kitty? The touch of romance? Going West, Tiger and his compliments? The tangles, the farewell to Fievel?

9. Fievel’s adventures, on and off the train, in the carriage with the villains, on the link between carriages, falling off? In the desert, the coach?

10. Tiger and his adventures, trying to get on the train, missing it, going West, coach, found by the Indians, roasting him, thinking he was a God, his leaving with Fievel?

11. The family, in the West, the hard work of the mice, building, the cats supervising? Their hopes for mouseburgers?

12. The saloon, Miss Kitty, the need for music, Cat R.Waul and his love of singing, Tania, her hopes, the violin, the singing, and going to the saloon, and nervousness, singing and charming cats, the parents, success?

13. Fievel, his appeal to Sheriff Burp, tired, to action, the confrontation with cats, Fievel’s father playing the violin and its screechy effect?

14. The victory over the cats, hope for the mice and the West?

THE ROMAN SPRING OF MRS STONE

US, 2002, 114 minutes,. Colour.
Helen Mirren, Olivier Martinez, Anne Bancroft, Rodrigo Santoro, Brian Dennehy, Roger Allam.
Directed by Robert Allan Ackerman.

The Roman Spring of Mrs Stone is based on a novel by Tennessee Williams, best known for his plays. There was a film adaptation in 1961, filmed beautifully in Rome, with Vivian Leigh in the title role and Warren Beatty as the gigolo she meets in Rome. Lotte Lenya is very striking as the impoverished Countess.

This 2002 version was made for Showtime television with Helen Mirren as Mrs Stone and Olivier Martinez as the gigolo. This time the Countess is Anne Bancroft, with Brian Dennehy as Mr Stone and Rodrigo Santoro as mysterious young man on the Spanish Steps.

Karen Stone is an ageing actress on Broadway, too old for Romeo and Juliet for which is criticised but for which she is still adored by her husband. They travel to Rome and he dies. She decides to stay in the beautiful city, taking an apartment, encountering an impoverished Countess who begins to exploit her, setting her up with young men who have sad stories begging for money, and the hungry Countess spends a lot of her time eating fruit.

Olivier Martinez is Paolo to whom Mrs Stone is attracted and they begin an affair, he showing affection, she falling in love, he courteous and polite, and they become a source of gossip in Rome. Ultimately, the ageing Paolo brings the relationship to an end, Karen Stone having harsh words for the Countess – but ultimately, throwing the key over the apartment balcony for the hungry young man seen begging on the streets and has who has been watching her.

Roger Allam as a playwright is an impersonation of Tennessee Williams.

Helen Mirren gives a powerful performance, enabling the audience to empathise with Mrs Stone and her frustrated experiences.

1. Tennessee Williams’ novel? Two film versions? Themes, from Tennessee Williams, Roger Allam portraying a character based on Williams?

2. The atmosphere of New York and Broadway, the theatre? The contrast with Rome, the ashes in the Coliseum, Trinita dei Monti, apartments, restaurants and streets, the countryside? The exotic touches? The musical score?

3. The title, its tone, the emphasis on, the possibilities for spring? Karen as Mrs Stone? Karen’s story, her experience, and corrupting?

4. Postwar Italy, the sufferings in the war, starvation, the need for money, survival stories, the aristocrats and hard times, pride, American exploitation, the need for American dollars, pimping, the gigolos, the beggars? The religious traditions, the change in morals?

5. The contrast between Helen Mirren and Vivien Leigh? Olivier Martinez and Warren Beatty? Anne Bancroft and Lotte Lenya?

6. The situation, Karen, her age, playing Juliet on Broadway, the responses, the criticisms? Her husband his love and support? The playwright and his friends? Her later saying she was not an artist but an actress? The decision to leave New York? The later offer by the playwright for a comeback, her refusal?

7. Love of her husband, his character, the travel, the plane, his death, the ashes in the Coliseum?

8. Karen and her apartment, the glimpse of the begging young man, his looking, continually watching, the beggar and his grabbing the piece of pizza from the careless American woman, sitting watching, his coming up, exposing himself, following, Karen, pushing her aside, Paoloo and his reaction? Karen, watching the beggar, throwing down the keys, his coming up, the final image?

9. Karen, the American friends, visitors, and making excuses not to be with them?

10. The Contessa, Italian, her wig, surface respectability, apartment? Being hungry and always eating with relish? The young men, creating their stories to beg money from Karen and other women? Her friendship with Karen, the cheques, her asking for money, getting $400, her spurning yet? The Contessa and her promotion of Paolo, social meetings? The American film star, talk, admiring Karen? Karen and her finally spurning the Contessa?

11. Paolo himself, managed by the Contessa, his own personal story, meeting Karen, the attraction, getting the job, the affections, the sexual encounters, social outings, the picnic in the country, the edge, his elaborate begging story, the tensions with Karen, the visiting starlet, the final breaking with the Contessa? Memories of Mrs Coogan and going to Morocco? His age, 40s, failure?

12. And the effect of the relationship with Paolo, the sexuality, her own body, ageing? Being rejected – looking out from the balcony, throwing down the keys to the young man? The final image of her face?

STARRED UP

UK, 2013, 106 minutes, Colour.
Jack O' Connell, Ben Mendelsohn, Rupert Friend, Sam Spruell.
Directed by David Mackenzie.

Starred Up is a striking British prison film, in the tradition of such stark films as Alan Clarke’s Scum.

The film takes place solely within the prison, from the arrival of the young prisoner by van, his going to the desk and giving up his possessions, the strip search, the corridors, his single cell, the places for recreation, showers, rooms for meetings. It is presented with intense realism.

The focus is on Eric Love, played by Jack O’ Connell (Unbroken,’ 71), a young offender with a juvenile record, notably violent, put in a cell by himself. He exercises his violence, bashing a neighbouring prisoner, slashing a black prisoner with his razor blade soldered onto a toothbrush and hidden in the light in his cell, continually fighting, using his wits and getting the guards off guard, even biting into the crotch of one guard.

The complication is that his father, Neville Love, played with intensity by Ben Mendelsohn, is also in the prison. Though he was an absent father, he wants the best for his son, continually meeting him, lecturing him, exhorting him to do better.

The authorities are presented in ways that are expected but the Deputy Governor seems to have some kind of relationship with one of the dominant prisoners, supplying him with needs. The prison governor is a woman, interested in possible therapy. An interesting character is Oliver, played by Rupert Friend, who lives in the prison, but is not a prisoner, but works with groups to try to rehabilitate them, some of the interesting scenes being Eric’s participation, often violently, but with growing attention, in the groups.

The authorities are against Eric and, at the end, contrive to hang him as an attempted suicide, but he is rescued by his father.

For most of the film, it would seem that there was little hope for Eric but, finally, he does show glimmers of humanity.

The film was directed by David Mackenzie who had made his reputation with strong small films including Asylum, Hallam Foe, Perfect Sense, You Instead.

1. UK prison film? British prisons? The tradition of films set in British prisons? Universal theme?

2. The film taking place solely within the prison, the van, the entry of the prisoner, possessions and the desk, stripping and examination, young offenders, corridors, cells, single cells, the corridors, the yards, the showers, the play areas, billiards and ping-pong, the group rooms, the gym, the authorities and their offices, solitary confinement? An authentic feel?

3. The drained colour, the atmosphere of the prison, score, the editing and pace – illustrating the process and for the audience to understand and appreciate it?

4. Jack O’ Connell as Eric, his age, the background of his criminal activities, in the van, entering the prison, his possessions at the desk, stripped and searched, the clothes, his reputation for violence, his cell, alone, the blade and his being able to unlock the light fitting, hiding it? His later using it and slashing? His relationship with the authorities, the ordinary guards, the deputy governor and the clash, the Governor and her visit and the assessment about his need for therapy? The neighbour, Eric bashing him, the guards with their shields, his violent reaction, biting the guard on the crotch, holding him, and negotiating with the authorities? His lies? Going into solitary? His attitudes, no hope, his mouthing thoughts about rehabilitation?

5. Neville, in prison with his son, the scenes together, Eric’s bad memories, the absent father, no mother, reform institutions, criminal behaviour? Neville seeking out Eric, giving lectures, wanting him to learn? The talk with Oliver? Going to the group, eventually beginning discussions, despite the clashes? The Governor and the number of chances, the final strike? His stealing from the black prisoner’s room, and cutting him? Talking with the prisoner who was controlling the wing, punching him, the prisoner saying that Eric was like him? Giving him advice? The commission to harm Eric, the confrontation in his cell, on the toilet, putting his head in the toilet, the shower? The developments in the group work, his reaction, beginning to be able to discuss the situation, angers, the lives of the other members of the group? Finally in the cell, his being beaten, the attempted hanging him like a suicide? His being saved by Neville?

6. Neville, his past, criminal, his place in prison, his cell, sharing, the cellmate and the sexual relationship? His concern about Eric, his not being educated, yet wanting the chances with his son, lecturing him, visiting his cell, dominating, his having the freedom of the wing, the discussions with Oliver and the clashes, going to his friend, the clash, the knife – and the warning to save Eric? The confrontation, the knife and fight, saving Eric, his transfer, the final embrace?

7. The authorities, the governor and her concern about therapy, the Deputy Governor and corruption, contacts with the inmates? Their attitude towards Eric, dominating him, solitary, the attempt to hang him?

8. Oliver, the story of his life, his need to be in the present, having the keys, staying in the present, working with the group, his plans, getting Eric’s trust, mutual storytelling, the group work, the discussions, the fights, the themes? The Deputy Governor, Oliver sense of failure, giving up his keys?

9. The range of prisoners, the big number of black prisoners, the stories, clashes, pressurising, and the members of the group?

10. Regards, their work, tough, their being hurt?

11. Eric going into prison, their seeming no hope – but…?