THE SECRET OF LIVES OF DENTISTS

US, 2002, 104 minutes, Colour.
Campbell Scott, Hope Davis, Denis Leary, Robin Tunney.
Directed by Alan Rudolph.

Not a box office marquee title. However, this is a serious portrait of a professional couple, both dentists, life at home, some gradual estrangement, the relationship with their daughters.

The film was directed by Alan Rudolph, a protege of Robert Altman, director of a number of offbeat films including Songwriter, Remember Me. Campbell Scott and Hope Davis are strong in the central roles, the narration by Scott, his perspective on his life, his marriage, suspicions that his wife was having an affair, becoming obsessed, especially in his imagination, causing tensions at home including the psychosomatic illness of his youngest daughter and then the illness of his wife.

Denis Leary portrays a bumptious client, complaining about dentists, and then finding that his filling has fallen out. He then becomes a character in the family drama, continually present to the husband, criticising him, commenting – he is really being an alter ego of the husband.

This is a film of special interest to married couples with families, a chance to look at what has happened over a period of 10 years, remembering love in the past, and coping with professional work, personal relationships, obsessions, jealousies and fears.

1. The title, expectations, obtained?

2. An American family, situations, problems? Professional people, the pressures in business, life?

3. The portrait of dentists, their work in detail, David explaining the work of dentists, the importance of teeth, identification, long preserved after death? The visuals of dental work? The customers, the initial work with Slater, his sardonic remarks about dentists, his own mouth, trumpet player, the treatment, the later complaint at the opera that the filling came out?

4. David and Dana at home, a couple, their love, taking each other for granted? The girls, ages, wilful and demanding? The complaints? The youngest wanting her father rather than her mother? The youngest getting sick, psychosomatic, the diagnosis that she was sharing her parents’ anxiety?

5. David, his character, age, experience, the flashbacks with his memories, meeting with Dana, their studies, love, sharing, marriage, the passing of the years, the effect? Talking together, at home, the bedroom?

6. Dana, as observed by David, the past, the years, her work as a dentist, sharing with her husband? The rehearsals for the opera, loving the singing, the excitement? The taking up of her free time? Driving to the opera, the anticipation of the girls? The rabbit’s foot and David taking it for Dana, seeing the kiss, the unidentified man, the questions as to who it was, David and his imaginations of Dana’s sexual behaviour, collaborators at the dentistry, the conductor? His concern, the children becoming ill? Dana becoming ill?

7. The opera, the staging, Slater and his being present, standing up and attacking David, David willing to repay?

8. Slater continually appearing, becoming David’s alter ego, the constant presence, talk, observing, advice, criticising? The effect of his presence?

9. Laura, at work, David’s associate, helping? Coming to the home? And David imagining her sexually? The song?

10. Consulting the doctor on the phone about the children, the doctor’s advice about the parents and their tension?

11. The trip, its effect, the possibility for David to come to his senses? To talk with Dana, her point of view and experience, the daughter wanting her mother?

12. The psychological study of professional adults, the work and pressures, marriage, tensions, family – and the pressure after 10 years of marriage?

BARBERSHOP

US, 2002, 102 minutes, Colour.
Ice Cube, Anthony Anderson, Cedric the Entertainer, Sean Patrick Thomas, Eve, Troy Garity, Michael Ealy, Keith David.
Directed by Tim Story.

Barbershop is one of those popular American comedies, like the Friday series, starring Ice Cube.

The action takes place over one day in the aforesaid barbershop, owned by Calvin, Ice Cube, who had inherited it from his father, but Calvin wanting to sell it and going into a deal with the gangster played by Keith David. He wants to build a studio for his sister. He takes the payment but later changes his mind and there is some drama with Keith David wanting twice the money, but ultimately caught with stolen goods and Calvin having a hold over him.

There was a range of characters, of course, in the shop, especially those working there including Sean Patrick Thomas as an educated young man continually clashing with the only white man working there, Isaac, Troy Garity (Jane Fonda son). Then there is the local identity, Eddie, sitting there all day and talking, played by Cedric the Entertainer. Eve also works in the shop, has marriage and boyfriend problems, and is upset that everybody is drinking her juice from the refrigerator. One of those working there, Ricky, has a criminal background and is suspected of the robbery of an automatic money machine, stolen and carried on his truck.

The subplot, with Anthony Anderson about the stealing of the machine and the traipsing all around the city, up and down stairs, provide some slapstick, if a touch laboured, comedy.

Director, Tim Story, was to go on to direct two of the Fantastic Four films.

1. An American comedy? Target audience? Black Americans? All Americans?

2. The focus on the black American community, Chicago, the range of characters, families, businesses, the barbershop, the centre for people to gather, criminal elements…?

3. Chicago, the city, the streets, the barbershop, apartments, warehouses, jails? The musical score?

4. Calvin, owning the barbershop, inheriting it, his concern about his sister, setting up the studio, needing the money, his decision to sell, the gangster, the downpayment, the contract, wanting to get out of it, the gangster’s refusal, doubling the price?

5. Calvin in the shop, the clientele, the range of people coming in for haircuts, shaves? For conversation? Those working in the shop, Ricky and his criminal background, Jimmy James and his education, making comparisons? Isaac, white, the clashes with Jimmy, his place in the black neighbourhood? Ambitions to have his own shop? Eddie, the elder, sitting in state, the conversations, his remarks, his disappointment at Calvin wanting to sell?

6. Terri, her work in the shop, people drinking her juice, going to her boyfriend’s place, his being with another woman, the clashes with him, his coming to the shop, pleading?

7. Lester Wallace, smug, the way he was dressed, boss, wanting the shop, to become a club, his hold over Calvin?

8. The subplot of J.D. and his associate, stealing the automatic money machine, the comedy of carting it around the city, getting up the steps with the fat man, in the apartment, the slapstick comedy, finishing up in the warehouse? Calvin catching them, Ricky and his being arrested, interrogated, let go, helping Calvin, seeing the stolen parts with Lester Wallace, and their hold over him, not selling the shop?

9. Rejoicing at the end, everybody dancing – with the sequel soon to come, and a later one almost 15 years later.

MUTE WITNESS

UK, 1995, 95 minutes, Colour.
Marina Sudina, Fay Ripley, Evan Richards, Mystery Guest Star (Alec Guinness).
Directed by Anthony Waller.

The 1990s saw more and more small-budget comedies and thrillers which usually made appearances only at festivals. This one is a thriller, very clever (or smart) which relishes the conventions of the slasher thriller.

It is set in Moscow where an American film crew is making a thriller which turns into the real thing. The beleaguered heroine is a special effects and make-up expert who cannot speak and witnesses murder – or does she?

Funny and scary and with an uncredited cameo appearance from the least likely of British actors, Alec Guinness. Inexpensive rather than cheap thrills.

1. Small budget thriller? Slasher movie and its conventions? Comic touches? Suspense?

2. The Moscow settings, the studio, apartments, the streets, studio warehouse rooms, lift shafts…? Authentic atmosphere? The musical score?

3. Americans filming in Moscow, language difficulties, local personnel – and Russian actors, including the leading lady, appearing in this film?

4. The opening, the murder, the frightened woman in the apartment, the audience gradually seeing the crew and their smiles, laughter, the serious director? The exaggeration in performance and the climax? Planning to film again? Timetables and union rules?

5. The introduction to Billy, Karen’s sister, mute but unable to speak? Her work on the set, make-up, the mask? Audiences interested in her? Attractive?

6. Karen and Andrew, Americans in Moscow, his work as a director, cooking at home, Billy’s phone call, problems with the dinner, Karen in the shower, communicating, then Karen’s fear?

7. Billy, locked in the studio, going to the set, the sex scene, the mask, the woman about to be killed, the blood, Billy’s horror?

8. Billy’s terror, hiding in the building, using her wits, unable to scream out loud, the pursuit by the men, the knives, rooms, the lift shaft, her falling, the rubbish, their torches, eventually caught, the disk going under the furniture, her being able to escape?

9. The snuff movie, director, actor, the killing of the woman, the police elaborating the background of the porn business, The Reaper? The thugs and connections?

10. Billy, support from Karen and Andrew, the police investigations, interrogations, the director and the actor, saying that it was fake, the fake blood, the sweet taste?

11. Billy at her apartment, the bath, the actor at the door, her phone call, Karen hearing, desperate to call the police, the intrusion, unbolting the door, the chase in the apartment, the actor bashing the door, rushing through, hitting his head, electrocuted in the bath? Billy and her escape?

12. The undercover policeman, his offer of help, going in the car, being pursued, Billy suspicious, handcuffing him, his rescuing her? The information about the disk? Going back to the studio? The thugs and surrounding the studio, on guard? Karen and Andrew climbing over the fence, disarming the guards, the
guns, Andrew’s awkwardness?

13. Billy, rushing outside, in the light, the thugs, The Reaper, her being shot? Karen and Andrew and their attacking the undercover policeman? Going outside, Billy and her using of the special effects blood? And making a date with the undercover policeman?

14. The twists, the solution, an enjoyable slasher thriller?

POPE JOAN/ DIE PAPSTIN

Germany, 2009, 149 minutes, Colour.
Jojanna Wokalek, David Wenham, John Goodman, Iain Glen, Edward Petherbridge, Anatole Taubman.
Directed by Sonke Wortmann.

Michael Anderson directed version of the Pope Joan legend in 1972 with little women in the central role and a strong international cast. It was presented as a psychological study, a woman who imagined she was the Pope and flashbacks to the story.

A quite lavish re-make in 2009, was directed by Sonke Wortman and starred Johanna Wokolek with Iain Glen as her priest father and John Goodman as an unlikely pope, Sergius. In pre-obligatory celibacy times, the priest was married and leader of the community in both daily activities and religious life. He is a very stern man, a grim priest in grim times and grim surroundings. He is severe on Joan, wanting his sons to be educated but she is the intelligent child and studies the Bible in detail. She flees to the city where she attends classes from the educated clergy.

When Vikings attack, she enters a Benedictine monastery in disguise where she lives for some years, working as infirmarian. This eventually leads her to Rome and the wealth and decadence of the Papacy. She has many encounters with Pope (Goodman) and is able to heal his gout. He is the target of jealous and ambitious cardinals and bishops who murder him. And, then, comes the legend as Joan becomes Pope, and an effective Pope but appointing her lover from old times to head the army. When she is found to be pregnant, she is deposed and exiled. Her successor, Anastasius, is also deposed and in exile writes a list of Popes – omitting Joan.

1. The legend of Pope Joan? Its history, speculations?

2. German production, international? Cast, locations, period? The village, cities, study areas, the monastery, the Viking invasion, Rome, the city, the Papal court, wealth and intrigue? The musical score?

3. Life in the village, Joan and her family, her father the priest, pre-celibacy, his wife and her religious views, the status of Catholicism, Christian beliefs? His sons, his daughter? The priest as leader, favouring his sons, their work, getting them to study, his forbidding Joan? Her studying, the visiting scholar, knowledge of the Bible, languages? The priest sending his son to study, Joan escaping, travelling, finding her brother dead on the road?

4. Joan, her character, background, study, the Bible, Aesculapius and his teaching her? Taking her to the city?

5. Boarding in the household of Gerold and his wife, the attraction, the wife upset, the love and relationship? His character, warrior, the attack by the Vikings, his command?

6. Joan, escaping the Vikings, going to the monastery, her disguise as a man, not checked as regards her gender? Her skill in impersonating a monk, at work in the infirmary, community life, learning?

7. Escaping from the monastery, going to Rome, travel in those years, her hopes, arriving in the city, finding friends?

8. Rome, its look, the role of the church, wealth, the papacy, the characters of the Popes, Pope Sergius and his personality, ebullient, his gout? Joan and her treatment, skill as an infirmarian, the care and the cure?

9. Pope Sergius, as a person, wine drinker, the good life, leadership, meetings, the government the church, his friendship that work with Joan, his becoming the target of jealous prelates?

10. Anastasius, ambitious, his colleagues, Roman families, the papacy, the plots, employing assassins, the death of the Pope?

11. Joan, her reputation in the city, Pope by acclamation? The details of her rule, just? Gerold as head of her military, the relationship with him?

12. Her pregnancy, the reaction of the people, Gerold, her being sent into exile?

13. Anastasius, succeeding as Pope, his rule in the church, the role of the families, his being deposed?

14. His going into exile, writing a list of the Popes and excluding Joan? The Bishop, female, writing and alternate list and including Joan?

INNOCENT VOICES (VOCES INNOCENTES)

Mexico, 2004, 110 minutes, Colour.
Carlos Padilla, Leonor Varela, Jimenez Cacho.
Directed by Luis Mandoki.

Innocent Voices has already been screened at a number of Human Rights Film Festivals in the United Kingdom. It also received a joint award from SIGNIS, the World Catholic Association for Communication, and WACC, the World Association for Christian Communication at the SIGNIS international assembly in Lyon in 2005. The film experienced some difficulties in finding US distribution because of its subject: the civil war in El Salvador in the 1980s and the critique of the aid, military and financial, that the US government had given to the El Salvador regime and to the training of Latin American forces at the School of America. It was eventually released and now can be seen here.

Director Luis Mandoki had made a moving film in his native Mexico about a mentally handicapped girl, Gaby, in 1987. It starred Liv Ulmann. It provided an entrée for Mandoki to Hollywood. During the 1990s, he made a string of popular films, American style. They included a story of an alcoholic woman, played by Meg Ryan, When a Man Loves a Woman, a sentimental drama with Kevin Costner and Paul Newman, Message in a Bottle, and, perhaps his best, White Palace, a personal drama with James Spader and Susan Sarandon.

By the beginning of the century, he had become tired of Hollywood projects and wanted to make something substantial and to work in Latin America. Providentially, he met an aspiring actor in Los Angeles, Oscar Orlando Torres, who had not succeeded in making a career for himself but had a story to tell and a screenplay he had written.

He had come from El Salvador with his mother and family. As a young boy during the 1980s, Oscar had experienced the abduction of children, boys about the age of ten. They were taken from reluctant parents by government forces to serve as soldiers in the military or by guerrilla squads to fight with them. The boys are trained, brainwashed into becoming little soldiers and little killers. The setting and location for Innocent Voices is the last town situated between the guerrilla stronghold and the capital.

Mandoki was able to go to Mexico to make his film and to construct sets in the jungle that would create an authentic picture of those times, only twenty years ago.

The situation is familiar to western audiences from the story of the Archbishop of San Salvador, Oscar Romero, who was killed in April 1980. The film immerses the audience in the hardships of an oppressed population. We experience the violent attacks on the town, the bombings and mutilations and deaths. The focus is on the children, the contrast between their lives at home and at school and their lethal transformation as they are drilled by the army commanders and taught how to use weapons.

Seeing this film offers a sober reminder of the induction of children into armies in our times, especially in Sierra Leone and the brutalisation of children in the contemporary war in northern Uganda. The Innocent Voices are turned into the aggressive sounds of lost innocence.

Films like Innocent Voices (and films about Sudan or Iraq or Congo or Zimbabwe or Afghanistan or…) remind us that these wars are their passion and death for so many people, so many children.

Innocent Voices is the kind of film that gives a face to the faceless.

1. The claim for the film? Children’s perspective on war? The human rights awards? Communicating war through story and emotion?

2. The work of the writer, his own experience as a child, family, the war, the escape to the United States? The authentic feel for his dialogue?

3. The work of the director, Mexican background, his time in Hollywood, his reaction to his Hollywood films, filming on a smaller budget in Mexico? Success? International acclaim?

4. The use of Mexican locations for El Salvador: the village, the tin and cardboard houses, the town, the school, the buses, the vehicles, the surrounding jungle, the river? The authentic feel? The musical score?

5. The title, whose voices, children’s, the adult victims of war?

6. The prologue, the boys captured, marching through the mud, their feet hurting, Chava’s voice-over, the introduction to theme? The resumption of this sequence at the end?

7. The information given about El Salvador, the military government, the rebels, the reasons for rebellion, the hardships for the ordinary people, the duration of the war? American dollars, American military training, the School of America? The effect of civil war in the village, men in the military, the guerrillas? Boys taken for the army, for the guerrillas? The toll, the length of the war? Destruction, deaths, refugees?

8. The focus on Chava, his age, the actor’s screen presence, compared with other children, strong screen presence, demanding audience attention? His point of view? Age eleven turning twelve? His life, changed by the war, losing his innocence? Audiences identifying with him?

9. The father leaving, his not coming back, the comment about the suffering of those who leave, their not returning? The mother, noble, her three children, hard work, having to leave them at home, her concern, the dangers, the children at school, at play, the curfew, Chava being late, her worries? Their going to stay with their grandmother? Their uncle as a guerrilla? The suddenness and violence of the raids, the shooting, their having to hide on the floor, under the beds, the baby crying? The daughters and her fear – Chava having to be the man of the household? The bonds of love, the comments on the daughter as breaking wind, the baby and his crying, playing?

10. The military presence, on the streets, the guns, the guerrillas and the attacks? The villagers not understanding where the bullets were coming from? The shooting of the girl next door, the grief of the mother, everyone trying to help? Chava and his being prone to run out into the danger? The dead lying on the street – and the black humour of the drunk out cold and his relatives trying to collect money? The destruction of property?

11. The boys, eleven turning twelve? Their fears of being conscripted? The military and the visit to the school, the boys lining up, the rollcall, the cheeky boy and his being taken out and shot? The friend and his being taken away, their looking at him on the truck? His being seen later, trained as military? The guerrillas warning Chava, the boys hiding on the roof? The reaction of the military? The effect on the children? Chava and his twelfth birthday, taking out the extra candle, his reaction to the cake?

12. The schooling, classes, the teachers, the teacher having a breakdown, the new teacher, her daughter, the notes, the flirting, the kiss, playing together, the balloons and the fireflies? Chava and his concern about her – and her finally disappearing with her mother after a raid?

13. The bus, the driver, Chava and his imagination, getting the job, calling out the stops, the extra money, spending it, bringing it home to his mother, the joy of the job? Responsibility? His continuing to play as if he was a bus driver? The dangers?

14. The portrait of the mother, alone, her hard work, the dresses, Chava trying to sell them, the shops, not selling the dresses?

15. Chava and his friends, their playing, in the trees, toys, making do? The gift of the radio from his uncle? Listening to the guerrilla songs? The role of the priest, in the village, his leadership, his standing against the military, his warning about the radio? His being beaten and taken away? The role of the church in supporting ordinary people?

16. The uncle, his coming home, the music, the song, the shooting, gift of the radio, his leaving? The other guerrillas? Chava’s friend, the warning about conscription, his going off to find him?

17. The last village, the attack, Chava running away, his mother frantic? Her search? The people from the village, the refugees on the bridge, their poor belongings, seeking somewhere safe?

18. The military and the destruction, the capturing of the boys? The retarded friend, his playing the games with them, his friendship with Chava? His being taken, interrogated? Found hanged? The capture of the boys, their march, the grim executions, the little boys being shot? Wanting the friend with his military training to shoot?

19. The guerrillas, the rescue, Chava and his going home, its being burnt out, finding his mother, sharing the grief? The end of life, the mother sending him off on the back of a truck to a new life in the United States?

20. A portrait of the troubles and wars in Central America during the 1980s?

ANCHORESS

UK/Belgium, in 1993, 108 minutes, Black and white.
Natalie Morse, Gene Bervoets, Toyah Wilcox, Pete Postlethwaite, Christopher Eccleston, Michael Pas, Veronica Quilligan, Jan Decleir.
Directed by Chris Newby.

Anchoress is based on facts, letters written by the central character, Christine Carpenter, to the Bishop of Winchester.

Striking black-and-white photography, sparse musical score, a reliance on natural sounds, the film has an art house style.

Christine Carpenter, Natalie Morse, is 14 years old, lives with her mother, Pauline, Toyah Wilcox, who belongs to the pagan religions and employs elements of witchcraft, and her father, played by Pete Postlethwaite. The local Reeve, Gene Bervoets, wants to marry Christine, who rejects him, and he marries her sister.

In the meantime, Christine has an experience of Mary, centred on a statue, and decides that she would like to be an anchoress, being walled up in the church, living in cell, able to see the statue. People bring her food and drink.

The local parish priest, Christopher Ecclestone, feels that the Church will become a centre because of the anchoress. He himself has had relationships with women in the village and one of them gives birth to his child. A lustful man, he confronts Christine who eventually escapes because of her mother being persecuted and actually being killed by the village people. With the help of the Driver, she travels to Winchester where the Bishop rejects her plea of release from her vows and she goes off with the Drover.

Interesting to compare with other British films of the 13th and 14th centuries like Anazapta, Black Death, The Reckoning.

1. A 14th century story? Based on fact? Life in an English village? European atmosphere? The influence of the church?

2. Black-and-white photography, of the village, the church, homes, the countryside? Winchester? The musical score, sparse, natural sounds?

3. The title, the explanation of an Anchoress? Vocation, the young woman, beingn walled up, her piety, life in her cell, prayer, the glimpse of the statue of Mary?

4. Christine, life with her parents, her sisters, her age? Her mother, the traditions of pagan religion in Britain, touches of witchcraft, spells, abortions? Her father, his seeming lack of interest, his presence? Her sisters?

5. Her seeing the statue of Mary? Her decision to become an Anchoress, the village people bringing her sustenance, being walled up, her prayer, her relationship with the parish priest, his exploitation of her presence, his personal lusts, the clashes? The persecution of her mother? Her digging out of the cell, the help of the Drover, the visit to the Bishop of Winchester, his not agreeing to her request, her leaving with the Drover?

6. Pauline, with her daughters, activities, relationship with her husband, her daughters? The attentions of the Reeve, his possibility for marrying Christine, her parents’ approval, eventually marrying her sister?

7. The Reeve, his role in the village, personality, status, the decision to marry one of the Carpenter girls?

8. The priest, his control, his agreeing for Christine to be an Anchoress, her being walled up, his exploiting her, the church becoming celebrated because of her presence? His own personal life, the woman giving birth to his child? His lustful attitudes? The scenes of his confrontation with Christine?

9. Pauline, Christine digging out of the cell, to help her mother, her mother killed by the village mob?

10. Christine, her change of heart, the Drover, his help, the Bishop, and disappearing with the Drover?

11. An interesting perspective into village life, Church life in the 14th century?

THE BOYS OF ST VINCENT: 15 YEARS LATER

Canada, 1992, 90 minutes, Colour.
Henry Czerny, Sebastian Spence, Lise Roy, David Hewlett, Timothy Webber.
Directed by John N. Smith.


With The Boys of Saint Vincent,’s 15 Years Later, Peter Lavin has left the brothers and is now married with children and responsible job in a company. Brian Lunny, who had defied the brothers, is married with a son, but his brother, Stephen, a victim who was reluctant to admit the abuse, has become a male prostitute, taking drugs, with bitter memories. Kevin works as a carpenter, has a girlfriend, but does not relate well to people, obviously still traumatised.

This film focuses on Peter Lavin, his sudden arrest at home, the charges against him, his fierce denials, his remaining bitterness still influencing all that he says and does. He is abrupt with his lawyer, refusing to admit responsibility, advised to go to see a psychiatrist, which he does, telling his life story, his being an orphan, his finding refuge from sexual issues, ‘terrifying’, in the Brothers’ community, but asserting that he has married, has children, with a job. He asserts that his hard childhood has not made him hard but has prepared him for life, not soft and needy, but able to understand life as it is, not fantasising about it. His wife is bewildered, cannot believe the charges, or that he has remained reticent about his behaviour as a brother.

Kevin is subpoenaed to appear before the courts but tears up the document and refuses. He works alone, is angry in a bar and starts a fight, his girlfriend trying to understand him and, taking some strong stances, giving him advice which he violently rejects. Brian Lunny is concerned when Stephen suddenly appears after some years, antagonistic towards the Catholic Church, daring one of his nephews to go to communion and then move to the end of the line and receive it again – to the amusement of his mother but not of his father.

There is a strong sequence which raises the question of whether a pedophile can change. Peter gives a little boy a lift, is attracted, fantasises about the boy’s body – but does not molest him. He tells this to the psychiatrist, and also goes to confession. The urges remain.

What is interesting in view of later Royal Commissions and government enquiries in countries like Ireland and Australia, this film shows a Royal Commission in Canada in the early 1990s, a judge presiding, a legal team asking questions, especially of the authorities at the time of the abuse who are all in denial, the government superintendent for the welfare of orphans, the police chief who had previously wanted a report with all sexual references taken out, claiming that he had an accident some years earlier and that it hindered his memory, other officials denying any knowledge of the charges. There is an attempt to discredit the detective who did all the investigations and collected the signed witness statements. The archbishop’s assistant also appears, evasive in his memories and pointing out that what is now known was not known then.

The screenplay uses the device of having a talkback radio personality taking calls which comment on the situation: from assertions that this is all an attack on the Church to comment that if celibate priests are put in these situations, no wonder they behave like this.

In the court, Stephen Lunny is cross-examined, documents brought to light that he has strong criminal record, that he was arrested for being a male prostitute, that he was a party to abuse in his years in St Vincent’s and is completely humiliated – and then taking his life.

The final twenty minutes of the film are quite powerful, still worth seeing to experience Kevin’s trauma and his appearance on the stand, his recounting the initial abuse in detail (with flashbacks), that he had become ‘Brother’s boy’ and, without looking at him in court, pointing his finger, identifying Brother Lavin. These scenes are important in revealing something of the character and mentality of an abuser. The psychologist draws him out and Peter Lavin explains his life in some detail, his three foster homes, in the orphanage, his fear of sexuality, the psychiatrist naming his loneliness and his deep longing for some love and his finding it in Kevin. The audience has moments of compassion.
After Kevin’s testimony, Peter and his wife avoid a yelling press pack and go to a private room where he is confronted by his wife who questions him as to whether he has touched his own children. His grim bitterness takes over. He tells his wife to ask her children. His surprising outburst is to say that he is and always has been a martyr. He calls the boys little lying bastards. At the end of the film, he is left alone – angrily pounding his fist on a table, pounding again and again.

This is powerful drama, still relevant, still disturbing.

FRISCO JENNY

US: 1933, 73 minutes, black and white.
Ruth Chatterton, Louis Calhern, Helen Jerome Eddy, Donald Cook, James Murray.
Directed by William A. Wellman.

Frisco Jenny is quite an interesting film, starting with footage of San Francisco and its streets in 1906, entering into a club which was a gambling den and brothel, frequented by many of the rich in the city, with Jenny working for her father, the owner, and wanting to marry the piano player, even defying her father. At which stage, the San Francisco earthquake occurs, and we see some special effects for the re-creation of the quake three years before the classic San Francisco.

Ruth Chatterton, very popular in films in the early 30s, is quite striking as Jenny, basically a good woman, trapped by circumstances, opting for becoming a Madam, involved in political corruption, a partner in bootlegging, but having to give up her baby because of her reputation and allowing a wealthy family to bring him up – and his becoming the DA, eventually prosecuting her and getting a verdict for her execution by hanging.

This aspect of the film has overtones of Madame X (in which Ruth Chatterton had starred, 1929), and those films where actresses like Kay Francis, Bette Davis, Barbara Stanwyck, heroically gave up their children.

William A. Wellman had made an impact with the film, the first Oscar winner, Wings, and shows his skills here as he did until the end of the 1950s in a wide range of films.

1. A story of the Barbary Coast, the San Francisco earthquake, the rebuilding of the city, law and order and exploitation, Prohibition and bootlegging, the work of district attorneys? From the perspective of the early 30s?

2. Black-and-white photography, the club in 1906, the special effects for the earthquake, homes, mansions, bootlegging, law enforcement, the courts? The musical score?

3. The title, Ruth Chatterton as Jenny? Her working in a club, her love for Dan, ready to defy her father, the experience of the earthquake, learning of Dan’s death, her pregnancy, giving birth in Chinatown, the friendship of Ahma? Her friendship with Steve Dutton, the party, the killing, covering for Dutton? The interview with the police Inspector, his not believing him? Her reputation, the decision to give up her baby, the couple taking him on? Time passing, repaying the money, the plan for the trip, going to find her son, his not acknowledging her, the decision to leave him with the family? 20 years and following his career, the scrapbook, the newspaper articles, sport, graduation, the law, district attorney? The bootlegging and her control, the work with Tom Ford as potential district attorney, corruption, bribes, her setting him up at the party, the girl calling out fire, his arrest? Her planning to leave San Francisco?

4. Jenny and her crisis, the background with her father, her knowledge of gambling, brothels, corruption? Her son becoming district attorney, her decision to leave, breaking with Steve Dutton? His going to the DA, the recording of his bribe? His decision to tell the truth about the DA is mother, her shooting him?

5. Steve Dutton, role in San Francisco, the law, lawlessness, corruption, bootlegging, his helping with Jenny’s baby, partnership over 20 years, her wanting to break, his reaction, planning to tell the DA, being shot, not getting out his final word?

6. Ahma, Chinese background, in the club, taking Jenny to Chinatown, the birth of the baby, her fidelity, wanting to tell the DA the truth, being sworn not to tell, being asked to burn the scrapbooks?

7. The DA, upright, his career, against corruption, arresting Dutton, the shooting, arresting Jenny, his strong words prosecuting her in the court, dragging her life before her? Coming to the prison cell, wanting to save her from hanging, and appeal to the government, feeling some kind of bond?

8. Jenny, afraid, wanting to tell the truth, deciding not to, the final talk with her son, kissing his hand? The end of the film?

FRIED GREEN TOMATOES AT THE WHISTLESTOP CAFE

US, 1991, 130 minutes, Colour.
Kathy Bates, Mary Stuart Masterson, Mary -Louise Parker, Jessica Tandy, Cicely Tyson, Chris O' Donnell, Stan Shaw, Gailard Sartain, Timothy Scott, Gary Basaraba, Lois Smith, Richard Riehle.
Directed by Jon Avnet.

Jessica Tandy won the Oscar for Driving Miss Daisy, best actress, 1989. Kathy Bates won an Oscar for Misery, Best Actress, 1990. They appeared together in Used People and worked together in this film, a warm and humane story of the American South.

The movie works in two time frames. in the 1980s, an over-sized matron, Kathy Bates, trying to save her marriage by everything trendy that she can take on, goes to visit her husband’s aunt in a home for the elderly. She finds a friend, an old lady, Jessica Tandy, who begins to tell her stories of the 1920s and 1930s.

The rapport between the two actresses is marvellous, the vibrant old woman revelling in the storytelling, the befuddled younger woman being transformed by the experience.

But we are taken back to an equally, even more interesting world, of a tomboy child who loses her beloved brother, Chris O’Donnell?, and the brother’s fiancee. Mary Stuart Masterson gives a vigorous performances as the tomboy, Mary Louise Parker is the fiance.

The customs, manners, family style and the racial bigotry of the times are brought to life. While there is a great deal of humour, there are also the mystery of a death, brutality in a marriage and the Ku Klux Klan.

Recent films have offered comparatively few significant and substantial roles for women. This exception for the three women, as well as for black actress Cicely Tyson in support. It portrays the power of friendship among women with a freshness and grace that is no less intense.

The screenplay, originally by Carol Sobieski, then by the director, working in collaboration with the novelist, Fannie Flagg, was nominated for an Oscar, as was Jessica Tandy for Best Supporting Actress. The male director, Jon Avnet, has been caught up in the power of the women.

The title refers to the specialty at the railways side cafe that the two women run during the 1930s – suggesting also that the film is meant to be delicious.

1. Popularity and the acclaim for the film? The appeal to older audiences? An American story, the South? Over the decades of the 20th century?

2. The title, the images, the cafe and its story, customers, menu? Life at the Cafe? Alabama and green tomatoes? The people associated with the cafe?

3. In Alabama story, the 1920s, 1930s, 1980s? The different periods, the look, costumes, decor, transport, style? The changes? The modern look and the vast transition from the 1930s?

4. The two stories, the opening with the dredging the car, the motif throughout the film, the mystery of the car, the truth?

5. The modern framework: Evelyn and her husband, driving to the institution, visiting the aunt, her hostile reception? The marriage, the routines, his work, coming to the meal, sitting at the TV, obtuse, Evelyn and her desperation, going to the classes with her friend, assertiveness, the different course, sexuality, the discussions about the vagina, the mirror, Evelyn comfortable or not? The range of attempts she made for her husband, the meals, candles? Her becoming more assertive, the rude boy and her being upset, the girls and a parking space, crashing into their car, her retort about age and insurance? On the trampoline, looking after her physical side, confronting her husband?

6. The visits, meeting Ninny, the talking, Ninny and her friendship, enjoying telling the story, the visits, the different episodes, keeping Evelyn and the audience in suspense? The story of Idgie.? And the spirit of Tawanda, the warrior?

7. The beginnings, the preparation for the wedding, the daughter, Idgie and Cleo and his taunts, their fight? The parents, becoming desperate, the bride weeping? Buddy, the good man, with Idgie, the treehouse, getting her down, in the suit, joining the celebrations? Buddy and his stories, the lake and the swans being taken away, the oyster and the pearl…?

8. Ruth, the visits, association with the church, present for the wedding, loving Buddy, going for the walk on the bridge and the water, her hat blowing away, Buddy’s pursuit, his foot caught in the rails, the train, his death, the funeral?

9. The years passing, the family, Ninny and marrying Cleo? Idgie and her tomboy life, playing cards, friendship with Brady and the others at the bar? Her friendship with Sipsey, with George? Life in the 30s? Racial issues, the presence of the Klan?

10. Ruth and her return visit, sharing with Idgie, the outings, playing cards, her work at the church? Ruth as a person, everybody liking her? Frank and his arrival, assertion, Idgie and the clash? Frank marrying Ruth, the going to Georgia, Idgie and the visit, Ruth and the shiner for her eye, the reactions, Frank, complacent, Idgie and George coming to take Ruth away, Frank tripping her on the stairs?

11. The friendship, Idgie’s love for Ruth, returned, the establishment of the cafe, the green tomatoes, success, the train coming, the travellers, plenty of business? Idgie and her playfulness, splashing the water, Brady, the chocolate in his face…? The happy life?

12. Ruth giving birth, love for the baby, everybody caring for it, his name Buddy? The boy growing up, the baseball game, losing his arm – and the funeral for his arm? Ruth becoming sick, cancer, Idgie attending, telling her Buddy’s stories, her quiet death?

13. Frank, the Klan, the confrontations, the threat about the boy? Beating George? Grady standing up to them? Frank unmasking, his threats?

14. The play, Idgie and George performing, the Church celebration, Frank arriving, Ruth away, taking the baby? Smokey, his being a vagrant, his being looked after by Idgie and Ruth, his devotion to Ruth and her kindness? Frank punching him? Frank being hit, disappearing, his car and the river?

15. The police, the interrogations, the man from Georgia, his threats, continual visiting, his eating at the cafe, and the irony of the barbecue? The pursuit for years?

16. The dredging the car, energy and the arrest, George arrested? Going to the court, Idgie’s denial, her story of being at home? The prosecutor, smug, the race issues? The Reverend, his testimony, his hand on Moby Dick instead of the Bible, his saving Sipsey, the visualising of what happened, framed hitting Sipsey, her coming out to defend Smokey, her getting Frank, the meeting and the disposal of the body, boiling the hogs, the barbecue food?

17. Ruth’s death, the trains stopping, the Cafe closing, people disappearing?

18. Evelyn, visiting Ninny, her being in bed, sharing the room with Mrs Otis, the flowers on the wall, being old and not having a fear of death – and reassuring Evelyn?

19. Evelyn, her plan, telling her husband, his disapproval, her determination? The visit, the news of the death, her reaction to the roses being torn down, audience disappointment, the revelation that it was Mrs Otis who had died?

20. Evelyn’s reaction to the information, finding Ninny, her return, finding the house gone, Evelyn making the offer, the talking, walking, her acceptance, seeing Ruth’s grave, the note from Idgie and the twinkle in Ninny’s eye? Idgie or not?

21. A piece of America, the old South, the new South, the 20th century changes? Issues of women, relationships, race, age, memories?

STAN AND GEORGE'S NEW LIFE

Australia, 1992, 103 minutes, Colour.
Paul Chubb, Julie Forsyth, John Bluthal, Margaret Ford, Roy Baldwin.
Directed by Brian Mc Kenzie.

Brian Mc Kenzie is a Melbourne writer-director who specialises in observing ordinary people, often marginalised people in the detail of their everyday life. Most often he does this in painstakingly meticulous documentaries. Sometimes he does it in feature films, with With Love to the Person In Next to Me.

Stan and George are characters in a feature film. As portrayed by Paul Chubb and Julie Forsyth, they are people who are not usually the subject of films, people who are often laughed at because of their appearance, awkwardness and inability to achieve anything significant.

But they are genuine people, warm people, who find chances and try to work with them. Mc Kenzie has created portraits of an odd couple with humour and some charm. (And when Stan gets his job at the Weather Bureau and has to talk each day on radio, we may not listen to radio weather reports in the same way again!)

Humane portraits of ordinary people.

1. A different Australian film? The director with his documentary background, interest in ordinary people’s lives? Incorporating this into a feature film?

2. The Melbourne locations, the suburbs and streets, the home, the barbershop, the Weather Bureau? The musical score?

3. Paul Chubb and his portrait of Stan, aged 40, appearance, awkward, quiet and shy, simple, living with his parents, their influence on him? His work as a barber, his father’s trade? His father urging him to get out, another job? Going to the Weather Bureau, his work, meeting George, her doing the filing work, their friendship, blossoming into a quiet romance, marriage, living together? His reading the weather reports on radio? The error, George’s investigation, her being fired, his leaving, attention? Going back home, finding out the truth, George arriving, and going into labour?

4. Julie Forsyth as George, her age, appearance, type, manner, at the Weather Bureau, her work, filing? Meeting Stan, taking him under her wing, liking him, falling in love, the romance? Marriage? The discovery of the error, George leaving, her being fired, upset? Arriving at the end, pregnant?

5. The character of the parents, the touch of the weird and eccentric, father and mother, relationship to Stan, the father urging him out, his own barber’s work, Stan to stand on his own feet, Stan returning home?

6. The personnel at the Weather Bureau, the manager, the touch of the conspiracy, the news, bad news for farmers, their complaints?

7. A portrait of ordinary people, surrounded by ordinary people at a barbershop, in an office?

8. And the future of Stan and George and the building up of a family?