BEAUTIFUL PEOPLE

UK, 1999, 107 minutes, Colour.
Rosalind Ayres, Julian Firth, Charles Kay, Charlotte Coleman, Edward Jewesbury, Bobby Williams, Joseph Williams, Nicholas Farrell, Danny Nussbaum.
Directed by Jasmin Dizdar.


Beautiful People is set in the 1990s at the time of the wars in the Balkans, especially in Bosnia. While there are action sequences of the war in the Balkans, the five different stories generally take place in the UK, in London.

The stories range over a wide group of characters, doctors and their families, in hospitals, surgery… There is the also a focus on the daughter of a parliamentarian and her impending marriage. A Serb and Croat beg the clash on a bus, move to hospital, where they encounter a Welsh nationalist, anti-English. There is a young woman and her pregnancy and the possibilities of an abortion. And the young hooligan, drugged, finding himself in Holland, sleeping in the crate full of aid for Bosnia, landing in Bosnia and becoming involved in the event, especially with a young boy, blind.

The film won Ecumenical awards at festivals both in Cottbus and Karlovy Vary.

1. The Balkans in the 1990s? Bosnia? United Kingdom?

2. The atmosphere of the Balkans, war, authentic feel, action? Military, aid deliveries?

3. London, settings, the city, the range of stories?

4. The style, real, natural? Edited, pace? The musical score?

5. The title, who are the beautiful people? Everyone beautiful or not?

6. The structure: the fight to the reconciliation, the London stories, the doctor and his trauma, the hooligan parachuted into the Balkans?

7. The neighbours, Serb and Croat, in the bus, the clash? Chase, church? The injuries? Hospital? The presence of the Welsh patient and his anti-British stances? The doctor, the nurse? The issue of pulling the plug? Telling the stories? The cards?

8. The family, Parliament, subservience? Papers? The attitudes, the girl and swearing? The wedding, speeches? The brother?

9. The doctor, his wife, children, the hassle? Sleep? The pregnancy and the truth? The video – and the end? The issue of abortion, the birth of the child, children, planning, neighbours, the wife and demands? Going home, sick? Chloe and the hospital? United?

10. The wife, art, the television news, injured, the operation of the, syndrome, the victim? The doctor and hypnosis? The wife and the doctor, coping?

11. The young men, the drugs, football and introduction, the parents, heroin, landing in Holland, the robbery of the black man, taking the drugs, going to sleep in the crate, transferred to Bosnia, the discovery of the boy, saving him, blindness? Finding the syringe? Television and his reaction? The bullet, the hotel, the fight? Reading the story?

12. Pero? English background? Life, chasing the woman, the purse, the police, identification? In the car, the doctor, the attraction? The home, the deported neighbour, visiting family, piano, the plan, the wedding?

13. The incident, at the shop, Pero, the hospital? The effect?

14. Contemporary stories of the 90s? Later relevance in Civil War areas in the 21st century?

THE 5th WAVE

US, 2015, 112 minutes, Colour.
Chloe Grace Moretz, Nick Robinson, Alex Roe, Ron Livingston, Maggie Siff, Zackary Arthur, Maria, Maika Monroe, Liev Schreiber.
Directed by J Blakeson.


One of the advantages of the press preview for The 5th Wave was finding that there were quite a number of the target audience sitting amongst us. Penguin Publications had still on the screen before the film, highlighting and that this was a Teen publication. Although we have become used to the phrase, Young Adult literature, this film reminds us that The Hunger Games series, the Divergency stories, with Katnis or with Tris as the revolutionaries, books and films, are more geared to 20 (+ or -) age group. But there are other stories, like Tomorrow When the War Began and this one which are more for 15 (+ or -) audiences. We were able to tell how the film was going by laughter, exclamations, listening to sympathy feelings that the target audience was enjoying The 5th Wave.

This is futuristic story, yet another alien invasion from outer space, remembering War of the Worlds, Independence Day and any number of such stories. It seems the aliens, The Others, attack Earth in waves, although there is a huge spaceship hovering over central Ohio – it seems that crises always come to a head in the United States rather than elsewhere in the world, which means that Tomorrow when the War Began with its Australian setting stands out.

There is a short, dramatic prologue to make us uneasy but then we go back. It all seems quite a normal day, Cassie, the central character, is at school, at soccer practice with her friend, Elizabeth, looking at her phone, sent off by the coach, and then everyone is poring over their phones, alarmed at the hovering spacecraft.

Then there is the first wave of attack, the blocking or power and energy, cars crashing, planes falling out of the sky. Panic and evacuations. Then it gets worse with the second, literal wave, a tsunami that crashes into the American coast and, according to the screenplay, overwhelms coastal areas although we are shown a huge wave swamping Bangkok and coming up the Thames overwhelming London Bridge. An infection is the third way, quarantine and many deaths.

By this stage we have got to know Cassie, played effectively by Chloe Grace Moretz, who is left behind when her brother is taken with many children to the military headquarters. She has to make her way through the countryside, using her wits. She is shot and wounded and then cared for by a mysterious young man Even Walker (Alex Roe). In the meantime, the children are being used as soldiers to confront The Others, under the command of Vosch (Live Schreiber). It means that that the children are being trained, especially Ben (Nick Robinson),a boy Cassie liked at school and whom she wrote about in her diary…

Eventually, we realise what the fifth wave consists of and there is a build-up to an explosive confrontation and the children using their wits and their ability to prevail – and we are left wondering what the next film in the trilogy of books, written by Rick Yancy, will take us and what kind of world it will be (like the Divergency world, like the Maze Runner, like The Giver…?

1. Science fiction for the teenage audience? Apocalyptic? The future? Alien invasion? Teenage heroes?

2. The title, the tone, the situation on earth, the invasion from the planets, the Others, the invasion, the threat to earth, the different waves? The fifth way, the Others infiltrating human form, using the children to destroy the adult humans?

3. The setting, the ordinary American town, Ohio? Homes and families, jobs, school and friends, sports practice? Everybody on the phones, information about the invasion?

4. Action, stunt work, special effects, the vehicle of the Others hovering over the town? The military training, the military action? Explosions? The musical score?

5. The prologue, Cassie, the desolation, crossing the street, her gun, into the Food Store, the man, the gun, reaching, her shooting him, his cross? The narrative flashing back?

6. Cassie and her story, love for her parents, their care, protecting Sam, singing to him as he went to sleep? His bear? Her writing in the journal, the friendship with Elizabeth, comments about Ben? Football? At school, the ordinary day, the soccer practice, the phones, hurrying home? The noise, the invasion, the spacecraft? People evacuating, hurrying to centres?

7. The stopping of all electricity, motors, the crashes on the highway, the plane falling out of the sky? No phones? The next waves and their destruction, tsunamis the American coast, Thailand, London Bridge? The third wave, the infection, the isolation, the wearing of masks, the mother and her work, her death, at the cemetery? Elizabeth, in isolation, so many deaths?

8. The arrival of the military? The Vosch and his command, plausible? Separating the children from the adults, Cassie’s father and the choice? Sam not wanting to go, his bear, Cassie being left behind? Her getting the bear, running after the bus? Her father giving her the gun? Her getting the further weapons? The narrative going back to the start of the film?

9. Cassie, in the wild, the survival, using her wits? On the freeway, the cars and the bodies? Her being fired at, wounded, under the car? Waking up, rescued, Evan Walker and his looking after her, his pleasant manner, her suspicions, his looking after her wounds? His explanation of the snipers? His reading her diary and his comments on it, reaction? Their leaving together, camping, the attraction? His admitting the truth, that he was a sleeper, that he was both Other and human? Cassie’s reaction, escaping, going to the military centre?

10. The children, at the centre, their being recruited to fight against the Others? The focus on Ben, Sgt Reznik, her plausible story, explanations, his using the classes, seeing the growth in the alleged Other, pressing the button? The military uniforms, instructions by Vosch, the others in the group, their personalities, age, becoming warriors, boys and girls?

11. The arrival of Ringer, her stances, tough, spurning the boys, confronting Ben? Her reaction to the sexist remarks, hitting the insulting boy on his Adam’s apple?

12. The group going out on a mission, the group being outnumbered, the realisation of the truth? That the children were the fifth wave? That they would destroy the adult humans? That the military were The Others? The plan, Ben and his being wounded, taking out the inserts and trackers?

13. Ben, his return to base, the interview with Bosch? His wound? Telling the truth, the confrontation between them?

14. Cassie, her being taken, with Sgt Reznik, the process, attacking Reznik, escaping, the guns, the confrontation with the guards, this is, finding Sam?

15. Evan, his setting up the bombs, the control room? His option to be human, supporting Cassie? Being reunited with Ben? Evan interested to see Ben because of his reading about him in Cassie’s journey?

16. The military and the planes, helicopters, plans for escape, the explosions, Cassie, Ben and Sam, forming a group, the final confrontation?

17. Anticipation of a sequel?

FIVE STAR FINAL

US, 1931, 89 minutes, Black and white.
Edward G. Robinson, Marion Marsh, H.B. Warner, Frances Starr, Anthony Bushell, Boris Karloff, Aline Mac Mahon, Oscar Apfel.
Directed by Mervyn Le Roy.

Five Star Final is well worth seeing so many decades after its release. Despite its his being strongly rooted in the early 1930s, its message and its portrait of tabloid journalism is still particularly relevant. It was amongst the nominees for Best Picture Oscar for 1931.

The film was made by First National, later incorporated into Warner Brothers and it has the Warner Brothers look and feel about it, especially with Edward G. Robinson effective, as always, as the editor of the sleazy tabloid, The Gazette. The direction is by Mervyn Le Roy who had already directed Robinson in Little Caesar. Le Roy was to have a strong career in tough films in 1930s moving to bigger budget romantic dramas at MGM in the 1940s.

There is a very interesting list of performers and the supporting cast, including Boris Karloff, at the time of Frankenstein, as an extremely disreputable tabloid reporter. This was the first film for Aline Mac Mahon, as Robinson’s secretary, critical of him, yet in love with him. H.B. Warner, who had been Jesus in Cecil B. de Mille’s King of Kings (1927) has a good role as a banker protecting his wife who had committed a murder in her past, had been released from prison, Frances Starr, and, on the eve of the wedding of her daughter, Marian Marsh to British actor, Anthony Bushell, is faced with exposure in the tabloids. Marian Marsh has a powerful scene at the end when she confronts the editors continually asking, “why did you kill my mother?”.

This was the period of the first version of The Front Page and these newspaper films set the tone for hard-hitting newspaper dramas and comedies, with rapid-fired dialogue, and with social criticism.

1. The impact of the film? For an early 1930s audience? Its relevance to tabloid journalism of the time? In succeeding generations? In the 21st century? The influence of the film on other newspaper dramas and comedies?

2. Black-and-white photography, the city, the newspaper offices, society, wedding preparations, the church? The musical score?

3. The title, the final edition, the stop-press, the addition of sensational stories? And the irony of the paper in the gutter at the end and its being swept away with the rubbish?

4. The picture of the newspaper, the girls and the phone exchange, especially the girl with the drawl? The proprietors, the discussions, the importance of circulation, comparisons with other papers, the goal of making money and selling papers? The lack of interest in principles, commentary? News, sensational stories? The planned story of the woman who committed the murder 20 years earlier? Serialised? The comment on the public and their taste? The importance of circulation – and the attack on the kiosk which had put The Gazette under others?

5. Edward G. Robinson as Randall, 10 years on the job, the rapid fire dialogue, the phone calls, articles, sensation, stop-press, design, layout and photos? His relationship with Miss Taylor, her devotion to him? Going to drinks at Corcoran’s? His relationship with the owner, circulation manager? The plan for the series? Sending out Isopod to get stories? His success, the photo, the planned exploitation of the story? The woman journalist, her being hired on her looks, her getting into the apartment, discovering the bodies, the photographer? Phoning in the information for it to be used? The effect on Randall?

6. Miss Taylor, devotion, ironic cracks, her drinking, the phone calls?

7. The Townsends, Michael, his work in the bank, his devotion to Nancy, love and affection, bringing up Jenny? The preparation for the marriage? The concealing of Nancy’s identity, their thinking that Isopod was a minister, giving him the information, asking his help, the realisation that they had been tricked? Nancy, the phone calls (and the triple split screen with her in the centre, the recipients of the calls at either side)? Her desperate pleading? The arrival of Mr and Mrs Weeks, the stern stance, Mrs Weeks unrelenting? Nancy and her desperation, killing herself? Michael, his going to see the Reverend at the church, coming home, finding his wife, Jenny and Phillip arriving, his covering, the pretend phone call, his killing himself?

8. Jenny, young, enthusiastic, with Philip, in love, his background? The newspaper story, discovering the truth, her grief, his parents arriving, his mother laying down the law, his defying her and saying she was hard-hearted? Jenny and her going to the office, the confrontation with editor and publisher, “why did you kill my mother”? The gun, Phillip arriving, taking the gun, threatening them?

9. Isopod, Boris Karloff, sleazy look, way of speaking, drinking, eager to investigate and write articles, pretending to be the clergyman, unctuous with Nancy and Michael, listening, getting all the information, the photo, not knowing details, coming back to the office, the story? His later plans, paying Journey for her mother’s story? His presence during her outburst? His perspiring and his reaction?

10. The role of journalists, tabloid, scandals, the woman and her intrusion into the apartment, the filming of the suicides?

11. Other members of the staff, the young man and his chat with Miss Taylor? Ziggie, his lounging attitude, his plans for promotion, the competitions, with the taxis, with the bathing girls, contacts with the police, the threats to the kiosks who didn’t promote The Gazette?

12. A film of its time, but perennial themes even in an age of social media?

SWEET HOME ALABAMA


US, 2002, 108 minutes, Colour.
Reese Witherspoon, Josh Lucas, Patrick Dempsey, Candice Bergen, Mary Kay Place, Fred Ward, Jean Smart, Ethan Embry, Melanie Lynskey, Courtney Gains, Rhona Mitra, Dakota Fanning.
Directed by Andy Tennant.

This is a star vehicle for Reese Witherspoon is emerging as the star at this period, soon to be in the Legally Blonde comedies and when an Oscar in 2005 for Walk the Line.

She plays Melanie, a young woman from Alabama who has made it big in New York City in the world of fashion, changed her name, accent, attitudes, and is engaged to the wealthy son of the mayor. The mayor is played by Candice Bergen and Patrick Dempsey is her son. The mother is a snob and certainly looks down on Melanie and is suspicious of her Southern background and sets a private detective after her.

Melanie does have a back story at home, friendship with Jake, Josh Lucas, secret marriage to him, her fleeing Alabama and asking him to sign divorce papers which he has refused for many years. When she returns home, there are many interactions with him and the discovery that he has always loved her, has made good, has a pottery factory with many profitable contracts. But he does not tell her this.

In an atmosphere of being thwarted, she goes out on the town, encounters friends from the past, especially young man, Bobby Ray, and drunkenly outs him – and while hurt, he nevertheless helps to keep her cover.

The film has very strong supporting cast of character actors which makes the film stronger than it might have been. Dakota Fanning is the young Melanie.

Director, Andy Tennant, had made a number of romantic films including Fools Rush In, Ever After, Anna and the King.

1. The title? The song? The Alabama story? The perspective from New York City? The South, class differences, the North?

2. The location photography, the city of New York City, society, fashion, work, wealth? The contrast with Alabama, ordinary, homes, the town, the surroundings, the mansion, the factory?

3. Melanie’s story, Reese Witherspoon? From Alabama? Adapting to New York, changing her name, covering her past, her work, fashion, success? In love with Andrew? The engagement? The plans? Andrew’s mother, her snobbery, dislike of Melanie, using the private detective?

4. Andrew, nice, wealthy, genial, his work, relationship with his mother? Love for Melanie, the engagement?

5. The opening, Melanie and Jake together, playing, the bond between them? First love? The effect, the marriage, Melanie leaving, leaving her parents behind, at home in Alabama, their characters, hopes for their daughter?

6. Melanie’s change, the world of fashion, the pretence? The need for the divorce, Jake not signing, her coming south, confronting him, the urgency of his signing?

7. Jake, in himself, scenes from childhood, love for Melanie, the marriage, drunk at the wedding? Their life together? Her leaving? The revelation that he’d gone to New York, did not like it, wanted to prove himself? Setting up the business, his success, the factory, the contracts, his still loving Melanie?

8. Her return, her anxiety, the parent’s love for her, their attitudes, plans? Taking money out of the bank account?

9. At the club, Jake’s mother, the various women at the club, her friends, the characters in the town, an interesting gallery? The story of her pregnancy?

10. Bobby Ray, the past, his being gay, Melanie outing him, the effect? At the mansion, the gardening? The journalist, Melanie pretending, Bobby Ray and the tour, helping her?

11. Andrew, coming south, his mother, the detective posing as a journalist, the truth? The Civil War re-enactment, Melanie’s father, Jake talking to Andrew? Melanie and the dynamite on the cat? At the fair?

12. Melanie, handling the situation, hitting Andrew’s mother? Jake, his presence, the discussions with Andrew, the truth? That she had not signed the papers?

13. Andrew as the gentlemen? Melanie having to face facts, to face Jake, his success? The talk at the cemetery?

14. The sheriff, the cake, the wedding dance?

15. A future for Melanie and Jake? The picture of the two contrasting worlds – and the need for truth?

THREE ON A MATCH

US, 1932, 63 minutes, Black and white.
Joan Blondell, Anne Dvorak, Bette Davis, Warren William, Lyle Talbot, Humphrey Bogart, Allen Jenkins, Edward Arnold, Virginia Davis, Dawn O' Day, Betty Carse.
Directed by Mervyn Le Roy.

Three on a Match is a very interesting film, very brief, from 1932. When it goes back to 1919 and 1925 and these periods look remote to contemporary viewers, they were contemporary to the characters at that period and to audiences who would have seen it as a modern drama.

There is an explanation of the title, soldiers together, bonding, or the danger that one of the persons would collapse – which is the latter meaning for this film.

After showing three girls at school, Mary a troublemaker, Vivienne most popular, Ruth diligent, the film moves to their early adulthood, with Mary in jail for larceny, very tough, Vivienne wealthy and getting married, Ruth going to business school. It then moves to 1930, Mary is more settled in show business, Ruth working in business, Vivienne married to a wealthy lawyer, with a son, but completely dissatisfied with life and unable to understand why.

There is melodrama when Vivienne is on board a liner to travel to Europe and meets a shady type, falls in love with him, disappears with her son, thinks she has becomes free, lives a dissipated life. Her husband searches for her, but divorces her and marries Mary who is devoted to him. There is more melodrama when Vivienne’s boyfriend has to pay a debt, decides to abduct the boy and Vivienne, and the criminals decide to join him – with Vivienne sacrificing herself to save her son.

It is interesting to look at the cast and to see their futures: Joan Blondell as the tough broad in so many films, Ann Dvorak as a dramatic actress, and Bette Davis and her career. Warren William is good as the husband, Lyle Talbot is the boyfriend, Edward Arnold is Ace, the criminal boss, and included amongst the thugs are Humphrey Bogart and Allen Jenkins.

Direction is by Mervyn Le Roy who was to have a strong career at Warner Brothers in the 1930s and then at MGM in the 1940s and 1950s.

1. Warner Brothers drama of the early 1930s? Brief running time? Strong cast? Strong director?

2. Black-and-white photography, the different periods, costumes and decor, cars and transport, offices, liners, hotels? The musical score?

3. The title, the explanations from World War I, lighting matches, comrades in arms, a sign that one of the three would fall? As applied to this story?

4. The scenes from 1919, 1925, 1930 – seeming old-fashioned today to viewers, but a contemporary drama at the time? Perceiving it as contemporary?

5. 1919, the aftermath of the war, the three girls at school, Mary always in trouble, with the boys, with her mother, at the principal? Vivienne, pretty, popular,
getting the prize? Ruth, diligent? Their interactions – and their futures?

6. 1925, Mary in jail, larceny, her tough attitudes and stances, the other prisoners? Ruth and business school? Vivian, boarding school, wealth, marriage?

7. 1930, Mary, the showbiz connections, possibility of performance? At the beauty parlour, talking about school, Vivienne in the next booth, coming to talk? Meeting up with Ruth, the dinner, friendships, the beginning of friendships? The cigarettes – and three on a match?

8. Vivienne’s story, wealthy, her son, dissatisfied, in herself, not knowing why? The boy, the governess? His playing up, his mother trying to help, the strong bond with his father? Vivienne discussing things with Robert? His tolerance? Her inability to explain herself and her unease? Going away, going by herself? Arranging the trip, his having to leave on business? Meeting Mary, going to the party, the stewardess looking after the boy? Vivienne and her letting loose, drinking? The attraction to Michael, dancing with him? Going away with him, taking her son? Her disappearance, Robert’s concern, the private detective?

9. Mary, her settling down, her friendship with Ruth, the concern about Vivienne and the boy? Going to see Vivienne, her bad state, suggesting she take the boy and Ruth and her sister look after him, along with the little girl? Going to see Robert, the going to the hotel, taking the boy, Vivienne’s collapse? Vivienne waiting for Mary to beg and Mary giving her money?

10. Ruth’s story, diligent, her work, looking after the boy, at the beach, a pleasant woman?

11. Michael, desperate, wanting money, the criminals and his debt? Their stand and tactics? The boss (and the tweezers with his nose hair), Humphrey Bogart and the other criminals? The decision to abduct the boy, keeping him, keeping Vivienne?

12. The police, the search for the boy, Robert and his concern, his marriage to Mary and her support?

13. Vivienne, desperate, overhearing the plans for the murders, the lipstick, her diving out the window, the lipstick message on her dress, the police, the arrests?

14. Melodrama, character studies, issues of identity, love, strengthened failure – in just over an hour?

GLITTER

US, 2001, 104 minutes, Colour.
Mariah Carey, Max Beesley, Tia Texada, Ann Magnusson, Terrence Howard, Dorian Harewood, Eric Benet.
Directed by Vondie Curtis Hall.

Glitter is a star vehicle for singer, Mariah Carey. It is a variation A Star is Born, the story of the woman with talent, a capacity for singing, who makes it big in 1983 in the record industry as well as a sellout concert in Madison Square Garden. It is also the story of her mentor, Julian Dice, Max Beesley, who recognises her talent, promotes her, clashes with some of the record company executives, and his career starts to go down as hers goes up.

There is a subplot with Terrence Howard who has promoted the singer and has made a deal with Dice for money for him to promote her. It ends in violence.

Glitter received fairly universal negative critical response, as well as from the public. Mariah Carey continued her singing career and performed in some films, including a welfare officer in Precious.

1. Show business story? Critical response and public response? Negative?

2. The American setting, singers, clubs, opportunities, the 1980s, records, stardom? Personal lives?

3. The music, the songs, the performances, Mariah Carey?

4. The singer, with her daughter, performances, drink and drugs, the bond between mother and daughter, the daughter being taken away, in the institution, the mother’s disappearance? The later glimpse of her walking past her daughter? Dice finding her? The final reconciliation?

5. Billie in the institution, singing? Adult, the group, backup? Louise and Roxy as her friends, supporting her, singing, in difficult times? The characters, comic, bold, music, being fired, continuing on?

6. Tim, production, his girlfriend, the backup? Hearing Billy’s voice, building up her voice on the record? Dice, DJ, hearing Billy’s voice, following up, the bond between the two? His buying out her contract? Tim, still with his girlfriend, paying for studio time, wanting his money because of the deal? Dice bashing him? Tim shooting him?

7. Dice, personality, music, composition, production? His support of Billie? Waiting, testing out the offers? Richardson, at the club, his assistant? Going to the studio? The decision to promote Billie? The filming, the temperamental director, the sex emphasis, Billie, the four male dancers, Dice and his reaction against this? Billie not wanting to offend?

8. The publicity agent, enthusiasm, all the bookings, following through, her assistant?

9. Billie, her growing success, the single, its being played, Dice and all the radios in the taxis in the street, her friends listening?

10. The follow-up, wanting the dance track? Billie and her enjoying the stardom?

11. Dice, going down, his compositions, his playing, the team? His being in the background, the agent not contacting him? The party, his drinking, the clash with Billie, her walking out? His trying to compose, the music for her, her change of heart, going to the apartment, the lipstick on his manuscript, his seeing it? The bashing of Tim? In the street, his being shot?

12. Madison Square Garden, the anxiety, the news of Dice’s death, her talking to the crowd, keeping in touch, losing those loved, the success of her concert? And her going to find her mother?

THE LIFE OF JIMMY DOLAN

US, 1933, 88 minutes, Black and white.
Douglas Fairbanks Jr, Loretta Young,Aline Mac Mahon, Guy Kibbee, Lyle Talbot, Fifi d'Orsay, John Wayne, Edward Arnold, Clarence Muse, Mickey Rooney.
Directed by Archie Mayo.

This film has the tough Warner Brothers tone about it, Douglas Fairbanks Jr having appeared in Little Caesar. This is an early role for Loretta Young, Aline Mac Mahon plays her aunt. John Wayne has a small part as a would-be fight champion, Edward Arnold as a police chief, Clarence Muse as a masseur, and yet another very young part for Mickey Rooney. Guy Kibbee is a policeman who works in the archives but works out what has happened to the boxing champion and follows it up.

Jimmy Dolan is a star boxer, upright in terms of interviews and the public, but living a somewhat dissolute secret life. When a reporter finds the truth, Jimmy hits him and is responsible for his death as he hit his head on a grate. He is advised to get out of town, most of his money taken as a fee by his crooked adviser. He wanders the country, on trains, avoiding people.

He finishes up collapsing at a house, the house for orphans, run by Aline Mac Mahon and Loretta Young. They take him in, he does work around the property, including learning how to milk a cow rather than a bull, and become something of a mentor to the young children, including Mickey Rooney. And Loretta Young falls in love with him.

The two women are in need of money to keep the orphanage going so Jimmy enters into a boxing competition, $500 for every round lasted with the big champion. He is rejected as being too small but knocks out the promoter and gets the work. He does last a sufficient number of rounds to get the money for the orphanage. the policeman who works in the archives, not being able to persuade the police, including Edward Arnold, of who Jimmy is and that he did not die in an accident where his trainer was wearing Jimmy’s watch and was disfigured, watches the bout, arrests Jimmy, but is moved with pity for the orphans and let’s him go.

1. A pleasing film of 1933, combining boxing, a touch of the police and gangsters, the emotional aspect of life on the farm with orphans? Romance?

2. Black-and-white photography, locations, the boxing world, wealthy apartments, on the road, on the trains, the farm? The musical score?

3. The story of Jimmy Dolan, Douglas Fairbanks Jr, in the ring, his victory, the radio interview, talking to his mother, with the reporters? Not drinking? In the apartment, drinking, the girls, his manager? The girl visiting, her friend, turning out to be a reporter, intending to tell the truth, Jimmy punching him, his hitting his head, death? His manager taking his watch, he and the girl in the car, drinking, erratic, the crash? The false identification of Jimmy? Screwy and his suspicions, Jimmy as a southpaw, the watch on the right wrist? Talking to the police officials, their not believing him, allowing him to take time off to track Jimmy down?

4. Jimmy, wandering, the farm, collapsing, Peggy and Auntie taking him in? His wariness, promising to work, with the bull and the cow, the chores around the house, with the orphans, their friendliness? Peggy looking after him, her falling in love, his falling in love?

5. Life in the orphanage, happiness, Peggy and her work, Auntie and her looking after the orphans, the letter from Chicago, repayments?

6. The boxing match, Jimmy deciding to enter, the interview, being too small, knocking the interviewer down, being accepted? The champion, big, arrogant, his promoters? The various competitors, including John Wayne, wanting to get money for his pregnant wife? Going into the ring, Jimmy sustaining the various rounds, being knocked down, but getting enough money? Auntie and her support, Peggy and the orphans listening on the radio?

7. Screwy, his arrival, making himself known, Jimmy fighting nonetheless? The aftermath, going back to the house, explaining that he would have to be away for a while that Screwy was a promoter? At the train, Screwy changing his mind, letting Jimmy go – to a happy future?

THE HATEFUL EIGHT

US, 2015, 187 minutes, Colour.
Samuel L.Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demian Bichir, Tim Roth, Michael Madsen, Bruce Dern, Channing Tatum, James Parks, Dana Gourrier, Zoe Bell, Lee Horsely, Gene Jones, Keith Jefferson.
Directed by Quentin Tarantino.


In going in to see a Quentin Tarantino film, audiences have a fair idea of what they should expect. It is not going to be an easy entertainment. There will be a fair amount of violence, some of it fairly graphically presented. Their will be tantalising characters and violent interactions? There will be quite a lot of talk, quite a lot of conversations, Tarantino enjoying words and verbal jousting. and, underlying the plot and characters will be some very brutal attitudes and behaviour.

And so it is with The Hateful Eight.


This time critical and popular response has been significantly divided. Even some Tarantino fans have baulked at this film, often for quite different reasons. The supporters have also been vocal and have drawn on some superlatives in their praise.

Obviously, this is a film for cinema specialists rather than the public, especially on an unsuspecting public, who would find it very difficult to sit through.

Part of the challenge of the film, irrespective of the characters, their hateful violence, is that it runs for 187 minutes. In the special Roadshow screenings with 70 mm film, there is an overture and an intermission. Many who were expecting a Tarantino action film have been very disappointed, sometimes bored, that while there are some sequences in the snow with a stagecoach, most of the action takes place within the one room, Minnie’s Haberdashery, out there in the snowy and blizzard-written winter of Wyoming (actually filmed in Colorado). They complain that this makes the film very slow and, with so much talk, they seem to think that this slows action down even further.

Whatever one thinks of Tarantino, he certainly knows how to make films. He captures the vastness of the American West and uses his camera in a fluidly mobile way for all the interior sequences. He knows how to get performances from his cast, is able to handle dialogue, often with cleverness and with wit. Underlying his story and dialogue are American themes that are quite relevant. In fact, this story could be something of an allegory on contemporary stances in the United States.

The film title is accurate. Each of the eight is quite hateful, often vicious in attitudes, often vicious in the brutality of their behaviour. Although it takes a while, there are a number of deaths, some sudden and bloodthirsty, with some brutal bashings in between. Many audiences will find them quite offputting.

But, Tarantino grew up on the exploitation films of the 1970s, and his taste is according to this background, reinforced by his work in a video store for some years. He knows what is quite popular, especially for the exportation audience – and has transferred it into the world of high cinema art - or think or is the seventh century English Jacobean drama.

In one sense, the story is quite simple. it is the post Civil War era and bounty hunters are searching out criminals and bringing them in for justice, dead or alive. Samuel L.Jackson is the central character, black, a former soldier for the North, involved in battles, prisoner of war, escapee, now a bounty hunter stranded in the snow with three dead criminal bodies. Kurt Russell is another bounty hunter, paying for an exclusive stagecoach to bring in, alive, a murderer, Daisy Domergue who, with her ugly mouth, vicious tone, has her own sense of hatefulness. And Russell treats her brutally at times.

Particularly challenging for racist themes is the very frequent use of the word, ‘nigger’.

They give Jackson a lift after his horse collapses and they test out his attitudes, friendly or not. Then they meet another man stranded in the snow, the son of a Confederate hero, very cocky and confident in himself, Chris Mannix, played with quite some flair by Walton Goggins. He announces that he is the new sheriff of Red Rock and will be taking custody of the bodies and prisoners.

Most of the rest of the action in the first part of the film takes place within Minnie’s Haberdashery: the newcomers, the stern Confederate General sitting in his chair, another fine performance from Bruce Dern, Bob, Demian Bichir, who explains that he is working at the haberdahsery, and two passengers, one very very British, Tim Roth, who explains that he is the hangman, and an enigmatic stranger, Michael Madsen, sitting in a corner writing. Some tensions, especially with their being trapped by the blizzard, having to spend time together.

Then things begin to happen, especially with Jackson taunting the general, telling him a grim story about the death of his son, and the shooting starts. Then there is poison in the coffee – and Jackson takes charge with a scene, longish, like an Agatha Christie murder mystery with Jackson as the Poirot equivalent, going thruogh the possibilities as to who poisoned the coffee.

With some shooting, in the Roadshow version, this is the time for intermission.

After the intermission, Tarantino does something similar to what he did in Pulp Fictiion, taking the audience back in time and telling another version of what happened in the morning, another stagecoach, the passengers, the introduction of a surprise character played by Channing Tatum, more shootings, more brutality.

And then, we are finally back to the desperate situation, Daisy still surviving, the question of whether she should be allowed to live or taken to hang, the issues of the bodies of the criminals and bounty money…

Tarantino himself comes in after the intermission with his voice-over explaining some of the situation – which he also does towards the end.

Perhaps at the end, audiences may be suffering from Tarantino-fatigue and miss the symbolism of the final words and the survivors – pinpointing yet again, with the lyrics of the song in the background, the parallels with the present and the unresolved tensions, especially racial, in the United States.

Whether one likes The Hateful Eight or not, it is not an insignificant film.

1. The response to the film? Extreme praise, extreme hostility? The career of Quentin Tarantino? Subjects, visual style, dramatics, verbaldiscussions and wit?

2. Production values, 70 mm, the overture and the intermission, a cinematic experience from the old days?

3. The setting, the black and red of the opening card, the stagecoach? Filming in Colorado, for Wyoming? The mountains, the snow, forests, the blizzards? Remoteness and savagery?

4. Minnie’s Haberdashery, remote, the store, the huts and stables, the outhouse, the basement, the pegs in the snow in the rope to the outhouse? the interiors, the vast room, the various parts, the shop, the bar, the seating arrangements?

5. Ennio Morri and his score, the awards? The range of songs throughout the film – and the touch of the modern?

6. The title, the eight hateful characters, human nature, minimal redeeming values?

7. The structure: the morning, the linear story, arriving at the haberdashery, the climax? The intermission? the review of the action, Tarantino’s voice-over, the going back 15 minutes, the new story, resuming the old, again with Tarantino and his final commentary?

8. The period, after the Civil War, the hostility between north and south, black and white, slavery issue, the different stances, freedoms, the surrender?

9. Race issues, Warren, the seller in the store, Warren and Charlie as black, the racism? Chris from the south, the General, Daisy and the gang, the despising of the blacks? The frequent use of the word “nigger”, taken-for-granted, derogatory, as used by Warren?

10. US, the war, the black soldiers, Warren and his letter from Lincoln? His comments about the Lincoln letter as a protection, being in a minority, surviving? Warren and his self-assertion? The dismissive death of the woman in the shop and Charley?

11. The sequences in the snow and in the mountains? The contrast with so much of the action within the shop? And the atmosphere in the second part, the touch of the Agatha Christie, the murder mystery, the accusations and finally fingering the guilty?

12. The basic plot, Ruth and Daisy, in the stagecoach, O. B. driving, being paid well, Ruth wanting privacy? His being the bounty Hunter, bringing in Daisy, the accusations, his wanting her alive, to get the money, to see her hanged? In handcuffs, his treatment of her, his comments, her reactions, hitting her with the gun, with his elbow? The blood on her face, the black eye? His being tough, from the north, her look and talk? Her use of the word nigger, her animosity and derision, her backtalk?

13. The driver, being paid, minding the guns, working in the stable, with the group, his death from the poison?

14. Warren, bounty Hunter, his reputation in the military, the battle of Baton Rouge, the dead bodies, to collect the money, his horse’s collapse? Asking for a
lift, his being tested, surrendering his guns, Ruth and his reactions, Daisy’s reactions? Travelling, the discussion of the Lincoln letter, Ruth reading it, Daisy spitting, their being pushed from the coach?

15. The interlude in the snow, seeing Mannix in the distance, his wanting a lift, the background of his Confederate family, his father’s reputation? His stances, arguing, racist, pride in the South, explaining that he was to be the sheriff of red Rock? Whether Ruth believed him or not?

16. Travelling, the discussions, the taunts? The characters revealing themselves?

17. The arrival, Warren knowing Minnie, into the hut, the story of Minnie and Sweet Walter, Bob explaining their absence? Bob, working at the haberdashery for some months, helping, the stables? The horses, feeding them, the rope to the outhouse? The cold, people coming in, hammering the wood on the door?

18. The discovery of the people at the haberdashery? The hangman, British, his style, attitudes, talking about hanging, verifying his documents with Mannix? The General, his sitting, laconic? Sage, in the corner, writing? Suspicious or not?

19. Bob, his talk, playing the piano, Silent Night?

20. Warren, taunting the General, the taciturn man, his reputation, the Battle of Baton Rouge, Warren and his leaving the gun, talking with the General, the history of the war, Warren as prisoner of war, escape from the wooden prison, the deaths of the Confederate’s as well as of the unionist men? His aggression towards the General, asking about his son, telling the story of the son, captured, stripped in the snow, crawling, the sexual episode, the visuals, the General imagining, Warren and his humiliating the son, sexually, the cold, shooting him? Shooting the general?

21. The reactions, the coffee pot, Ruth and Daisy, drinking the coffee, Ruth and O.B. spewing out the blood, the deaths?

22. The recapitulation of what had happened, Warren and his gun, letting Mannix be free because he was about to drink the coffee, the lineup, the accusations against Bob, the sign about the Mexicans, Minnie not allowing him in, Warren shooting him? The other two, the coffee, Sage confessing? Warren being shot? Mannix being wounded? The shooting from the basement – and the emergence of Daisy’s brother?

23. Going back to the morning, the four travelling on the coach, their plan, belonging to the gang, Daisy’s brother and his leadership, their mission to free Daisy? Arriving at the haberdashery, relaxing, Minnie and her welcome, the General and Walter playing chess, Charley looking after the horses? The discussion with Suzy about her New Zealand accent? The sweets, the young woman and her getting them? The sudden shooting, everybody killed? Sweet Walter killed in his seat? The blood on the back of the chair, its being covered by the blankets?

24. Hiding, waiting for Ruth, the threats to the General, letting him live, his looking more plausible, the callous deal with him, his sitting and silent?

25. The return to the narrative, Warren being shot? Confronting the brother from the cellar, surrendering his guns, emerging, his being shot dead, splattering Daisy? Warren and his lying on the bed, Mannix limping? The shooting of the Englishman, Sage sitting at the table, the hidden gun, the attempts to shoot, deaths?

26. Warren and Mannix, what to do with Daisy, the discussions? The explanation of the gang, waiting in Red Rock, 15, the threats? Daisy and her plea, allowing Mannix to take the dead men and the bounty money for the members of the gang? Mannix considering, yet his anger against Daisy, her knowing about the poison, his seeing the poisoning of the coffee? Warren and his running out of bullets? Mannix’s decision?

27. The rope, hanging Daisy, her death? The Lincoln letter, Warren’s explanation that it was a fake, for protection? Mannix burning it?

28. The final songs, the two survivors, an image of 1865, yet for the future?

29. The subtext of the film about contemporary America, blacks and whites, surviving together, hostilities? Unresolved issues, the future?

RED-HEADED WOMAN

US, 1932, 79 minutes, Black and white.
Jean Harlow, Chester Morris, Lewis Stone, Leila Hyams, Una Merkel, Henry Stephenson, May Robson, Charles Boyer.
Directed by Jack Conway.


Looking now at this Jean Harlow comedy drama, it is very clear that it is pre-Code. This is the story of an archetypal golddigger, allegedly from the wrong side of the tracks, making plans to go up and up in the wealthy world, setting her sights on a business executive, seducing and marrying him, then seeing a possibility of a relationship with a top executive, but also having an affair with his chauffeur.

And, instead of her downfall, she finishes the film on more than a high, moving in presidential circles in France, with a winning or racehorse – and driving off with her same chauffeur.

Jean Harlow enters fully into the role, exerting sex appeal, some charm, some relentlessness in her ambitions. Her first target is played by Chester Morris, then she moves on to the older businessman, Henry Stephenson, and, in an early role, the chauffeur is played by Charles Boyer. Lewis Stone is Chester Morris’s father and there are some comic touches from May Robson.

The film is brief, risque, playing up to all of Jean Harlow’s sex appeal, a tongue-in-chief sort of film from the early 1930s.

1. The status of the film in its time? Pre-Code? Jean Harlow and her reputation? Now?

2. MGM production values, cast, director, black and white photography, small town business settings, Society, New York, Paris? Musical score?

3. The character of Lil, the nickname “Red”? Introduction, working at the office, her plans for Bill, delivering his mail home, the seduction sequence, his resistance, response? Reaction to his wife’s coming home? Her long friendship with Sally, confiding in her, always relying on her, taking her to New York? The continued seduction, her plans, imposing herself, entering the house, the confrontation with Rene? At the restaurant, in the phone booth? Going out, drinking, marrying Bill? His father trying to buy her off? Her refusal? Her place in society, people ignoring her? Going to see Gerstle, her charm, forcing him to invite everyone to her house, the coming, leaving and going across the street to Rene’s house? The telling them off? Going to New York, the seduction of Gerstle, the relationship, her divorce, his promise of marriage? Her relationship with Albert? The private detective, the photos with Albert, her being compromised, Gerstle’s rejection of her? Bill’s rejection of her, reuniting with Rene?

4. Lil, not defeated, going to Paris, winning their horse race, the cup, the President, in the car – and Albert the chauffeur?

5. Bill, his marriage and love for Rene, his father, the company, susceptible, succumbing to Lil, trying to warn her off? His wife’s upset? The divorce? Marrying Lil? The socials, Gerstle’s invitation, Bill’s being willing to stay home when she was not invited? The party? His visit to New York, the detective? Reuniting with Rene, walking out on Lil?

6. Gerstle, elderly businessman, Lil going to see him, the seduction, leaving her handkerchief, the invitation to the meal, his hosting? In New York, the relationship, going out with her, the proposal? His disillusionment in seeing the photos?

7. Albert, the chauffeur, the relationship with a Lil, his being fired – and their being in Paris together?

8. The small town society, Bill’s father and his influence, signing the cheques? Friends, parties, socials? The role of Rene, her love for her husband, not standing by him, disappointed, reunited?

THE COBBLER

US, 2014, 99 minutes, Colour.
Adam Sandler, Steve Buscemi, Melonie Diaz, Ellen Barkin, Dan Stevens, Cliff ‘Method Man’ Smith, Fritz Weaver, Dustin Hoffman.
Directed by Tom Mc Carthy.


The Cobbler is an unusual project for writer-director Tom Mc Carthy, a frequent actor but moving into writing and direction with The Station Agent and consolidating his direction career with such films as The Visitor. He also wrote the screenplay for the Indian baseball film,. He received great prominence for his writing and direction of the multi-award nominated exposé by the Boston Globe of clerical sexual abuse in Boston, Spotlight.

While many of Adam Sandler’s comedies have been very popular, he generally has not received much critical support. However, he has made different attempts to take on more serious roles in films including Click, Spanglish, funny People, and now, this Jewish fable of New York, The Cobbler.

The basic premise is that a Jewish ancestor was given the gift of a magic stitcher for mending shoes. In the 21st century, Max, Adam Sandler (and the Hebrew word for Cobbler is Sandler), is weary of his boring business, looks after his mother who is losing her memory, is friendly with the barber next door, Jimmy, Steve Buscemi, is invited to participate in protests against corporate takeovers of buildings by an energetic campaigner, Melonie Diaz, which leads him to the confrontation with the corporate boss, Ellen Barkin.

The basic premise is that we know people better if we walk in their shoes. This is taken literally when Max has to use the old machine for an emergency task, tries on the shoes, and has taken on the appearance of the owners. There is quite a collage of different owners, old and young, men and women, ugly and presentable.

There are many comic touches, Adam Sandler style, and some adventures – and a welcome appearance by Dustin Hoffman as Max’s father.

1. A comedy fable? The message of walking in another’s shoes? Literally? Figuratively?

2. A New York Jewish story? The early 1900s, Lower East Side? The same setting in the 21st century? The streets, the shoemaker’s, the barber’s? The issues of development, old homes and apartment blocks, demolition sales, fraud and deals? Gangsters?

3. The range of people and their shoes being repaired, as individuals, different ages, gender, race, the different appearances? This range of people used as a dramatic as well as a comic device?

4. The prologue, 1903, the story about the stitcher and the gift, its powers? The father handing on the information and the business to his son? Succeeding generations?

5. Max in the 21st century, inheriting the business from his father, his father’s disappearance, his mother at home, his living with her, caring for her, her dementia? Her watching the television, concerned about her son? His not being married? His friendship with Jimmy, the barber next door? His being bored with his job? Interactions with the customers? Kindly old ladies giving him things for his mother, Jimmy’s gifts?

6. Ludlow, the demand for his shoes, the machine breaking down, going to the stitcher, trying on the shoes, his looking like the owner of the shoes, size 10 ½?

7. More customers, more shoes, finding the 10 ½, the range of characters, his appearance, his reaction? Seeing the glamorous woman and the young man with his chauffeur, her coming to the store, mending his shoes, taking on his identity, seeing the girl in the shower, at the bar, the comment about his date, a man? The young boy, big-boned?

8. His assuming the different characters, the confrontation with Ludlow, in his apartment, the Taser, the watches, buffaloes girlfriend and her angry reaction, his later delivering the watches to her, tying him up, the different gangsters coming? As the tall woman? Getting the money? His changing shoes and changing personalities, the car crash? people upset?

9. Carmen, her visit, the campaign, the tenants of the neighbourhood, Mr Solomon, his stance against the developers, the protests? Max being polite, discovering the criminals, meeting Elaine, her cooking duck, the confrontation, his wanting to thwart her plans?

10. Elaine, the development, her Asian buyers, her henchmen, the plan to burn down the building, burn Mr Solomon? Max, his intervention, playing with the two henchmen, taking on their appearances, tying them up, the discussions with Mr Solomon, getting him to Chicago, Max impersonating Mr Solomon, thwarting the plans, the television interview with Elaine and her exposure?

11. His meeting with the television interviewer, his mother liking him, pleasant, using him for the exposé?

12. His impersonating his father, his mother’s last wish, having dinner with her, the pathos of her death? Max being distraught? Jimmy and his concern?

13. Carmen, the date, a future?

14. Jimmy, his concern, the pickles? Jimmy knowing about the transformations? The revelation that under his appearance was actually Max’s father, unable to tell the truth, the past experience with gangsters, his disappearance? Regretting his absence from his wife? Being next door to protect Max? The real Jimmy in the Caribbean?

15. Downstairs, the luxury car, his father’s different existence – and the repercussions for Max, in himself, memory of his father and reuniting with him, Carmen and his future?

16. How effective as a New York Jewish fable?