SOUTH SEA WOMAN

US, 1953, 99 minutes, Black and white.
Burt Lancaster, Virginia Mayo, Chuck Conners, Arthur Shields, Leon Askin.
Directed by Arthur Lubin.

South Sea Woman was released the same year as Burt Lancaster’s classic, From Here to Eternity. You would not think so, considering Lancaster is a rather stolid presence in this film (with bursts of his old-style action). It was directed by Arthur Lubin who directed a number of the Abbott and Costello comedies and the Francis series.

It is a World War II story, starting with a court-martial with a huge list of crimes with which Lancaster was being charged. Eventually, the story is told in flashbacks and an entirely different interpretation, favourable, was put on all the events leading to the charges. Virginia Mayo is a showgirl stranded in Shanghai and caught up in the events as she tries to get back to the United States prior to Pearl Harbor, and proposed to by Chuck Connors.

The main part of the action is a series of accidents culminating in some noble World War II activity against the Japanese and Guadalcanal.

1. A 1950s entertainment, Burt Lancaster, Virginia Mayo? Chuck Connors at the beginning of his career?

2. Black-and-white photography, the courts, the flashbacks to Shanghai, on the open seas, Pacific islands? Musical score?

3. The provocative title – with minimal reference to characters and situations?

4. The court-martial, the judges, the O’ Hearn being brought in, his standing mute? The defence appointee? The range of witnesses, overt hostility? His wanting to preserve Ginger? His wanting to save Dave’s reputation? His intervening in the cross-examination?

5. The serious young judge, no sense of humour, no experience? The other judges and their beginning to enjoy the rollicking story?

6. Ginger, witness, taking photos, stranded in Shanghai, wanting to get out, with Dave, his proposal, getting away from the club boss and the shooting? Stealing the owner’s boat? The collapse of the hotel? Their missing their ship, stranded, floating in the sea, rescued by the Chinese junk, the fights, the junk set alight, arriving at the island? Wanting to get married, the captain of the ship, the ceremonials on the island?

7. Davey, marine, action man, in love with Ginger, wanting to bring her back to America, the clashes with O’ Hearn overturned, sharing the adventures, trying to get married, pretending to be a deserter on the island, the challenge to go into action, on the cruiser, his love for Ginger, clashes with O’ Hearn, his heroism in taking the TNT onto the Japanese ship, his death, rehabilitation?

8. O’ Hearn, a Burt Lancaster character, his interventions, clashes with Ginger, the fight, the collapse of the hotel into the sea, the escape on the boat, the junk, fighting and the fire, on the island, the madam and her three nieces, the allegedly Dutch leader, his being a German, his cargo, the head of the island and the Vichy French, interrupting the wedding ceremony and in disguise, the plan to get out, freeing the loyal French, the embezzler from Seattle, the alcoholic Australian, the former pilot for the Marines? The fights, the escape?

9. At sea, Guadalcanal, the Japanese boats, the attack and the fight, Davey’s death? Ginger on board? The heroism of the crew?

10. The court case, the Vichy leader and his testimony, the madam, the vindication of O’ Hearn?

11. The happy ending and the marriage proposal?

GERONIMO

US, 1962, 101 minutes, Colour.
Chuck Connors, Kamala Devi, Pat Conway, Armando Silvestre, Adam West, Lawrence Dobkin, John Anderson, Ross Martin, Denver Pyle.
Directed by Arnold Laven.

While Geronimo might have been a B-movie from MGM in the early 1960s, in many ways it stands up quite well. And this despite Chuck Connors and his blue eyes not seeming particularly Native American – but he carries of the role with some dignity. Indian actress Kamala Devi, whom he was to marry, is his studious wife. There are a number of character actors in support, including future Batman, Adam West, as a soldier with a conscience, Ross Martin as Geronimo’s loyal follower, John Anderson as a corrupt reservation administrator and Denver Pyle as a senator.

The film was made in Cinemascope and some Mexican locations were used – the area where Geronimo fled after the Apaches were rounded up for the San Carlos reservation and where there were fights and in the mountains.

The film is set in 1880, the treaty with the Apaches, the hostile military taking them to the reservation in Arizona, promises of land, yet corrupt officials buying up the land for their own purposes, leading to the humiliation of the Apaches and Geronimo’s decision to leave.

The Apaches fight against the military in the mountains but, eventually, President Cleveland offers a treaty and Geronimo decides to accept. A historical note: Geronimo died in 1909 and in later years was at sideshows available for the public to have their photo taken with him.

1. Audience interest in the Apaches, Geronimo, the conquering of the Indians by the Americans, treaties and promises, the breaking of promises, the setting up of the reservations, the decline of the Native Americans and their loss of dignity?

2. Colour photography, Mexican locations, authentic feel? Musical score?

3. The background of Geronimo, the conquering of the Indians in the West, the white settlers, taking over the land, the reservations? The picture of the military, the commanders and the despising of the Native Americans, the role of the generals and administration, the managers of the reservations, Bible in hand yet still open to corrupt sales of land and the exploitation? The role of the American politicians, the nature of the treaties, the final treaty with Geronimo, offering dignity, Geronimo accepting?

4. The character of Geronimo, leading the Indians, strongman, the warriors around him? The confrontation with the military, accepting the treaty, being guided to the reservation, allotted land? The meeting with Magnus? Marriage, child, cultivating the land, Geronimo wanting his wife to work? Geronimo despising books? His interest in the young woman, others urging him to marry her? Her teaching classes, defying Geronimo, his taking her away, marriage, pregnancy, her urging him finally to surrender?

5. Life on the reservation, the humiliations? Geronimo and his decision to leave, persuading Magnus, their riding out into the mountains, the pursuit by the military, hardships, lack of ammunition, lack of food? The skirmishes and the visualising of battles?

6. The military, those who despised the Indians, the officer with a conscience? The buyer coming in, wanting to buy the land for grazing and for the cattle industry, persuading the administrator to sign? Geronimo and Magnus coming in, confronting the administrator and his wife, finding the documents?

7. General Crook, administration, his dilemmas?

8. The Senator, the new treaty, going into the mountains, Geronimo willing to hear him, his wife urging him to accept, coming down from the mountains and into a further reservation?

9. The 1960s and the perceptions of civil rights at the time, the story of Native Americans and Geronimo told in this period?

SWEET NOVEMBER

US, 2001, 119 minutes, Colour.
Keanu Reeves, Charlize Theron, Jason Isaacs, Greg Germann, Liam Aiken, Robert Joy, Lauren Graham, Michael Rosenbaum, Frank Langella.
Directed by Pat, O' Connor.

Originally filmed in 1969 with the most unlikely of romantic starts, Sandy Dennis and Anthony Newly, this is a film about a bittersweet romance between a too busy executive and an oddball woman who is dying of cancer.

It has been updated to 2000 and given higher star power. Keanu Reaves is the advertising executive who shows what self-absorbed looks like. He does not play to his screen presence advantage in dramas like this. He is much more a natural for Speed or The Matrix. The eccentric romantic who wants to transform a man for each month is Charlize Theron. She is much more credible but the part is more than strange.

Could there ever be someone who lived (and died) in this way? (I steal a line from a reviewer friend who said of Sweet November: 'if you have tears to shed, don't prepare to shed them now!' - A bit mean-minded.)


1. Romance, a remake of the 1960s film, the beginning of the 21st century?

2. The city settings, business, offices, apartments, advertising agencies? The vistas of San Francisco? Musical score?

3. Contemporary fairytale? Plausible? Moral? Change?

4. Sarah as a character, extroverted, keeping her illness secret, her idea of companionship in love, sharing the months with an individual, to love and change him? The friendship with Chazz and his roommate? Her room, inviting the monthly man, choosing, the invitation, her experience, love, the catalyst for the man of the month?

5. Nelson, busy, clever, collaboration with his partner, the bosses of the advertising agency, the ads, the details of the campaigns? His skills, tastes, opportunities? Not wasting time? His relationship with Angelica? Seemed to be love – but not on his part? On hers?

6. The driving test, his nervousness and its effect? An interruption to his busy schedule? The encounter with Sarah, the effect, the challenge, still being busy, and her apartment, sharing, the effect on him? Staying, the sexual relationship, love, enabling him to let go, the interactions with his partner, Vince not understanding?

7. Chazz, Sarah’s friend, talking, his protecting her? The date, Chazzand his friend and their cross dressing? As the top adman and Nelson admiring him?

8. Vince, setting up the meeting, the high-powered executive, the discussions, Nelson deciding to reject the proposition? The businessman taking offence? Vince not understanding?

9. Nelson letting go of his life, the romantic aspects, the potential for love? Sarah, her character, oddball, free, the conversations? Her collapse? The truth? Sarah not wanting Nelson to see her die, asking him to go, the farewell?

10. The effect on Nelson and his future?

THE UNDERNEATH

US, 1999, 100 minutes,, Colour.
Peter Gallagher, Alison Elliot, William Fichtner, Adam Trese, Joe Don Baker, Paul Dooley, Shelley Duvall, Elizabeth Shue, Anjanette Comer.
Directed by Steven Soderberg.

A stylishly made modern film noir, based on a 1949 film, Criss Cross (with Burt Lancaster). The plot is complex, with several time-shifts, and requires attention.

It focusses on a gambler (Peter Gallagher is excellent) who returns home to Austin, Texas, for his mother's wedding and wants to come back to his wife whom he walked out on. But it is not easy, complicated by his jealous cop-brother, his wife's new gangster protector and his new job as a security man with the help of his genial stepfather.

You have probably guessed that a robbery is not too far off. You're right. But it is not so much a film about a crime as a film about the minds and motivations of all those involved.

This makes it a kind of `art-house thriller'. Since the director is Steven Soderbergh, best known for Sex, Lies and Videotape and the excellent King of the Hill, the film is well-crafted and finely acted. Arresting art-house thriller.

1. The title? The original novel, Criss Cross? From the 1940s, adapted to the 1990s?

2. The career of Steven Soderberg, during the 1990s, subsequently, writing, director of photography, directing, producing?

3. The American town, ordinary, arrivals by bus, homes, wedding celebration, diners and clubs, police officers, the armoured car office, trucks in action, banks, hospitals? The house in the woods? The musical score?

4. The use of colour, ordinary, colour filters and their effects, the characters and situations? Real/unreal?

5. The time shifts, in the van, Michael’s memories, his arrival and the timeline after his return to the robbery? The flashbacks to the past, his gambling career, relationship with Rachel? The intercutting of the times?

6. The study of Michael, seen in the van, audience curiosity? In the bus, the discussions with Susan, phone numbers? At home, his brother and the antagonism, the brother blaming him for his absence after his father’s death, his mother’s love, meeting Ted, pleased with him and his marrying his mother? The background of his leading, his gambling, the relationship with Rachel, her new relationship with Tommy, Ted getting the interview for the job, the issue about the mints, the boss and his assistant, going to work, the new encounters with Rachel?

7. The past, his beard, his betting, his skills and knowledge and hunches, the clients? Rachel, sexual provocation, yet her love for money? The house, the huge television dish, the television, the cash payments? His brother and attitude to it Rachel? The bet, the match being lost at the last moment, his packing up and leaving, absent for years?

8. Meeting Susan on the bus, going to the bank, the night together, getting her code for the robbery, shielding her during the attack?

9. Rachel and Tommy, Tommy and his possessiveness, easily angered, the interactions with Michael at the bar? Catching Rachel with Michael, by accident, deliberate, set up? The deal about the robbing of the van? The conditions?

10. Michael not wanting to have Ted on the job, Ted as a jovial man, good man, the dinner, the wedding, the pathos of his death – and the grief of Michael’s mother?

11. The setup, the signals, the robbery itself, the shootings, Michael being wounded, Ted dying – Michael in hospital, being seen as a hero?

12. The hospital, people praising him, his mother’s grief, his brother saying that he knew the truth?

13. The sinister visitor, the nurse and her care, the visitor seeing his injured sister, Michael’s suspicions, not wanting to go to sleep, the truth about the visitor, the abduction, Tommy shooting him?

14. The hurt, Tommy and Michael confronting each other, the argument, the money? Rachel shooting? Leaving with the money? The femme fatale?

15. The credibility of the armoured car boss and his seeming to be behind everything?

16. A 1940s film noir story in the style of the 1990s?

NOW ADD HONEY

Australia, 2015, 100 minutes, Colour.
Robyn Butler, Portia De Rossi, Lucy Fry, Phillipa Coulthard, Lucinda Armstrong Hall, Hamish Blake, Erik Thomson, Robbie Magasiva, Lucy Durack, Angus Sampson, David Field.
Directed by Wayne Hope.

The success of a comedy does not necessarily depend on the quality of the film itself – but, rather on the mood of the person watching the comedy at a particular time. This comedy has many moods, some funny, some serious, many somewhere in between. With the title, the Honey is not necessarily a sweetener. Which means a mixed response.

The film is the work of writer and star, Robyn Butler, and of her husband, director, Wayne Hope. Their contributions to television, The Librarians, Upper Middle Bogan have been much appreciated. Perhaps they work better in a brief running time format.

Here is a suburban Australian couple, she, Caroline, a lawyer, with two daughters, he a writer (who is soon discovered to be cheating on his wife), causing something of a breakdown – but not as much of a breakdown as the arrival of Caroline’s older sister, Beth (Portia De Rossi) with her precocious, ultra-spoilt, daughter, honey (Lucy Fry). Honey is about 16, going on 40 in precocity, going on 9 in terms of growing up. And her mother, self-absorbed except for promoting her daughter in Hollywood (where she has been successful in a series of films with the character, Monkey Girl). They have arrived in Australia to make a record – with a video which make might make Miley Cyrus blush!

It gets complicated at the airport with Beth having her special photographer into who is particularly demanding about light and angles. Then it gets worse when Beth is taken in by customs officials because of the amount of drugs, all for her health, of course, that she has in her cases – and she is soon sent off for rehabilitation leaving Honey stranded, to be taken in by the family.

While some of the satire on the ignorant and, perhaps, innocent, Honey has its moments, she is such an exasperating character, not only to the family but to the audience, so that a lot of it is rather hard to take. We do have great sympathy for Caroline, who is on the receiving end of a lot of barbs from Beth about her age, her looks…, Difficulties in getting time off at the office, but having some pleasant moments encountering a television chef. Then there is her younger sister, continually smarting about the description of her as fat in Beth’s biography and dealing with her fiance who, to put it politely, is rather dumb. And Caroline’s two daughters get involved, one a fan and the other definitely not.

There is a sleazy photographer wanting to get in on the act and to do some exploitative stuff with Honey who, bewildered and a touch of eventual against her mother and the family, decides to go through with it – with some slapstick comedy in the family’s attempts to rescue her.

There is a lot going on in the film, perhaps too much for its brief running time, but, if it catches you in the mood, you may well enjoy its comic touches. On the other hand, if…

1. An Australian comedy? Touches of farce? Serious touches? Universal themes in characters?

2. The Sydney settings, the city itself, homes, studios, hotels, rehabilitation centres…? Location photography? Musical score?

3. The title, the sweetener, Honey and her literal presence in the family?

4. The credibility of the plot? The family in Sydney, the estranged father, the daughters, the younger sister and her fiance and her bad memories, the sister from the US, her celebrity daughter, the photographer and his plans, the chef and his family?

5. The comic touches, comedy of exasperation, farcical episodes, Iranian satire? Robyn Butler and her writing, performance?

6. The family situation, Caroline, her skill at her work, the law, managing her two daughters, believing her husband’s excuses for being away, writing Western Mark? The discovery of the truth, her being overwhelmed, consciousness of age, appearance? Her daughters ages and the teenager with her troubles?

7. Caroline at her sisters, Clare, younger, bitterness towards Beth and her memoir, her fiance and here’s not always been on the ball?

8. Beth, the Hollywood glamour, her exaggerated manner, coming home, her interaction with her sisters? Superior? Her personal photographer? Fostering Honey’s career, spoiling her, building up, not giving Honey any sense of reality? Her treatment of Clare? Her being held up because of the medication, over the limits, her rationalisation, her being taken to the rehabilitation centre? Her haughty manner of their, interactions with the staff? Separated from Honey, her concern, wanting to get out, Caroline and the visits?

9. Honey, her age, Americanised, the popstar, her career, Monkey Girl, the publicity, the posters, the media? The manager in the United States and his concern? Her ignorance, the spoilt, having no sense of ordinariness? The satiric touches with her ignorance, naivete? Caroline take marine, expectations, the younger cousin and her admiration? The other cousin more sardonic?

10. The photographer, seizing his opportunity, making plans with Honey, the sleazy aspects? The promotion of the song? The music video and the sleazy touches, nudity? Honey taking responsibility? The final exasperation, going to the studio, the plans, the attitude of the photographer, the family invading and rescuing?

11. Caroline, her husband, meeting his girlfriend, the repercussions? And for the daughters?

12. The daughters, the interviews as an, the lack of enthusiasm, the comments? Eventually joining in helping? Their father and his also coming to the rescue?

13. The American producer, the phone calls, the interest in money, losing control, arriving in Australia?

14. Beth getting out, everybody gathering, to the studio, the shenanigans in the rescue and the comedy?

15. The chef, TV, attracted to Caroline, his daughter, the coming to visit, the outings – and the future for the couple?

16. The Sydney story, funny and serious?

WILD CARD

US, 2015, 92 minutes, Colour.
Jason Statham, Michael Angarano, Dominik Garcia- Lorido, Hope Davis, Milo Ventimiglia, Max Casella, Stanley Tucci, Jason Alexander, Sofia Vergara, Anne Heche.
Directed by Simon West.

Jason Statham has been toplining actions shows since his performance in Lock, Stock and Two Smoking Barrels in 1998. He has often made two films per year, branching out in his participation in The Expendables series as well as the Fast and Furious franchise. He is also co-star in other features, especially with Melissa Mc Carthy and a tongue-in-cheek performance in Spy.

This film is based on the novel by William Goldman who contributed to the screenplay as he did for the original film, Heat, with Burt Reynolds, 1986.

The film focuses on a compulsive gambler,ex-special forces from England, living in Las Vegas. He is approached by a wealthy young businessman, Michael Angarano, to show him around the city and to help him play in the casinos.

This is combined with a sub-plot where a young woman, a friend of Statham’s, is brutalised by gangsters, wants revenge, asks Statham to help, but he refuses – nevertheless using contacts to find out who they were, eventually confronting them and humiliating the gangster, Milo Ventimiglia, and beating his bodyguards.

Needless to say, threats for revenge. And, needless to say, Statham prevails – but with the unexpected helping distraction from Michael Angarano who know longer feels that he is too timid and is grateful for Statham and his help.

Quite a number of good character actors turn up in supporting roles, Hope Davis working in the casino, Anne Heche in the bar, Stanley Tucci as the manager of a casino, Jason Alexander very briefly as a partner and Sofia Vergara appearing only in the opening.

1. A Jason Statham action show? His popularity over many years? British background? Athletic? A good guy – with flaws?

2. The Las Vegas setting, the glitzy casinos, interiors, gambling? The streets? The ordinary homes? The musical score?

3. From a novel by William Goldman, his career? Screenplay? Based on Burt Reynolds’ film Heat?

4. The opening, Nick Wild in the bar, listening in, becoming involved in the fight, the protagonists wanting to go to Atlantic City, persuading his girlfriend, the fight, supporting him, the knockout for Nick? The humour and irony of the later contract, the man employing him to fight lose – but pulling off his hairpiece!

5. Nick, the mystery of his background, in action organisations? His gambling impulse? Wanting to get out of Las Vegas but staying?

6. Holly, the friendship for many years, her being beaten up, left at Emergency, calling out his name, coming to him for help? His refusal? The story of her assault, his contacting his friend in the laundry at the hotel, giving him the name in the room? His going up, alone, the bodyguards, the naked girls, Di Marco in the bath? The threat, the cash, Nick and his nonchalant attitude? Holly coming in, the garden shears, the threats to Di Marco, the cuts? His fear, weeping, the humiliation in front of this bodyguards? Holly and the money? Nick and his beating the bodyguards, tying them up? Di Marco and his later accusation, with Baby, the interrogation, Di Marco refusing the proof about Holly’s attack and his work? The later set up, Di Marco and the thugs converging on Nick, the fight, his killing them all?

7. Cyrus, the approach, his age, the revelation about his being clever, his millions of 19, his low self-image? His researching Nick, wanting to employ him, doing the rounds of the casino, the Golden Gate, his luck at the table? His reappearance, knowing all about Nick? Wanting to employ him to overcome his fear?

8. Cyrus, in the bar, watching Nick at baccarat, winning all the money, the gambling compulsiveness, losing everything? Telling him that he was afraid, Nick’s confession? The thugs, Cyrus singing the song to distract them, enabling Nick or to leave and win the fights? Cyrus getting the ticket to Corsica, the money? The mutual help?

9. Nick and his office, Pinky and the discussions? Cassandra at the casino and his helping her? The waitresses at the bar?

10. The story of a tough man, yet his weakness, going into action, his fighting skills, his eventually becoming free?

NO GOOD DEED

US, 2014, 84 minutes, Colour.
Idris Elba, Taraji P.Henson, Leslie Bibb, Kate Dell Castillo, Henry Simmons.
Directed by Sam Miller.

A no good central character, a convicted criminal, assaulting women and anybody who disagrees with him, making a plea to the parole board for release because of his good behaviour but going in search of his girlfriend and discovering that she has taken up with a businessman.

He is played by Idris Elba, quite a way from his portrayal of Nelson Mandela and even of his television persona, Luther.

While it seems that he has a car crash and intrudes into a family house, being welcomed by the mother, Taraji P.Henson, it soon emerges that he has no good intentions as he murders her friend.

He then abducts and her baby, driving to a house, that of his ex-girlfriend – where it is discovered that the man with whom she is in a relationship is Taraji P.Henson’s husband.

The story is rather ugly, seeming to present random violence, but everything coming together in the end.

1. A film about domestic violence? An unpleasant story? And redeemable central character?

2. Prison, court, the road, shopping mauls, homes, the highway? The musical score?

3. The title? With reference to Colin?

4. The voice-over, describing Collins career, the violence towards the women, his being charged with manslaughter, the parole hearing, his presentation of himself, charming, teaching fellow prisoners, the appeal to the parole board, the member of the parole board telling the truth about him, describing him as narcissistic, violet Alice bursts when thwarted, the refusal of parole? Travelling in the van with the guards, the sympathetic guard, the pretence of the bleeding nose, overcoming the guard, shooting them both despite his reassurance?

5. His going into the town, seeing Alexis with the man, his suspicions, following her home, the intrusion, demanding that she say she loved him, her acquiescence, his reading the note from the lover, his attack on her, the murder?

6. Driving in the car? The crash? Walking, coming to the house – seemingly at random but revealed at the end that this was deliberate?

7. Terry, her children, her relationship with her husband, his saying he was going to see his father, her being agreeable? With the children?

8. Colin arriving at the door, his explanations, the rain, allegedly phoning the towing truck company, terry inviting him in, the discussions, his story about his ex-girlfriend, a story about being held being a prosecutor, domestic violence, the comments about perpetrators and their stupidity, having met her husband?
The not telling the complete truth, offering: hospitality, the new shirt, his being able to turn off the car alarm?

9. Megan, friendship, jogging, calling in, the best friends, confiding in each other? Her return, floating with Colin? Asking him questions, her being a real estate agent, going to the garage for a smoke, challenging him, his brutal attack on her?

10. Terry, becoming more wary, Colin playing with the daughter, disbelief, her physically attacking him, the extinguisher, his dominating her? The demand
that they should go, driving, the signal with the lights, the policeman stopping, the nervousness, the interrogation, Colin shooting the policeman?

11. Going to the house, the discovery of the body, terry discovering the note, the discovery of her husband’s affair, why Colin was in the house? Tied up, the phone calls, hearing her husband on the phone, the fights with Colin, pretending to lower the children with sheets, hiding them, the physical to and fro? The gun, shooting him?

12. The aftermath, her husband apologising, her hitting him, going back with her children, moving house?

13. The value of this kind of film – or not, dramatising such violence against women, violent men, moral issues?

HER HIGHNESS AND THE BELLBOY

US, 1945, 112 minutes, Black and white.
Hedy Lamarr, Robert Walker, June Allyson, Carl Esmond, Agnes Morehead, Rags Ragland, Ludwig Stossel, Warner Anderson.
Directed by Richard Thorpe.

Her Highness and the Bellboy is a light romantic comedy released at the end of World War II, harking back to the kingdoms in Europe prior to World War II, the ending of many of the kingdoms and the focus on relationship with the United States.

Robert Walker is Jimmy, a pleasant bellboy, looking after his girlfriend, Leslie, June Allyson, who has a psychosomatic illness that confines her to bed (though she has earned dreams song and dance sequence). With his friend, Albert, he pretends to do tours of the city by taking her to the roof, reading fairy stories and, finally, the gift of a radio. Albert is played by Rags Ragland, popular in supporting roles, capitalising on his daffy sense of humour, a sympathetic character, put upon by some criminals, but devoted to Jimmy and to Leslie – with his characteristic of adding an extra syllable to most words including Lesalie.

Hedy Lamarr, always beautiful, plays the Princess Veronica, eager to come from Europe to meet a journalist with whom she had fallen in love. She makes friends with Jimmy who shows her round without realising who she is, who is then fired by his hotel but employed by her, especially to find the journalist. Jimmy is smitten, begins to neglect Lesley, is not so friendly with Albert and, when the king dies and Veronica becomes Queen, is invited to go to Europe to serve her.

Needless to say, Jimmy comes to his romantic senses, thanks Veronica but stays with Leslie.

1. A romantic film released at the end of World War II? Its 1930s setting? The continent of Europe? The small kingdoms? The contrast with the United States and New York City?

2. Black-and-white photography, suggesting the royalty of Europe, the focus on New York City, hotels, the streets, ordinary apartments? The musical score, songs, the dancing interlude?

3. The title and the tone?

4. The focus on Princess Veronica, the niece of the King, the strictures of royalty, her wanting to go to America, the past relationship with Paul, breaking it off, wanted to see him again? Her arrival in America, her entourage, the preparations, Mr Puft, Countess Zoe, the management of the hotel, her rooms and the service?

5. Hedy Lamarr as Veronica, her screen presence, beauty? Her manner of royalty? Her interactions with the entourage, with Zoe? Her going out, the back door, being seen by the bellboys, Jimmy and his charm, his talking with her, accompanying her, sitting with her, the return and his discovering who she was?

6. Albert, bellboy, a bit slow, yet kind, caught up with the criminals and their putting pressure on him, Jimmy taking charge of him? Relying on him? His fascination with the Princess? The contrast with their apartment, the friendship with Lesley, looking after her, Albert pretending to be the taxi driver, going on to the roof, getting Jimmy to read the story, all the people on the roof listening to the story? The genial character of Albert, – and his pronunciations, adding a syllable to most words?

7. Jimmy, fired, employed by Veronica, his constant attentions, the effect on him, falling in love? Her not realising this? Her wanting to see Paul? Jimmy knowing him, the possibility for the interview, his discussions with Paul? The meeting with Veronica – Paul and his bitterness about the past?

8. Leslie, the psychosomatic illness, unable to walk, in the apartment, her aunt, Albert and Jimmy looking after her? The imaginary outings? The visit to the radio shop, Albert shoplifting and Jimmy making him return the goods? Playing the music and the gift for Leslie?

9. Leslie, the doctors and their analysis, her dream, singing, dancing?

10. Veronica, wanting to go out, to the joint, waiting, the songs and dances, the waiter looking at her, meeting with Paul? Jimmy dressed up, going to see Leslie, her resignation? The criminals and the fight, everybody becoming involved, Veronica arrested, forcing her into the van? Their talk, love, but her devotion to duty?

11. News of the death of the King, Veronica absent, Albert turning up, Jimmie? Her release from jail, return, her becoming Queen, her sense of duty? Inviting Jimmy to come with her?

12. His packing, talking with Albert, going to see Leslie – and telling Veronica that he had changed his mind? Happy ending?

MR WONDERFUL

US, 1993, 98 minutes, Colour.
Matt Dillon, Annabella Sciorra, Mary- Louise Parker, William Hurt, Vincent D' Onofrio, David Barry Gray, Dan Hedaya, Bruce Kirby, Luis Guzman, Jessica Harper, Joanna Merlin.
Directed by Anthony Minghella.

Mr Wonderful as a light romantic comedy, set in New York City, focusing on Gus, an electrician, played by Matt Dillon, who is divorced from his wife, Leonora, played by Annabella Sciorra. He continues his work with his friends on sites around the city, tries to raise money to invest with them in refurbishing a bowling alley, but finds he cannot raise a loan, has to pay alimony, much of which goes to his wife’s studies.

Meanwhile, she is in a relationship with her professor, played by William Hurt.

Gus is in a new relationship with Rita, Mary- Louise Parker. They are prepared to move into a new apartment. but, Gus still seems to pine for his former wife, setting up a whole range of his friends to date her, which she agrees to, so that she can find a new Mr Wonderful. When she dates a gentle giant, Dominic, played by Vincent D’ Onofrio, Gus begins to be jealous, Rita sees that their relationship is at an end.

He confronts the professor, but realises his love for Leonora and he becomes her new Mr Wonderful.

The film was directed by Anthony Minghella, Truly, Madly, Deeply, who was to go on to win an Oscar for The English Patient and to direct such films as The Talented Mr Ripley, Cold Mountain, Breaking and Entering.

1. Romantic comedy with serious undertones? The New York story? The work of the director and his British perspective?

2. The title, the scheme for Leanora and a new husband? Gus and his ultimately being Mr Wonderful?

3. The locations, the city, homes and apartments, the streets, the work sites in the centre of New York, College? The feel of the city? The musical score?

4. Gus’s story, his marriage to Leanora, their hopes, the clashes, the demands, the separation, his study, his paying for the studies, the pressures on each? Their falling out of love?

5. Gus and Rita, the relationship, love, her work hospital, his working on the sites around the city, the visits to the hospital, going out, the plan to buy a place, investing in it? His friends and their proposition to collect money for the bowling alley? Gus failing to raise a loan?

6. Gus on his personality, age, experience, lack of education, reliance on his friends and their company, the pressures for money, their wanting to be partners in the venture? Love for Rita or not? His angers? His meetings with Leanora? The memories, the clashes, her seeing the Professor, his jealousy?

7. Leonora, in herself, wanting education, developing herself, the relationship with the Professor, writing? The student-teacher relationship? His family? Study, the effect, the meetings, her being on the side? Gus meeting him, the challenge?

8. The outings, the meals, Leanora and her coming with Dominic? The awkward conversation? Gus and his being sulky? Rita realising that he loved Leonora? The hurt, the clash, her leaving? Her meetings with Leonora and their friendship?

9. The Mr Wonderful scheme, the range of set-ups, the various types, Leonora agreeing, the outings and their being fiascoes? The contrast with Dominic, nice, the quiet giant, their outings, his falling in love, his being hurt by her?

10. The background, the families, hospital visits, meals, the family on the plans for Gus’s future?

11. The finale, meeting, together – Gus and Leanora reconciled, his being Mr Wonderful – and their future?

ARTHUR AND GEORGE

UK, 2015, 180 minutes, Colour.
Martin Clunes, Asher Ali, Charles Edwards, Art Malik, Hattie Morahan, Emma Fielding, Alan Mc Kenna.
Directed by Stuart Orme.

Arthur and George is based on the 2005 novel by Julian Barnes.

This is a story of Sir Arthur Conan Doyle, making him resemble Sherlock Holmes in some way. He lives in the country, grieves the death of his wife, is in a relationship with a friend, Jenny Leckie, whom he marries.

A local case comes to his attention, a British Indian has been in jail for several years, son of the local vicar, a quiet man, a solicitor, who is accused of mutilating horses and found guilty. He was also accused of writing poison pen letters.
Doyle takes up his case, introducing into the British legal system the Court of Appeals.

The film is based on a true story but dramatises the facts. The series offers a plum role to Martin Clunes, best known for television series including Men Behaving Badly, and Doc Martin. Asher Ali is George, the accused, with Art Malik as his father. Charles Edwards portrays the assistant to Doyle – somewhat akin to Dr Watson.

The series was directed by Stuart Orme, director of the television films in the Irish Jack Taylor series.

1. The popularity of Conan Doyle? The greater popularity of Sherlock Holmes? This story of Doyle has Holmes?

2. The adaptation of the novel by Julian Barnes? The conceit of establishing Doyle in the Sherlock Holmes situation? Doyle, his life, the death of his wife, Louisa, his attraction towards Jean Leckie, eventually marrying her? At home, his lifestyle, his mother? Wood as his secretary? The Doctor Watson function? The case, seeming injustice, his investigation, solution? Defending the innocent? His actual contribution to the issue of Criminal Court appeals?

3. The countryside, very Sherlockian – no Baker Street? The lush photography? Exteriors, the countryside, interiors? Early 20th century? The musical score?

4. Martin Clunes as Conan Doyle, the British cast?

5. The plot, the opening with the horse and impaling, the case, Arthur and his having been convicted, in jail?

6. The portrait of Doyle, his age, the country gentlemen, at home, with Wood, with Jean? Not having enough to do?

7. The crime, the accusations, Arthur, British-Indian?, his father the thicker, a meek man, accusations of the letters, the Staffordshire intolerance? Being taken to court?

8. Arthur, his background, his father the vicar, wife, other as a solicitor, meek? (In real life not guilty of mutilating the horses – but the suspicions of his writing the letters).

9. The role of Wood, cricketer, sounding board for Doyle?

10. Doyle, social life in Staffordshire? The relationship with Jean Leckie, his domestic life? His involvement in the justice, law?

11. The film as very Sherlockian?