THE WORKING MAN

US, 1933, 78 minutes, Black and white.
George Arliss, Bette Davis, Theodore Newton, Hardie Albright, Gordon Wescott, J.Farrell Mac Donald.
Directed by John G.Adolfi.

The Working Man is a star vehicle for George Arliss who had won the Oscar for Best Actor for Disraeli. The director is John G.Adolfi, who directed George Arliss in a number of films.

The film has an American setting, the years after the fall of Wall Street, shoe manufacturing, competitiveness and sales, and the portrait of the entrepreneur played by our Arliss. He has been successful but sales have gone down and he is angry with the salesmen in Chicago, giving them pep talks. His rival in the past, the man who married the love of his life, has been succeeding but has died.

John Reeves, Arliss, decides to go fishing but encounters some socialites who swim to the fishing boat from their yacht.. He discovers that they are the son and daughter of his rival and accept their invitation to go back to the yacht, concealing his own identity, their trusting him and his becoming their trustee, laying down the law, sending the young man to work in his factory, firing the manager who was doing shady deals, the daughter going to the rival company, concealing her identity and working but falling for John’s nephew.

A pleasant film, enjoyable watching George Arliss and his competitiveness – and Bette Davis in very young role.

1. A film of the 1930s, the Depression? Business, competition, the economy? Personal lives?

2. The film with George Arliss, his significance in films at this time? The director frequently working with him?

3. Black-and-white photography, the city of Buffalo, the factory, homes? American cities and homes? Parties? Factory? Sailing? Offices? The musical score?

4. The title, with reference to John Reeves? Character, personality, his past, losing the love of his life, devoting his life to business, his rival, animosity yet respect? His staff, reliance on his nephew? Pride in the company, sales going down, impatient phone calls to Chicago and galesmen, pep talks? News of the death of his rival?

5. John’s friend, fishing, the phone calls, the decision to leave everything to his nephew to manage, going fishing and enjoying himself, the socialites, their boat, swimming to the fishing boat, discussions, the discovery they belong to the family of his rival, his decision to go over to the yacht?

6. His false identity, the irresponsibility and reckless parties and spending of the younger generation? The visit to the factory, slack, the manager and his double deals, wanting to destroy the firm to be sold to associates? The invitation to move in, becoming a Guardian figure, the young people happy, his imposing regulations, their initial reaction, his challenge to them, the young man going to the office and doing his job, interactions with the manager? His sister, wanting to go to work, false identity, the irony of working for John’s company, interactions with the nephew? The nephew and his lack of humour, starchiness, but melting in the presence of Jane?

7. John’s fostering the rivalry, better product, better sales, firing the manager, the manager going to do deals with the nephew but failing? Discovering Jane, using it against Reeves?

8. John, enjoying the rivalry, the competitiveness, success, the influence on the younger generation?

9. The truth, the arrival of his nephew, Jane and the truth? And the obvious thing to do – a merger!

PEOPLE, PLACES, THINGS

US, 2015, 85 minutes, Colour.
Jemaine Clement, Regina Hall, Jessica Williams, Stephanie Allynne, Michael Chernus, Aundrea Gadsby, Gia Gadsby.
Directed by James C. Strouse.

This is quite a pleasant film to watch, brief, some serious themes, but with the light and comic touch. It is a New York story.

Over the years, New Zealand actor and comic style, Jemaine Clement has made something of an international impact, especially with the television series Flight of the Conchordes. But he has had something of a Hollywood career as well, evil in Men in Black 3, and dastardly comic villain, Chevalier, in Gentleman Bronco. And a sinister voice character in the Rio films. More recently, he was Vladislav, one of the several funny Wellington vampires in their flat in What We Do in the Shadows.

This time he is a rather simple soul, Will, always trying to do his best, an artist, working on cartoon panels as well as a graphic novel. It is his twin daughters’ fifth birthday and, suddenly, he discovers his partner being unfaithful and accusing him of being to blame. He is both flabbergasted and dismayed, not understanding how the relationship could have collapsed, with still loving his partner.

Move forward a year, the twins’ sixth birthday party, a very modest episode compared with the year before. Will has the girls for a party but they are living with their mother and her new partner, a seemingly inoffensive comedian, specialising as a monologist. In the meantime, Will is making very slow progress with his book, sketching rather sad cartoons, with him as a bewildered victim. He also lectures at a college, explaining to his students how cartoons work in terms of storytelling.

One of the students invites him home to meet her mother, a professor of literature at Columbia, and, after some pleasant moments, they begin to argue, she never having read a graphic novel, thinking that they did not belong to literature – and feeling somewhat guilty because she does not approve of her daughter’s study course.

The film shows some of the ups and downs in Will’s life, taking his daughters at weekends, wanting to have more time with them and experiencing a whole lot of tangles in getting them to school on time, finding one day that there is a bomb alarm and relying on his student to babysit them for the day – leading to more complications, and something of a reconciliation between himself and the Columbia professor.

His ex-partner tells him that she is going to marry the monologist. He is rather dismayed, but is still hoping for a reconciliation. But, as so often, he has misread the situation but does go to the wedding ceremony.

Is there hope for Will? Can he once again make contact with the professor? how will he relate to his daughters? There are indications of the end of the film but no answers – it leaves it all up to our own hopes and imaginations.

Nicely watchable.

1. A pleasant film? Watchable?

2. New York story, Astoria, homes, studio, school, college, the woods? The musical score?

3. Jemaine Clement as Will, his presence, look, the touch unkempt, New Zealand and accent, the good father, relationship with his daughters, the birthday party, interacting with people, the touch abrupt, discovering Charlie and Gary, bewildered, Charlie blaming him? Even later, his continued drawings, author’s block, the tone and pessimism of his cartoons, outings, meeting Charlie and Gary, discussions, with his daughters? The weekends, in the woods? His classes, the response of the students, Tom and his explanation of his story? Will and his explanation of how cartoon panels worked dramatically? Kat, the interest, inviting him to dinner, dressing up, the wine, the initial clash, the meal, the argument about graphic novels, her considering them not literature? Wanting more time with his girls, at home, the meals, getting to school, late, the bomb scare, taking them to Kat? Later, with Diane, reaction? Meeting with Charlie, the cookie, his being upset, her pregnancy? The later conversation, the kiss, his interpretation, breaking with Diane? His misunderstanding, the wedding, hitting Gary in the ear, defacing his posters, the girls and then cellos, leaving the wedding, stealing the flowers, the visit to Kat, the bookshop, his comments on her story? With the flowers – and possibilities with Diane?

4. Charlie, her relationship with Will, finding life hard, the affair with Gary, blaming Will? Moving in with Gary, taking the girls? Her pregnancy, thinking about marrying? Giving Will more time with them, explaining the burdens and responsibilities? The kiss, his misunderstanding, the hesitations, the wedding, Will urging her on?

5. Gary, the affair, living with Charlie, with the girls, his work, monologist, Will defacing his posters? Being hit on the ear?

6. Kat, nice, inviting Will out, the awkwardness concerning dates, meeting Diane, the meal, the clash, graphic novels, her later apology, her underestimating her daughter’s ambitions? The daughters there for the night, Will with Diane, the possibilities? Will breaking with her after Charlie’s kiss? Stealing the flowers, about to go to visit Diane? Kat and her book?

7. The girls, their age, playing the cello, love for their mother, straightforward speaking to their father, the outings in the woods, staying with him, staying at Kat’s, at the wedding?

8. The suggestions for Will’s future?

SABRINA

US, 1995, 127 minutes, Colour.
Harrison Ford, Julia Ormond, Greg Kinnear, Nancy Marchand, John Wood, Richard Crenna, Angie Dickinson, Lauren Holly, Dana Ivey, Miriam Colon, Elizabeth Franz, Fanny Ardant, Valerie Lemercier, Patrick Bruel, Paul Giamatti, Margo Martindale.
Directed by Sidney Pollack.

Genies and fairy godmothers grant wishes in fairy tales. Are wishes granted in real life? They are in reel life.

The remake of Billy Wilder's 1954 classic, Sabrina, which substituted Harrison Ford and Greg Kinnear for Humphrey Bogart and William Holden and, of course, Julia Ormond for Audrey Hepburn, did not make much of an impact in 1996. After all, Audrey Hepburn! But then the classic reappeared on television a few weeks later. And it creaked. Perhaps some movies should stay in the hallowed nostalgia of our memories.

Was Harrison Ford anymore stone-faced than Bogart? and who had more charm? Was the debonair Greg Kinnear any less charismatic than the debonair William Holden? And Julia Ormond is no slouch at playing a modern princess. Here was Harrison Ford as Linus Larrabee being charmed into his suppressed emotions by Julia Ormond as the chauffeur's daughter, Sabrina.

It's a fairytale of New York City and Long Island, those modern kingdoms where Cinderella daughters live over a garage and gaze longingly at the royal parties and dances in the mansion. It's a fairytale of Princes who prefer Wall St and company takeovers to fighting dragons. Could it end happily ever after?

The movie begins and ends with 'Once Upon a Time...' and Sabrina explains that she was called after the Sabrina Fair who wins the prince in the ballad. Her name is Sabrina Fairchild. In fact, it is she who wakens the Prince rather than in the tradition of Snow White and Sleeping Beauty where she is wakened by the Prince.

This is a modern fairytale like that popular tale of a decade ago, Pretty Woman. You remember that at the end, Richard Gere, another preoccupied wealthy businessman - who takes more time off than Linus Larrabee ever did, especially for picking up girls on Hollywood Boulevard - brings a bouquet to the strains of an aria as he comes to rescue the Princess. When he asks Julia Roberts what happens next, she quickly retorts: 'she rescues him right back'. Ford actually does have a line at the end of the movie, 'Save me, Sabrina Fair, you're the only one who can...'. Sabrina rescues and saves Linus.

But, from what?

The quick answer is, of course, from himself. And it is also the longer and deeper answer. He is so stuck in his image that he is in danger of destroying himself by obsession (let alone his business competition) by his refusal to move towards individuation. As far as the script indications and Ford's performance go, he seems to be enlivened by business deals and arranging the world to suit himself and to capitalise on his intuitions - like the one that the chip would supersede the co-axial cable). To be saved, he has to move but he hasn't the time for it. And he has always been like this. When Sabrina actually asks her father what Linus was really like as a child, he tartly replies, 'Shorter'! 'I do real work in the real world', Sabrina tells him, 'you probably haven't made a wrong move since you were three. Where do you live, Linus?'

Linus is your serious-minded, totally dedicated, arranger of corporations and of his brother's marriage - well, they are two parts of a profitable equation: two aspects of the one merger. Business is business - though there is a later comment about seeing the faces of those whose business he has taken over. But his gift of conscientiousness is being turned into ruthlessness. 'It's nothing personal, it's only about a piece of plastic...'. His secretary tells Sabrina that he has the reputation of being the only living heart donor. It is his secretary who explains to him when he decides to take Sabrina to a Broadway show that it is a musical and he will have to expect people to suddenly start singing and dancing.

When his brother, David, is infatuated with Sabrina, he attempts to buy her off because 'I am not going to kiss of a million dollars just because Sabrina did something with her hair'. But, it is in his attempts to buy off Sabrina that he is influenced by her warmth, her love of the present (she is a photographer). He himself hates being photographed because he looks depressed. She diagnoses loneliness. But then he begins to open up, tell his story, confide in her. He tells his mother that he and Sabrina bonded.

Finally, he lets go of his control (and discovers that the seemingly irresponsible, happy-go-lucky David is moving from his 'artisan' temperament to being both practical and 'visionary'). He allows everyone arrange his trip to Paris (which he had formerly hated because 'it is all about pleasure'). They tell him, 'Don't think, just go', 'It's time you ran away from home'.

The tycoon discovers the child within and flies to Paris to be fully rescued. As he says, 'It's my first everything...'.

1. 1995 film, bright, lavish, romance? The cast?

2. The original, the 1950s, the classic, cast and director, Billy Wilder?

3. Long Island, the mansion, lavish interiors, parties? Cars? The chauffeur’s house? The kitchen? New York offices? The contrast with Paris, the landmarks, the world of fashion, photography? The musical score, the songs?

4. The title, the poem, Sabrina Fair, Fairchild? The rescuer? The voice-over, the fairytale, growing up, her father, his wisdom, reading, her infatuation
with David, the staff all knowing, up the tree watching the party, falling? Her childhood and Linus and her fear? Her character?

5. Going to Paris, Irene and her welcoming her, listening to her, the walks, her advice? The photographer, friendship, the models, life in Paris? Sabrina as accident prone, the effect of Paris, changing her hair, the style, the return?

6. Harrison Ford as Linus, in the image of his father, always working, his instinct for change and mergers, IT developments, the office, his secretary and her knowledge of him? Very serious, even at parties, demonstrating television screens to Asian visitors? Listening to Sabrina’s outpouring? Her reaction and running away? His recognising her on her return? The party, the plans for the merger, David and his marriage, the strategy for the merger? David, his flirting, sitting on the glass, Linus and his strategy, the solarium, the drink, the dance, talking sweetly to Sabrina? Letting her visit David? His relationship with his mother? The day at Martha’s Vineyard, the helicopter, the plane, the photos, her liking the building, the homeless man taking the photo? Her delivering the photos at his office, the Paris plan, getting the tickets, his explanations, his lies, finding himself out, the reaction of his mother, arranging the ticket for David, telling Sabrina? The merger meeting, David’s arrival, with Elizabeth, his assistant packing his case, with his mother, his punching David, his confiding in Sabrina, his life working, his change of heart, the ticket and Concorde flight, in Paris, reunited with Sabrina?

7. David, his past, people, the playboy, his whims, different studies and musical instruments, different girls, routines, the drink, the solariusm? Elizabeth, meeting him, the bond, the proposal, his bewilderment, her parents and the engagement, the plans, the merger? The parents and David’s mother and discussions, invitations…? Sabrina watching from the tree, his not recognising her return, flirting, the drive? Invitations the party, dancing, promising the solarium? His reaction, confronted by Linus and his mother, sitting on the glass, the doctor, medication, and getting better, on crutches? The plans for Sabrina? Elisabeth’s return? The discussions with her, taking the merger, his abilities and plan?

8. The mother, forceful, business, keeping her eye on things?

9. Sabrina’s father, genial, reading, the bond with the assistant in the kitchen? The best for Sabrina – and his financial deals listening to Linus’s father?

10. The Tysons, their wealth, society, Elizabeth, the plans for the marriage, the father and his suspicions? Watching David dancing with Sabrina? The threats about the merger? Linus and David, preparing to give up the merger for David’s happiness?

11. The staff in the kitchen, Rosa and stories, Paul Giamatti in a supporting role? Their work functions?

12. Sabrina, emotions, meeting David, the party, the dancing, expectations, his injuries, the visits, the entire day with Linus, listening to him, her urging him to leave, taking the photos, the visit to his office, the Moroccan meal? The Paris plan, the ticket? The disillusionment, leaving, Linus in Paris and happy
future?

THE RIVER MURDERS

US, 2011, 92 minutes, Colour.
Ray Liotta, Christian Slater, Ving Rhames, Gisele Fraga, Melora Waters, Michael Rodrick.
Directed by Rich Cowan.

A serial killer is murdering women that a local detective (Ray Liotta) has had sexual relationships with. This is a standard detective thriller with the complication of the detective trying to remember his list of potential victims of the killer, trying to know how the killer could make his own list. The murderer is revealed early in the film when he goes to a massage parlour wearing a clerical suit and collar and persuades the proprietor to give him a massage. The episode seems plausible, especially with the changing image of the priest and sexual behaviour.

The twist in the plot is that he is the detective’s son, who was not aborted when it was thought his mother had undergone an abortion. The murders are not only revenge on his father, whose identity he discovered, torturing his mother before he killed her, but is a religious extremist. In fact, he had entered a seminary but had been asked to leave because of his intense, fanatical views. Seeing himself as the fulfilment of the prophecy in Malachi 4, he was to be the new Elijah before the coming of Christ, A great deal is made of the verse in Hosea 14:1 about vengeance on Samaria, especially on faithless women and their children. This is explained by a priest (Episcopalian or ‘movie-generic’, judging by the church in which his scenes were filmed) who does not, however, mention the main Hosea theme of God’s loving forgiveness and reconciliation.

1. A standard thriller? Murder mystery? Police work? Detection? The religious dimension?

2. The Seattle setting, the city, the landmarks, the weather? Police precincts? Homes? The river?

3. The title, the focus on the victims? Activity at the river?

4. Jack Verdon, detective work, his relationship with his wife, his link to the victims, it emerging that they were the women he had sexual relationships with? The reaction of his wife, fearing his guilt?

5. Agent Vukovitch, the FBI, collaboration, clash, suspicions, investigation?

6. The police captain, his work with the Verdon? Detective work, responsibilities, the enquiry?

7. The issue of the women, the relationship with Verdon, the issue of abortion, anti-abortion stances?

8. The killer, introduced early to the film, the relationship with Jack, the religious background, seeing himself as the fulfilment of prophecies, anti-abortion, seminary days, his pretending to be a priest, the situation, the final confrontation and solution?

THE DIARY OF A TEENAGE GIRL

US, 2015, 103 minutes, Colour.
Bel Powley, Kristen Wiig, Alexander Skarsgaard, Christopher Meloni, Abby Wait, Madeleine Waters.
Directed by Marielle Heller.

Despite publicity highlighting comic aspects of this story, it is a rather depressing film to watch. There are many films where the central characters go down into their depths, experiencing the worst and their accepting the fact that there is some need for change and for redemption. In this case, this is the journey down of 15-year-old girl.

The setting is post-hippie San Francisco in 1976. There is a permissive atmosphere around in the adult generation and also to be found in the teenage generation. British actress, Bel Powley (Princess Margaret in A Royal Night Out), plays the teenage girl of the title, Minnie, who announces right at the beginning of the film with some glee that she has just had sex. Then back we go as she tells the story – and then again to her present situation, her emotional tangles, her relationship with her mother and sister, her moral recklessness.

Minnie comes across as very strongly self-willed. However, she keeps communicating that she has a very low self-image, a poor bodily image of herself (which she does her best to rectify), feels that she is loved, and feels the need for some kind of touch, bodily contact, to prove to her that she exists and has some worth.

The target of her sexual sights is the boyfriend of her mother, whose husband has walked out on her and who is let herself go – played rather quietly by Kristin Wiig. The boyfriend, Monroe, is something of a slacker though he has commercial ambitions. He responds to Minnie sexual proposal and then continues the relationship, realising after a while that she has been seductive and manipulating him.

In the meantime, she has begun a diary, recorded diary as she talks into a tape recorder, feeling the need to confide in someone or something, speaking out her desires, her experiences, her exhilaration – something which she also shares on the phone with her best friend.

The film traces the changes in Minnie’s character and perspective, the effect of the affair and its being prolonged, her desires which at some moments are insatiable, her response to a young student and sexual exploitation of him, as he of her. Throughout the film there are a number of sketches and animated sequences because one of Minnie’s skills is sketching. After the relationship with the student, there is an animated version of the giant Minnie, stomping through the city, the boy in her hand and her just throwing him away. With her best friend, as well as a drug addicted girl who comes on to her, Minnie, may be just 16, but pretending at one stage to be a prostitute, indulges in some gross sexual behaviour – which, she ultimately regrets.

Ultimately, this is a film with some kind of hope, in her beginning to realise what she has done, the effect she has had on others, and some realisation that she has to have some love for herself, some kind basis for others to love her.

The setting is 1976 but, with social media and a selfie culture and instant rapid communication amongst teenagers in these times, the film could have contemporary setting. But, with the contemporary setting, the character of Monroe could be charged with sex abuse and sexual relationships with a minor. Many things have changed, but many things have not.

1. The target audience? Teenagers, girls? Parents?

2. Minnie’s perspective, aged 15, self-image, self-concern, not feeling lovable, wanting love, preoccupation with her image, her body, sexual preoccupation, touch and affirmation, the touch of narcissism? Relationship with others, manipulating, using, relating? The effect on her?

3. San Francisco 1976, the landmarks of the city, homes, streets, clubs, restaurants, the boat? The post-hippie era, Castro district? Drugs, music, sex?

4. Minnie and her cartoons, the credits, the sketches, the animated sequences during the film, images, Minnie, Monroe, the body, sexual activity? The stomping Minnie through the city and throwing away the boy? Her booklet and movement? Finally selling the pictures? sending them to the agency and receiving the affirmative letter?

5. Minnie as a character, the presence of Bel Powley, 15, her character, relationship with her mother, and admiring her mother, her image, her father leaving, the reasons, her mother giving up, lax, letting herself go, with Monroe? Her preoccupation with sex, at age 15, her initial comments about having sex, telling the story, the flashbacks?

6. The tape, her diaries, frank expression, revealing secrets, the need to confide?

7. Monroe as a character, slacker, yet his business aims, relationship with Charlotte, Minnie and the seduction, her manipulating him, the continued affair, explicit sequences? The repercussions for him?

8. The audience responding to Monroe, Minnie’s age, the age of consent, later awareness of this kind of activity as a crime? His keeping the secret, the implications?

9. Charlotte, having Minnie when young, mother of Gretel, watching the television, the drugs, her drinking? The character of Gretel, the younger sister,
her curiosity, loyalty to her mother, a reaction to her father?

10. Pascal, his visits, concerned, the reasons for his leaving, his alertness to Minnie and sexual activity, wanting Gretel to call him Dad, the issue of money for Charlotte, sending the cheque?

11. The continued affair, the effect on Minnie, loving Monroe or not, the scenes with Monroe, on the boat? The threat to tell her mother? His threat to tell Charlotte?

12. At school, the class, passing the notes, swimming with the boy, the sex with him, the animated sequence and throwing him away?

13. Kimmi, talking with her, on the phone, the guessing, the boasting? Going out with her, the boys, Minnie pretending to be a prostitute, the boys, the sexual activity, afterwards and their agreeing that this was gross?

14. The drug girl, sexual advances, Minnie and her response, the drugs, being taken in, the confrontation with Mike and her running away?

15. Charlotte listening to tapes, reaction, the effect on Minnie? With Monroe in the restaurant, the discussions about Monroe marrying Minnie?

16. With her mother, the bond, the mother not wanting to talk about the episode?

17. Minnie, the final, getting through the crisis, and needs, emotional, behaviour, going into her own depths, developing some character, hope, the issue of being loved or loving herself, selling the pictures, goodbye to Monroe, giving him the picture, the art outlet, the affirmation of her sketches? The damage,
her learning, her future?

LEGEND

UK, 2015, 131 minutes, Colour.
Tom Hardy, Emily Browning, Paul Bettany, Taron Egerton, Christopher Eccleston, David Thewlis, Colin Morgan, Aneurin Barnard, Tara Fitzgerald, Kevin Mc Nally, Chaz Palminteri, Sam Spruell, Nicholas Farrell.
Directed by Brian Helgeland.

Interesting that the title for this film about the infamous Kray brothers settles for “legend”. It has been said in the past that Americans making gangster films, Francis Ford Coppola for The Godfather series, Martin Scorsese for Goodfellas, go beyond legend into the area of “myth”, not just a history of the exploits of these gangsters but creating tales that, while not necessarily glorifying them, puts them on some kind of higher plane.

During Legend, the characters have quite a number of cups of tea. Frances, Reggie Kray’s wife, does the voice-over commentary, a means for getting the audience to identify with her and her perspective on the Krays. It is she who makes the comments about locals always relying on a cup of tea to solve everything. So, it might be said, that the Krays were very cup of tea gangsters and so, the stuff of legend rather than myth.

It is half a century since the Kray brothers dominated London, from the East End where they grew up and began their criminal activities (while being very kind and neighbourly, with pleasant words and donations to the locals), getting money from protection extortion, trying to go somewhat legitimate by having clever accountants work for them, buying up clubs, sponsoring gambling, going more up-market as time went on, attracting a great number of celebrities who traded on the reputation of the Krays. They became gangster celebrities in their own world and a little beyond (the Mafia becoming interested in them with London as a possible English Las Vegas but a bit bewildered by the British style, less flamboyant than Italian gangsters, their heightened self-image and their families and mamas).

There was a film, The Krays, in 1990 with the twins, Gary and Martin Kemp in the central roles, but with a very strong focus on their mother, Violet, played by Billie Whitelaw. While Violet does appear briefly in this film, especially providing cups of tea and plates of cake, the focus is definitely on the twin brothers. And the key arresting aspect is Tom Hardy, always an excellent actor, who plays both brothers. We recognise him as he plays Reggie Kray, the brains behind the duo, the leader, decision-maker. It is far more difficult to recognise him as Ronnie Kray, different head, chubby face, spectacles, and a certified psychopath. Hardy gives two tour-de-force performances.

The London 1966 world is well recreated, streets and facades of old homes, local shops, restaurants and, then, the clubs. There is quite a range of songs from the period, strongly reinforcing the atmosphere.

The film traces the career of the Krays, their self-image, their ambitions, their being in love with the idea of the gangster, putting it into practice in their rather limited world, building up a group of thugs around them, moving somewhat into the big time, even with political connections. Yet, Reggie agreeably goes to jail for six months, they indulge in intimidation of witnesses in court cases, and Reggie sees himself as just another character, or rather a dominating character, around the East End.

Ronnie, on the other hand, finds himself very early in a mental institution, his brother intimidating a psychiatrist, who privately acknowledges Ronnie’s madness, to declare him fit for release – surviving as long as he takes his tablets. The other complication is that Ronnie is unembarrassedly homosexual, two young men always in tow, wanting to build a village in Nigeria for helping the locals, trying to get political endorsement and finance but only linking himself with Lord Boothby and homosexual orgies. This is brought to the attention of Harold Wilson, trying to deal with scandals and political motivations before an election.

And, in the meantime, Scotland Yard tails Reggie Kray who chats with them, offers the officers cups of tea, taunts them. Inspector Read is played with single-minded determination by Christopher Eccleston.

As has been mentioned, the voice-over is by Frances, Emily Browning. Her brother works for the Kray, she marries him, but fails in her ambitions to reform him and she takes an overdose.

For those who do not know the ending, they might expect gangsters to go out in a blaze of the ending gun glory, something like the American gangsters. On the contrary, Ronnie after an attempted murder is confined to a psychiatric institution for almost three decades. Reggie Kray, after a brutal murder, spends more than thirty years in prison. But, they caught the British imagination, and here they are still living as cinema legends.


1. The use of the word legend rather than myth? American gangster films creating myths? This British and London legend?

2. Audience knowledge of the Krays, attitude towards them, the issue of how to present them, as real, psychological portrait, glorifying them or not, moralising about their life and careers? The Krays in that time, celebrities? The popularity? The popularity in the East End, people experiencing their kindness, generous donations? The attitude of the police?

3. London in the 1960s, the East End, drab, the streets, the facades of the buildings, ordinary homes, the shops and protection, the clubs, going further upmarket? The atmosphere of gambling, money protection, drugs, sexuality and politics?

4. The range of contemporary songs and their placement throughout the film? Mood?

5. The story for the 21st century? The fact of Reggie Kray spending decades in prison? Ronnie Kray in the institution? Their reputations?

6. The presence of Tom Hardy, the two performances, the contrast between the two brothers, yet reinforcing the bond of the twins?

7. The background, their mother and her influence, father the father’s presence, the older brother? The mother protecting her children, during the war, the effect? The visits to their mother, tea and cake? Crime in prison?

8. Francis and her comment about cups of tea for every occasion – and this portrait of the Krays as cup of tea London gangsters in contrast with the high-powered American gangsters, Italian, drinking, drugs, the mothers and family?

9. The idea of the gangster, their self-image, ambitions, ruthlessness, jumped up criminals? Issues of power, violence, the image of the gangster and enjoying it?

10. Frances, her voice-over, the audience to identify with her and her perspective? Her brother and his work for Reggie Kray, her mother, hostility – and wearing black to the wedding? The attraction to Reggie? Study, wanting to get out, going out with him, the attraction, falling in love, the nature of the relationship, the effect on Reggie? The period of glamour, outings and clubs? The proposal, the wedding, the happiness, the hostility of her mother? Her hopes for Reggie’s reform? The failure? The taking pills, Reggie and his violence, her leaving, his coming to plead with her, the final talk, then taking the pills, laid out in death, Reggie’s response?

11. The relation between the twins, the bond between them, Reggie making the decisions, Ronnie in the institution, the pressure on the doctor to declare him sane, the recommendations of the pills, the doctor’s private verdict of his madness? Ronnie and his madness in action?

12. Reggie, Tom Hardy’s performance, a leader, but worried about crime, giving himself up, going to prison for six months, his being surrounded by thugs, locals, the tough attitude? Protection, the standard tactics? Taking Frances to the club, taking time out to confront Jack, pleasant and then hitting him, repeated later? Seeing himself as a gangster heavy, his swagger in the streets, relationship with the police, with the Inspector, chases and eluding the police, taunting them? His saving Ron, Ron and his violence, his boys accompanying him? The relationship with Leslie Payne, Payne and his professionalism, crooked but legitimate? The success, Ron his animosity? Payne and his lifestyle? The deals, the clubs, protection and the money, the accounts? Reggie and his buying the upmarket club, style, the singer, the higher class guests?

13. Ron, his appearance, the talk with the Mafia boss, his declaration of his homosexuality? No prejudice, liking Greeks and Italians? The two young men always in tow, the home life, their ability to act violently, and yet at home with Mrs Kray? The breaking out, commissioning Jack to shoot Leslie Payne? At home with his mother and the cup of tea and cake? The psychiatrist pressurised to declare him sane?

14. The visit from the Mafia, the discussions, the American attitude towards the low key British? Coming over to check up? London to be the Las Vegas of England?

15. Lesley Payne, character, deals, the end, his being shot, the police talking to him, his giving up the information?

16. Inspector Read, his associate, tailing the Krays, following, his serious attitude, his determination, the confrontation with Reggie, his being tricked into the photograph? Scotland Yard, disbanding the group, setting it up again?

17. Ronnie, the plan for financing the centre in Nigeria, Lord Boothby, the sex, the orgy sequence, the photos, being shown to Harold Wilson, his reaction, the politics, the political consequences and his handling them?

18. The Krays in court, the witnesses, lying, the dismissal of the case?

19. Ron, being his own law, Reggie and his overreaching himself, the wedding, the promises to Frances, unable to keep them, enjoying the swagger, his reaction to Frances leaving, talking with her, her death?

20. Jack, commissioned by Ronnie to kill Payne, at the club, drinking, taunting Reggie, especially about Frances, Reggie’s frenzy in stabbing him to death?

21. The brothers overreaching themselves? The decades for Reggie in prison, for Ronnie in the mental institution?

TO WONG FOO, THANKS FOR EVERYTHING, JULIE NEWMAR

US, 1996, 109 minutes, Colour.
Wesley Snipes, Patrick Swayze, John Leguizamo, Stockard Channing, Blythe Danner, Arliss Howard, Jason London, Chris Penn, Melinda Dillon, Beth Grant, Alice Drummond, Ru Paul, Julie Newmar, Michael Vartan, Robin Williams.
Directed by Beeban Kidron.

Planned before Priscilla, but made after, this is a much more gentle and sentimental story of three drag queens who, with their New York pizzazz, are stranded mid-west in a drab little town. Yes, they change people's lives for the better. Yes, they discover their own humanity. Yes, it is a plea for tolerance and for seeing similarities rather than differences.

As expected, there is a big budget for gowns, dresses and eccentric outfits. The three stars enter into the spirit of the show with energy, Patrick Swayze giving a particularly good and sympathetic performance, immersing himself in his character. Wesley Snipes is a surprise choice for his role. John Leguizamo is the hustling Chi-Chi?. The supporting cast includes Stockard Channing, Blythe Danner and a Robin Williams cameo. A cheerful plea for acceptance.

1. An entertainment with a message? Acceptance? The 1990s? The impact of Priscilla, Queen of the Desert?

2. Changing attitudes towards drag queens, homosexuality, homophobia? The 1990s, opened and closed attitudes?

3. US attitudes, cities, in the midwest?

4. The big cities, clubs, costumes and decor, competitions?

5. Nebraska, the countryside, tone, apartments, shops, the garage? The contrast with cities?

6. The range of songs, performance, costumes and dance, spectacle?

7. The male stars, the make up, costumes? The characters? The credibility?

8. The competition, dressing for the parade, the performance, judges, the prize, Chi Chi and her wanting the prize? Upset? The discussions with the wealthy man, Robin Williams, and his cash gift?

9. The choice of the car, travelling, the three and their interactions, Vida as the grande dame? Noxeema, black, wanting to be Dorothy Dandridge? The Latina? Styles, talk, speech, manner, arguments?

10. The sheriff, his advances, Vida’s attack, leaving him on the road? His campaign against them? In the bar, talking with Virgil, searching, the shops, the ballet schools? Coming into the town, the confrontation, the people against him? Shouting from the side? Homophobic?

11. The car and the breakdown, meeting Bobby Ray, giving the lift, the attraction to Chi Chi, delivering them in the town, Virgil and the delay in the car repair, Carol Ann and the room, the reactions – and later decorating?

12. Going into the town, meeting Beatrice, explaining everyone and their backgrounds? The black man and his owning the cafe, the date with Beatrice? Carol Ann’s children, Bobby Lee and love for Bobby Ray? Chi Chi and her being in love?

13. Carol Ann, Virgil, his brutality, beating, her excuses about the onions, the spices in the cooking and his harsh reaction?

14. Clara, dropping her picture, not talking, the cinema, her memorabilia? Noxeema following, the discussions about Dorothy Dandridge, Clara talking, Lena Horne? Going shopping, her change?

15. The women in the town, the Girls’ Day, socialising, talking, the strawberry Festival, Wild and red and the fair? Going to the shop, the assistant and his stammer, the materials, then taking them, his dressing up? Parading in the outfits?

16. The boys in the town, aggressive, Noxeema and her grabbing the boy’s crutch, his apologies? His slinking off? Dressing up and defending visitors the next day?

17. The dancing, Chi Chi and the argument with Vida, Bobby Ray and his dressing up, his offer, Chi Chi? Letting go, Bobby Ray and Roberta, the make up? Everybody dancing?

18. The effect on the town, the celebration of the Festival? Everybody dressed up, the violence of the sheriff? Carol Ann knowing the truth about them all the time?

19. The decision to go home, Vida and to go to meet her parents and not needing approbation?

20. The picture of Julie Newmar, the gift to Carol Ann? Julie appearing at the end as one of the judges? And Chi-Chi? winning?

21. Message about acceptance and tolerance – through an entertainment?

THE BOXER

Ireland, 1997, 113 minutes, Colour.
Daniel Day Lewis, Emily Watson, Brian Cox, Gerard Mc Sorley, Ken Stott.
Directed by Jim Sheridan.

Daniel Day Lewis was impressive in My Left Foot and in In the Name of the Father. He joins with writer-director, Jim Sheridan, for the third time in The Boxer. It deals with the Irish troubles in Belfast as did 1997's Some Mothers Sons from Terry George (co-writer of this film).. The view is very critical of Unionist stances but is also condemnatory of the hard-line, old-brigade IRA.

This is strong material, more topical today that when it was filmed over a year ago. It is illuminating and emotional. The acting is convincing, not only Day Lewis as a boxer, gaoled at 18, but now wanting to set up a centre that crosses the political boundaries, but Ken Stott as his alcoholic trainer and Gerard Mc Sorley, menacing and frightening as the unbending para-military commander. Grim, but worth seeing.

1. The title, the focus on boxing, in the Irish context, Danny as a fighter?

2. The work of Jim Sheridan and Terry George, their films about The Troubles? The film released in 1997, the year of the Treaty?

3. Belfast, Northern Ireland, East Belfast, Catholics, the IRA, the look of the city and the suburbs, the homes, the gymnasium, the church? The contrast with the Protestants in the British? Possibilities for peace?

4. Daniel Day Lewis as Danny, intense, boxing in prison, 14 years, his past with the IRA, with Harry, with Joe, the relationship with Maggie, aged 19, 14 years in prison, getting out, still loving Maggie? The encounter with Ike, his drunken attack, talking with him sober, the plan, the gymnasium, the hopes, getting the equipment out, drawing the kids, the training, the balance, the fight for Danny, the crowds, open for Protestants and Catholics? The reading out of the names of the deceased, their parents present? The Protestant couple amongst the Catholics and the acclaim?

5. Danny, his personal life, his love for Maggie, meeting her, her reactions, remembering the past, her marrying his best friend, the breakdown of the marriage, her pregnancy, Liam and his age? Her husband in prison? Liam overhearing the two talking, his fear that Dannny would take his mother away, the brawl after the bout, burning the equipment, burning down the gym? His apologies to his grandfather? The aftermath?

6. Joe, ageing, his dominance in the past, love for Maggie, for Liam, his respect for Danny, Danny saving Harry and going to prison? His continued control, working for the peace treaty, the final decision for Harry’s death?

7. Harry, the hardliners, vindictive, unable to accept peace, men of violence, his wife and support? Confronting Danny, confronting Joe, the bout, the police the gift of the equipment, the bond on the policeman’s car? The brawl? His standing up to Joe? The decision to kill Danny, under the bridge, the shooters killing Harry?

8. The range of henchman, those surrounding Joe, their loyalties, their past? Harry and his hard men? Taking sides, instilling fear, the violence, the bashing of Danny?

9. Ike, his life, boxing, training, the bout and peace, taking the equipment, the brawl, the bond, the burning down of the gym, Harry’s interventions and killing Ike?

10. The picture of the British, their stances, the military, wanting violence? The bout and the brawl and the intervention of the police? Quelling the riot?

11. Danny, his stances, wanting to be independent, his past, confronting Harry? Joe confronting him, the issue with Maggie? The decision to go to England, the British manager, having the bout in London, the wealthy coming to witness the bout, the hard fight? His walking out?

12. The return home, Maggie and Joe, Liam, his not being killed? The future? The perspective of 1997?

THE TALL TARGET

US, 1951, 78 minutes, and white.
Dick Powell, Adolphe Menjou, Paula Raymond, Marshall Thompson, Ruby Dee, Richard Rober, Leif Erickson, Will Geer, Florence Bates.
Directed by Anthony Mann.

The Tall Target is an imagined story about Abraham Lincoln, his giving speeches before his inauguration, expectations and travel through Baltimore and that there would be an assassination attempt.

Dick Powell portrays the policeman who had assisted Lincoln in his campaign and admired him, has discovered the plans for the assassination attempt, with about 20 different assassins, unbeknownst to each other, attempting to kill the President-elect. He explains the situation with documentation to police authorities in New York who laugh him out of the room. Only a major from Poughkeepsie seems to believe (Adolphe Menjou).

Powell has difficulties getting on the train to Baltimore and Washington, with the railway guard who is a letter of the law official. A policeman is murdered on the train, somebody takes Powell’s coat and ticket, having to get off, buy a new ticket, and try to investigate what is happening. The major is quite hospitable, even shooting the imposter through smoke and under the train, but eventually unmasked as the contact for the assassination.

Also on the train is a family from the South, Paula Raymond is the sister of Marshall Thompson, graduate from West Point, who emerges as one of the assassins. A very young Ruby Dee portrays the maid able to give information to the policeman and stand her ground, even though she was brought up in the South along with the white woman.

This is a train journey film, characters getting on and off, a local policeman trying to detain Powell who gets back on the train, and confronts the Southern family. The major is smooth and talks his way out of difficult situations.

There are two elderly ladies, one played by Florence Bates, who is anti the secessionists and gives her opinions on Lincoln very strongly. The other is a woman who demands complete privacy. When the train is delayed for an hour and a half to receive a package, it emerges at the end of the film that the package is a decoy and that it is Lincoln himself who has been spirited onto the train to avoid any assassination attempt.

Conventional filmmaking in many ways, but the director is Anthony Mann at the beginning of his career with Westerns in the 1950s and spectacles in the 1960s.

1. An entertaining speculation about a train trip, Abraham Lincoln and speeches, the President- elect before his inauguration, assassination plans and attempts?

2. MGM production values, black and white photography, musical score, the cast?

3. The film as a train journey? The background, John Kennedy and his role in the police, his documents about an assassination attempt, his admiration for Lincoln, working with him on his electioneering? Wanting to prevent the assassination? The authorities laughing at him? Giving up his badge?

4. Going to the train, the man early and keeping the seat, Kennedy searching for him, the imposter take his coat and ticket, having to get off the train and get another one, the argument at the ticket box, the encounter with the Southern family? Getting back on the train, finding the dead body? The later struggle with the imposter, the fight under the train and the imposter being shot?

5. Mrs Alsop, her vocal opinions about Abraham Lincoln and her wanting to report problems to him? The mysterious elderly lady, her privacy in the car?

6. The conductor, the letter of the law, the crisis he faced, tickets, the imposter? The delays, waiting for the package, having to go slowly because of possible uprisings, the anger of the driver and wanting to get away? The local police, taking Kennedy?

7. The major, present in New York, with his marching band, for the inauguration? His sympathy towards Kennedy, taking him into the cabin, the issue of the gun, shooting the imposter? Kennedy trying to sleep – and his tampering with the bullets, the major and his unmasking, his plan? Kennedy taking him to the police, his wangling his way out of being detained? The arrest?

8. The Southern family, suspicions of the West Point graduate, the revelation that he was in on the plan? His sister, her concern? Rachel, the slave, brought up with the sister, giving information to Kennedy, standing by her principles?

9. The delay, waiting for the package? The irony of its being old newspapers? Lincoln smuggled onto the train? The Pinkerton man, Lincoln himself?

10. The suspense on the train, the context of Lincoln in 1861 – and the range of passengers on the train and their denunciations of Lincoln, the secessionists, the Major and his business losses, the range of hostility and the credibility of an assassination attempt? And audiences knowing about
1865?

MARFA GIRL

US, 2012, 105 minutes, Colour.
Adam Mediano, Drake Burnett, Jeremy St James, Mary Harley.
Directed by Larry Clark.

The principal reason for seeing this film is the writer-director, photographer, Larry Clark.

He first made an impact in the cinema world with his eposé of adolescents in New York City, and the absence of parents in their lives, in the 1995 film, Kids. At the time, some commentators thought it was exploitative of the young people, their lives and personalities, their behaviour, drug taking and sexual interactions. Many defended the film as a picture of young people and the times.

He continued his preoccupation with young people in films for the next 20 years or more. Again, he has been accused of exploitation of young people, getting them to perform intimate acts, especially sexually explicit acts, as in his drama, Kan Park, 2002. His picture of young people in Florida, Bully, was more oriented towards a mainstream audience.

He continued filmmaking, photography, documentaries, some features. In 2012, he directed this film, open again to the previous accusations. In 2014 he shifted his attention to Paris, again with young people, especially a group of male adolescents acting as escorts, The Smell of Us.

This film is set in the town of Marfa, on the Mexican- American border. It opens with a focus on a young lad, Adam, smoking weed with his friend, pursued by the border police, brought home to his mother, a kindly and caring woman. The next day is his birthday, some attention from his mother, going to class and sleeping through a lesson on the French Revolution, challenged by the teacher, who is heavily pregnant, she decides that instead of sending him to the principal, she will give him a beating. She puts him over her knee and gives him 17 – which both he and she seem to enjoy. She later appears at the end of term, wishing Adam well and expecting to give birth to her child.

What the film does is show some details of life of various characters in this border town, especially the adolescents, interviews with some adults, and encounters with three of the border police. Which means that there is a lot of dialogue in the film, some of it seemingly improvised as the characters give their life stories. Interspersed with the interviews are quite a number of sex scenes, once again quite explicit in activity and nudity, especially with the redneck border policeman. So, the film as with his other films, is a mixture of the interesting and the prurient – with some touches of violence.

Adam reappears through the film, give some explanations of his life, but his focus is on his skateboarding and his relationship with a young girl in the town, the sexual relationship, his meetings with his mother, an encounter with the border policeman who makes a sexual advance on him, who also attacks Adam’s mother, earlier showing her vagina pictures from the Internet, and Adam shoots him.

The girl of the title is an artist, from a wealthy white background, accused at times of being condescending to the Hispanics in the town. She is seen sketching two young musicians, then having sex with them and lying naked with them, giving her philosophy of her father being a hippie and urging her to have sex with anyone and everyone – which she has, and does in the film. This is especially the case with a Hispanic musician whom she has a conversation with and then a sexual encounter with the pleasant young representative of the Border Police. She is humiliated by the redneck and then raped by him. She has variety of experiences but whether she learns anything from them remains a moot point.

With the Border Police, one has a daughter and is very aggressive towards the redneck in his humiliating treatment of a Hispanic girl at the restaurant. The other Hispanic man is more genial, has a long conversation with the Marfa Girl, explaining his life, idleness, joining the border police, his tattooes – culminating in a sexual encounter.

But, there is a lot of attention on the redneck, who seems to be something of a sociopath, chasing Adam and his friend, tackling them and bringing them home, being condescending to the Hispanic girl in the bar, taking another Hispanic girl out on a date which seems to have ended satisfactorily, preoccupied with sex, angry at his ex-wife and taking his child away, on the Internet looking at pornographic pictures of the vagina, accosting Adam’s mother with the photos, attacking her, encountering the Martha Girl, lying naked and erect, with the other police close by, and then raping the girl. While there might have been a moment’s sympathy for him and his hard father and difficult life, his violent and raping behaviour alienates him and it is not surprising that Adam shoots him.

There is a young girl, with a young baby, thinking of going to a bigger town to do striptease and dancing to earn some money – who also has a birthday sexual encounter with Adam.

A Hispanic woman comes to town, having experienced a death, returning, talking about her life and sharing ideas and experiences with Adam’s mother, with a background of Hispanic non-Christian rituals – and, at the end of the film, the main characters are all standing with her as she does incantations and sprinklings.(At times, there is a glimpse of the Catholic Church and a statue of Mary on the street corner – but that is the only glimpse of Catholicism and Christianity.)

So, Larry Clark is exploring some of the characters in this isolated border situation, inspirational interaction, the border and the time, problems with drugs, in the sexual encounters and the consequences.