BEAUTY FOR SALE

US, 1933, 87 minutes, Black and white.
Madge Evans, Alice Brady, Otto Krueger, Una Merkel, May Robson, Phillips Holmes, Eddie Nugent, Hedda Hopper, Isabel Jewell.
Directed by Richard Boleslawsky.

Beauty for Sale has two meanings – beauty at the beauty parlour for clients, and women who are beautiful, available to sugar daddies. Both meanings apply in this film which was made definitely before the impositions of the Motion Picture Code.

The film has a New York setting, a young woman coming from the south, impoverished, staying with a family in Brooklyn, rather hounded by the son of the house, but looked after by the young woman of the house who works in the beauty parlour – and who, it turns out, has a wealthy patron who gives her what she wants, and she exploits this.

Despite this being the Depression, the beauty parlour has many clients, rather overfed matrons, wanting artificial beauty, and finding the salon a very good place to gossip, not unlike what would be seen several years later in The Women. Later gossip-writer herself, Hedda Hopper, presides over the parlour, protecting her son who becomes infatuated with one of the girls, gets pregnant and, of course, leaves her in the lurch and she kills herself.

The main character, played sympathetically by Madge Evans, is called out to an ultra-nervous wealthy wife, Alice Brady, and encounters her lawyer husband, Otto Krueger. He makes advances on her. She is in a quandary, attracted by the man, and becoming his companion. Then, she said decides to break off the relationship.

The screenplay contrives to get the lawyer’s wife out of the house, meeting an architect and soon becoming infatuated with him, ultimately wanting a divorce to which her husband quietly agrees. However, the heroine does not go through with a marriage to the young man of the house and, just in the time, discovers that the lawyer is free. Happy ever after. A looser representation of moral behaviour than would be seen in films during the coming years.

1. The title? location? The beauty parlour? The women working at the parlour, the relationships, dependence on men?

2. MGM production values, 1933, the cast, black and white photography, visual style – especially the profiles of the women? Musical score?

3. The setting, New York City, Brooklyn, the apartments, Letty, her mother returning home, paying off debts? With Carol, getting a job? With Bill, his flirting? The clash with Bill, turning down his proposal, his mother and her kindness, but her being upset? Carol support?

4. The beauty parlour, the number of girls working, the number of clients? Rich and pampered women? The scenes of their gossip? Wealth? The girls and
their attending to the clients, being called out to homes?

5. Letty’s story, the background from the South, a good girl, earnest, the clients, Mrs Sherwood, her tantrums? The dog eating the hat, the encounter with Mr Sherwood, going shopping, the hat, sheltering from the rain, his giving her lifts, the attraction? The relationship, knowing that he was married? Moving to the new apartment, with Jane, supporting Jane, supporting Carol? Breaking off with Mr Sherwood? The attentions of Bill, the engagement, the ring, looking at the house in the country, Mrs Sherwood? Carol going to Paris, returning, the lavish life? Jane and her distress, suicide? Letty and Mme Sonia? Mrs Sherwood and her gossip about going to Paris? Letty unable to go through with the wedding?

6. Carol, gold-digger, brassy in manner, with her friend, the dates, his attention, his family? Taking her to Paris, the wealth, return, marriage? Supporting Letty?

7. Mme Sonia, her control of her business, haughty with the girls, protecting her son, her son’s relationship with Jane, the secret, rendezvous, his going on the boat, Jane’s pregnancy, her grief on hearing Letty’s news, killing herself?

8. Mrs Sherwood, her nerves, lazy, pampered? The treatment of her husband, his patience? Her meeting the architect, instantly attracted, discussions, the building of the house, the money? Announcing that she wanted divorce, her husband’s reaction? Going off to Paris?

9. Letty, not married, with Carol and looking at the house, the estate agent, discovering the truth about the divorce, hurrying to see Mr Sherwood, the possibility of marriage?

10. Treatment of love, marriage, divorce in the pre-code films of Hollywood?

ALWAYS IN MY HEART

US, 1942, 92 minutes, Black and white.
Kay Francis, Walter Huston, Gloria Warren, Patti Hale, Frankie Thomas, Una O' Connor, Sydney Blackmer, Frank Puglia, Borrah Minevitch and His Harmonica Rascals.
Directed by Jo Graham.

Always in my Heart is a pleasing and somewhat sentimental film, one for those who enjoy the golden years of Hollywood.

Walter Huston portrays a man in jail who has divorced his wife out of sympathy for her and she has told everyone that he is dead and that they were divorced. At the opening of the film, the wife, a sympathetic Kay Francis, goes to visit her husband to say that she intends to marry again, a rather severe man but who is kind to her, Sydney Blackmer.

Her children, have difficulties with their prospective stepfather, the young man being sent off to college but being given a car, the daughter, wanting to be a singer, given the gift of a piano which she does not want. The daughter is played by Gloria Warren, a singer in the vein of Deanna Durbin but not destined to be like her as a film star. She has quite a number of arias in this film.

The theme music and song was Oscar-nominated but was up against White Christmas, so who else could win!

The plot becomes complicated and emotional when the prisoner is released and passes by the town, seeing his daughter, seeing his son, helping the local people, especially a group of harmonica players. While this complicates matters with his wife, his daughter finds out the truth and wants him to stay – with a melodramatic episode when she goes to sea and runs into danger with her father and brother rescuing her.

Always pleasant.

1. The title? The song? Oscar-nominated? As this theme of the film, musically and for its meaning?

2. The California setting, the 1940s, Santa Rita, the wealthy area, Fish Town, the Hispanic, Italian and migrant area?

3. Importance of music, the piano, the harmonica, the songs, excerpts from opera, the Harmonica band, the procession, everybody joining in, the final broadcast?

4. The situation with Marjorie and Mac, her visiting him in prison, his conducting the orchestra, his indicating that he would be there for life, urging her to marry Philip? The irony that he was receiving a pardon, leaving, going to California, to the town, passing by, wanting to glimpse his children, hearing Vicky sing, tuning the piano, knowing the piano, rescuing it when it went to the junkyard? Going to visit Joe, admiration for him because of his help for Vicky, the invitation to stay, Joe, his wife and the seven children? Vicky visiting Joe, meeting Mac, their friendship, his admiration for her singing? The encounter with Marty, Marty and his car, with Lolita and his friends, no regard for Mac?

5. Marjorie and Philip, the possibility of marriage, her divorce, the children not liking Philip much, his cold manner, wanting to send them to College, music training? Getting the car for Martin, on the boat? Getting a new piano and Vicky upset at the loss of the old one?

6. The maid, her granddaughter, the comedy in the kitchen, the children and their relationship with her? The little girl, eager, hearing everything, passing it on?

7. Mac, accepted as Professor, his friendship with the harmonica group, the rehearsals, Vicky and her singing?

8. Vicky, the discovery of Mac’s identity, the pictures, her father? wanting him to stay? Marjorie coming to see him? His still urging her to marry Philip?

9. Mac, his decision to move, Martin and his problems with Lolita and her brother, the fight, the brother drawing a knife, wounding Mac, Martin and his admiration for Mac and saving Vicky?

10. Vicky, missing the boat, taking the speed boat, the rough seas, the group in pursuit, saving her?

11. Marjorie and Philip, her hesitation about the marriage having met Mac?

12. The maid, her telling Philip off?

13. Philip and his moving out of the scene? Marjorie, with Mac, with the children, the possibilities for a new stage of life?

A RAISIN IN THE SUN

US, 2008, 131 minutes, Colour.
Sean Combs, Sanaa Lathan, Audra Mc Donald, Phylicia Rashad, Justin Martin, Bill Nunn, David Oyelowo, Ron C. Jones, Sean Patrick Thomas, John Stamos.
Directed by Kenny Leon.

A Reason Raisin in the Sun made a very strong impact in the late 1950s when it appeared on Broadway. Lorraine Hansberry was hailed as a significant playwright, forceful on the race relationship themes of the period and foreshadowing what was to emerge in the 1960s, especially under the leadership of Martin Luther King, the March on Washington, the March through Selma and his assassination. The 1961 film version, directed by Daniel Petrie, starred Claudia Mc Neill and Sydney Poitier, with Ruby Dee.

50 years later, the play was presented on Broadway again and this film version, made for television, took on the cast from the theatre. The film belongs very much to Phylicia Rashad as the long-suffering mother, not confident in her son, trying to understand her “modern” daughter, very sympathetic to her put-upon daughter-in-law. Audra Mc Donald is very persuasive and often moving as the daughter-in-law. Saana Lathan is the daughter with Sean Patrick Thomas as her wealthy suitor and an early role in the United States for David Oyolowo, a British stage actor of some reputation who has impressed in many an American film, but especially as Martin Luther King in Selma. Some critics were rather severe on Sean Combs, thinking more of his reputation as a singer, Puff Diddy, than on his screen presence and performance as the unreliable son.

The film takes place principally within a small apartment in Chicago, opened out with visits to a beauty parlour, to a bar, to more update house in a white neighbourhood.

But, the strength is in the dialogue, the strong interchanges between all the characters, including the young son and the leader of a group of white protesters against the black family moving into their neighbourhood, John Stamos.

The film uses the theatrical structure, many separate scenes, with characters having dialogue discussions, but this works because of the performances and the fluidity of the camera work, moving away from giving the impression of being a play.
This is a very moving film to watch, for Americans, for outsiders – and an opportunity to empathise with African- Americans both in the past and in their continued hopes for justice and equality.

1. The original play? From the 1950s? Its success? Before Martin Luther King and civil rights movement of the 1960s? The signs in the 1950s? The 1961 film version, the cast and its impact in its time?

2. A remake almost 50 years later? Perceptions of the 21st century? Performance on Broadway, the cast, a film made for television, staying with the 1959 setting?

3. Structure of the film, based on a play, the acts and scenes, dialogue and conversations between characters?

4. The strength of the cast, the performances?

5. The family, the place of the matriarch, her age, coming from the South, her experience, free choices, as wife, as mother, her respect for her husband, his death, insurance? The widow, working for the white family, with the child, finishing her job? The insurance money, the pressures from her son, the education of her daughter? Her response to the new generation? The touch of rebellion, the daughter and her trying all the fads? Her friendship with George, his wealth, considering him superficial? The Doctor, from Nigeria, her hopes, sense of identity? Water, his mother’s thinking he was not mature, his marriage, love for Ruth, the boy, his job, as a chauffeur to the white man, humiliated or ignored? His wanting investment? Meeting with his friends, the hopes? His drinking? His treatment of Ruth, her fidelity, the barriers coming between them? Her work, love her son, weary, pregnant? The portrait of the family?

6. The apartment, old, only one bathroom and the building, the boy sleeping on the sofa, the kitchen, the lack of privacy? The desire to move? The house in the suburbs, ordinary, but welcome to the family?

7. The action taking place over a few days, the initial focus on Ruth, Travis, the son, the home, the issues, Ruth and her work, the laundry and ironing? Waiting for the letter, the boy collecting it, $10,000? The mother against investment and risk? Ruth and her trying to persuade her mother-in-law about investment? The mother going out, putting the deposit on the house? The visit to the house, the representative of the neighbours, the racist attitudes and his trying to cover them? His mother giving Walter the money, his going immediately to give the money for the plan for the liquor store, the absconding of the entrepreneur, the loss, his mother and her stoic acceptance of the reality?

8. Walter and his decision to sell the house, the visit from the representative, Walter and his stance, deciding that they would move to the house – and his mother thinking that he had matured as a man? His future?

9. Walter, his character, not having a great sense of responsibility, his hopes of the money, his friends, drinking, discussing, the deals, the investment? His friend, news of the swindle, his losing everything? Water and the anguish, the risk, the humiliation? His sister and her criticisms? Yet his mother loving and forgiving him? Ruth, the pregnancy, the mother’s concern? The plan to sell, the visit, Walter and his change, taking stands? In the eyes of his son?

10. Ruth, her age, experience, tired, doing the laundry, the gap in the love of husband and wife? Disciplining her son? The good relationship with her mother-in-law, trying to persuade her about Walter and investment? Yet agreeing with her? The pregnancy, not telling anyone, going to the beauty parlour, arranging the abortion? Going for the abortion, seeing the implements, her change of heart? Her mother-in-law and her sensitivity, Walter and the response to the pregnancy?

11. The daughter, her age, the new generation, taking up all the hobbies, the outings with George, his being wealthy, their discussions? The Doctor, from Nigeria, teaching her the language, issues of African- American identity? The visit, the embarrassment about the apartment being cleaned, the Nigerian clothes and her wearing them – and George wanting her to wear something ordinary for the theatre? Her strong reaction about the money, the house, Walter’s behaviour? Her mother trying to make her more tolerant?

12. The swindler, entrepreneur, his style, the drink, the tips, absconding with the money? Walter and his friends left in the lurch?

13. The new neighbourhood, black families moving in, the racist attitudes?

14. The title, the possibilities of interpretation?

FAR FROM OF THE MADDING CROWD

UK, 2015, 119 minutes, Colour.
Carey Mulligan, Matthias Schoenaerts, Michael Sheen, Tom Sturridge, Juno Temple, Jessica Barden.
Directed by Thomas Vinterberg.

Over the last 50 years, the novels of 19th-century author, Thomas Hardy, have been popular sources for many films. A memorable film from 1967 was made of his novel, Far from the Madding Crowd, with Julie Christie, Peter Finch, Alan Bates, Terence Stamp. There have been versions of his Tess of the D’ Urbevilles, including Roman Polanski’s Tess, of Jude the Obscure, of The Woodlanders and The Return of the Native, and a version of The Mayor of Castor Bridge, The Claim.

Now comes another version of Far from the Madding Crowd, a very satisfying version in itself.

The setting is Dorset 1870, a village, the fields and cliffs near the sea, small farms, barns and mansions, the local town and markets. While the photography is quite striking, the locations are not presented merely as touristic scenery but part of the plot and the development of the plot.

Hardy’s novels have very strong heroines, with the spirit of independence that often transcended their times. This is true Bathsheba Everdene, a young woman who inherits a farm, decides to manage it herself, is full of energy, not hesitating to get out with the sheep or bringing in crops. Carey Mulligan offers a strong and emotional performance. She has encountered an upstanding farmer, symbolically called Gabriel Oak, the shepherd experiencing tragedy when his sheepdog loosens the fences and drives the flock over a cliff. Bathsheba employs him. He is devoted to her and has proposed but has been rejected. Bathsheba cannot see herself as married.

And Gabriel Oak (Matthias Schoenaets) is not the only suitor. A local landowner, Mr Boldwood (Michael Sheen), a rather solitary man, also proposes, thinking he has a chance because of a thoughtless Valentine’s Day prank that Bathsheba had played. And then there is the dashing soldier, Frank Troy (Tom Sturridge), who has been infatuated with one of the workers on the property, Fanny Robin, but has given up on her when she did not turn up at the church for the wedding (she had mistaken the name of the church). Bathsheba, despite her attitude towards suitors and her strong control of herself, becomes infatuated with the soldier with dire results.

The film immerses its audience in the life of this England, the hard work, the seasons, the socials.

And, all the time, there is Gabriel Oak, working hard, supporting Bathsheba, listening to her, and quietly regretful that she does not love him in return.

There has to be a climax. Mr Boldwood asks Bathsheba to reconsider, comes out of his shell to organise a Christmas celebration, detailed in its preparations, inviting everyone and hoping that Bathsheba will accept his proposal. There is an unexpected turn of events, which becomes highly melodramatic, Mr Boldwood going into action that he never dreamt he would. Gabriel, still supportive, realising that he has no future in Dorset, tells Bathsheba that he has decided to migrate to America.

There is something grim about the writings of Thomas Hardy, something of a hardness in his presentation of human nature, in emotional conflicts. And his heroines are strong women who suffer.

Far from the Madding Crowd is definitely in this vein, but with more glimmers of hope than in other novels. Danish director, Thomas Vinterberg who had made rather austere films early in his career but was able to interpret British stories with insight and skill, including his film version of Jonn Le Carre’s Tinker, Tailor, Soldier, Spy, has made a very persuasive version of Far from the Madding Crowd.

1. The world of Thomas Hardy? Dorset? The 1870s? The Victorian era? Rural England? Farms, markets and towns?

2. The title, Dorset, for Bathsheba, her life? Memories of the 1967 version?

3. The locations, the use – for beauty, but for establishing mood and developing the plot? The land, the sea? Farms, towns, the mansion, markets? The musical score?

4. Bathsheba Everdene’s story? 19th-century woman, in the 1870s, English society, women and their place, her independence, their expectations for marriage and submission to men? Her life, with her aunt, on the farm, hard work, friendship with Gabriel Oak, as shepherd, riding past, losing her scarf and his returning it, the gift of the lamb? His proposal, the possibilities, her rejection? Her uncle’s death, the inheritance? Her meeting with the staff, with those who worked on the farm, her speech, payment, dismissing the bailiff because of his irresponsibility? Her hands-on work, the request to Gabriel after the loss of his sheep, her friendship with him, confiding in him, yet the tension in the relationship? Watching him with a sheep, getting into the water, sharing the work? Her moodiness, wanting independence, Mr Boldwood as neighbour, his visits, the proposal, her needing time to think, not wanting to marry him? The sending of the Valentine and her later being ashamed, apologising? Gabriel’s comment and his reprimand? Going to the market, selling the crops, Mr Boldwood watching, the farmers and wariness about a woman, her customers? With Liddy, at home, her work, companionship, a confidante? Her seeing Frank Troy, the military, the attraction, his response, charm? The outings, the dancing, the relationship, marrying him, the celebration, Gabriel and the storm, her going out, covering the crops and saving them? Troy, the episode of his swordsmanship, her standing firm? Symbolic? His gambling, fickle? Fanny dying, the previous comment on her running away? Her death, the coffin, the baby? The news of Frank Troy drowning, his clothes? Mr Boldwood’s party, his return, wanting money? The threat, Mr Boldwood then shooting? Gabriel and his decision to go to America? Her following him, their talk, love, her asking him to propose again, the acceptance? Shared future?

5. Gabriel Oak, a solid man, strong character, skill in farming, with the sheep, the gift of the lamb for Bathsheba? The dog, the noise in the night, freeing the sheep, the rush to the Cliff, going over the cliff, Gabriel walking along the beach, his stoic acceptance of his misfortune? Leaving, on the road, seeking jobs? Bathsheba inviting him to work on her farm, the changed situation? His diligence, with the workers, talking with Bathsheba and his feelings? Saving the crops? His reaction to Frank Troy? To Mr Boldwood? The climax with the Boldwood shooting, his decision to go to America, Bathsheba pursuing him? Future?

6. Mr Boldwood, his situation, farmer, gentlemen, at the market? Solitaryr man? The Valentine, its effect, his venturing to propose, Bathsheba and her apology? His visiting again, confiding in Gabriel? Arranging the party, the details of the preparations, his hosting, the arrival of Troy, his shooting him, the glimpse of prison? A lenient sentence, crime of passion?

7. Troy, the military, the scarlet coat, with the other men, Fanny in the crowd, his love for her? Waiting at the church, eventually leaving, the glimpses of Fanny, searching for the church, the wrong church? His leaving, seeing Bathsheba, the attraction, the marriage, the celebration, his drinking, ignoring the storm? The importance of this swordplay sequence and its implications? Idle, gambling, races? Meeting Fanny again, the plan, his waiting at the bridge, her going to the house, collapse, her death, the coffin, Fanny and the child? Upset, hurting Bathsheba, going into the ocean, swimming? the irony of his reappearance, wanting money, his spurning of Bathsheba, his being shot?

8. Liddy, her role as companion, confidante?

9. The farmers, their life and work, the formal picture of them and their clothes in the fields, men and women?

10. The audience being immersed in Dorset life, the 1870s, and sharing Bathsheba’s life, decisions?

MINIONS

US, 2015, 91 minutes, Colour.
Voices of: Sandra Bullock, Jon Hamm, Michael Keaton, Alison Janney, Steve Coogan, Jennifer Saunders, Geoffrey Rush, Steve Carell, Pierre Coffin.
Directed by Kyle Balda, Pierre Coffin.

Everything that you didn’t know that you would need to know, and it didn’t occur to you to ask, about Minions.

Children’s audiences could tell you that the minions were those funny little yellow creatures, with names like Kevin and Steve, some with one eye, some with two, with little mouths that were prone to be uttering gibberish in excited tones, communicating in their own language which had dashes of words of English, Spanish, French and who knows what other languages! They made a great impact in Despicable Me and enjoyed their comeback in Despicable Me 2. And here they are again, all courtesy of Pierre Coffin, who codirected the film, co-wrote the film and provides all those conversations which we do understand despite the fact of scarcely recognising a word.

It may not have occurred to us to wonder where the Minions came from but the prologue to the film gives us the answer. They are a result of evolution, from little specks to fully grown (well that is, perhaps, an exaggeration so small are they), timid little community out of which emerged Kevin, a natural-evolved leader, who wants to take the Minions out of their comfort zone. He doesn’t get many volunteers, mainly Stuart and, then, little Bob.

We know from the earlier films that they have a propensity for seeking out villains, and a natural evil-bent, that drew them to the character Gru. But how did this instinct develop? We have a very funny, collage of their attempts to find villains that they can follow – but fail. When they arrive in the United States, it is 1968, a huge poster of Richard Nixon for his campaign, a time of flower power and a range of popular songs that recur throughout the film.

But, they are rewarded, by discovering an arch-villain, Scarlet Overkill, and find that she is due to be the star of the villains’ convention. Off they go, hitchhiking, and being picked up by a really nice-seeming American family, mom and pop and the two kids – who suddenly put on masks and rush in to rob a bank. Just the right family for the Minions. And they are off to the conference as well.

It is one of those very American conventions, loads of stalls, loads of spruiking, villains galore – though most of them are quite inept, including Prof Flux who travelled back and forth from the future and had a different professor each time he returned – with their deciding that they should get rid of the superfluous ones, only, of course, killing off the original!

And there is Scarlet Overkill, voiced by Sandra Bullock, a larger than life presence, highly theatrical in her presentation, supported by her husband, voiced by Jon Hamm with some humorous remarks. Scarlet defies everyone to defeat her – with, in some mixups, Kevin and his friends outwitting her. She takes them on, and off they go to adventures in the United Kingdom, to London of the young Queen Elizabeth, to the Tower of London, security guards, and a deadly plot to steal the Crown from the Queen and for Scarlet herself to be installed and crowned in Westminster Abbey.

So, plenty for the British audience as well as the Americans – and it will be interesting to know what the Queen actually thought about how she was presented, robbed of the Crown, cavorting with the public in a bar, rather raucously voiced by Jennifer Saunders.

Whether Scarlet is successful in stealing the Crown and keeping it, you’ll have to go and see Minions. The nice American family is there at every turn cheering on the Minions. and, if enough audiences round the world cheer them on at the box office, there is plenty of scope for them to return.


1. The title, the focus on the minions? The background in Despicable Me? strange intelligent creatures? The love for villains?

2. The animation style, French background? The figures, the characters, the situations, the special effects and action? The history of the minions? In the US, in the UK? The musical score?

3. The voice cast, and the language of the minions?

4. The previous films, inventing the history of the minions? The past, evolution, small, growing, the community, fear, Kevin emerging, the challenge, Stuart and Bob? The others following?

5. The minions’ characters, their expressions, mouths, eyes, voices, the community and change?

6. The minions and their seeking villains, the variety of searches, the tests, the strange creatures and the collage of villains? Their reactions?

7. 1968, Richard Nixon, hippies, flower power, the songs of the period?

8. The conference, trying to get to the conference, hitchhiking, meeting the family, the nice American family, parents, children, their behaviour in the car, suddenly robbing the bank, the family excited about the minions? Their support of the minions, at the conference, in London, in Westminster?

9. The conference, the show, the pizzazz, the variety of strange types, promoting the ability, Prof Flux and destroying himself? The variety of stalls?

10. Scarlet Overkill, her appearance, her voice, the introduction, the response of the crowd, her theatrics on stage? Her husband, personality, comments? Her testing villains? The minions, becoming involved, the irony of their winning?

11. The comedy, the nature of evil, comic?

12. The mission to the UK, the atmosphere of London, the Queen, the Crown, the tower, the guards?

13. Scarlet and her plan to steal the Crown? Effective?

14. The Queen, at the pub, Jennifer Saunders and her voice, the irony about this presentation of the Queen? The people?

15. The ceremony, Scarlet, the Coronation, the crowds? The minions, going to action, causing upheaval, in the Abbey, taking sides, the solution? The Queen and her response?

16. The future for the minions?

DEADLINE GALLIPOLI

Australia, 2015, 197 minutes, Colour.
Hugh Dancy, Joel Jackson, Sam Worthington, Charles Dance, Rachel Griffiths, Anna Torv, Jessica de Gouw, Luke Ford, Simon Maiden, Marco Chiappi, Genevieve Mooy, Bryan Brown Ewan Leslie,John Bell.

Directed by Michael Rymer.

Deadline Gallipoli was one of the many programmes made to celebrate the centenary of World War I, the Anzac invasion, the role of the British, the battles against the Turks.

This is a miniseries which can be viewed as a film, directed by Michael Rymer who, after winning AFI awards with Angel Baby, had success in America, directing films and episodes of the series, Hannibal, and made several Australian films, including Queen of the Damned and the restorative Justice film, Face to Face.

Deadline Gallipoli was filmed in South Australia, standing in again, as it did for films such as Gallipoli, for Turkey. The locations look quite authentic, on land, and sea, on the hills. Within the limited budget, there are very vivid sequences of the warfare, the landing itself and the bombardment, the digging in, life in the trenches, over the long months, scenes of the soldiers going over the top and being massacred, the role of the Turks, as adversaries, as prisoners of war.

The film focuses on the war careers of three reporters, the most significant was C.W.Bean, who later wrote the history of the war. He is played by newcomer, Joel Jackson. The photographer, Philip Schuller, whose father was a newspaper proprietor, is played by Sam Worthington who also helped produce the film. British actor Hugh Dancy has the plum role of British reporter Ellis Ashmead Bartlett. Amongst the supporting cast are stalwarts like Charles Dance as Lord Hamilton, Rachel Griffiths as his wife, John Bell as Lord Kitchener and Bryan Brown as a general in action. Ewan Leslie appears as Keith Murdoch.

The story is well told, veering between Britain and Turkey, showing the life of the soldiers and their hardship, showing the ineptitude of the British commanders and the discussions back in London.

This is a story for any time, not just for the centenary.

1. A television film for the centenary of Gallipoli? The atmosphere of 2015? The context of memory, tribute, realism, critique?

2. Made for television audience, quality, the strong cast, international collaboration?

3. Cairo, the city, the streets? The contrast with London, the social atmosphere, the houses and parties? Whitehall? The musical score?

4. The flashbacks to Cairo, the men, acting as louts, the general and his wanting discipline, his discussions with Bean? Bean, journalist, trying to cover the war, the Australian readership? His assistant? Bean and his personality, no humour, writing the article about Australian soldiers and their behaviour, the negative reactions?

5. Philip, the background of his father, coming to the war, his camera, more of a holiday atmosphere? His friendship with Hamilton, their discussions? Meeting the nurse, the examination for venereal diseases, the lineup of men, their reluctance, the men being sent home because of having the diseases? The interactions with the nurse, character, disdain for Philip, later meeting him in action? Phillip, photos, the poses in the street? His encounter with Bean, with Bartlett? The plan, being advised to go by boat, his arrival, the experiences of the war, meeting the nurse, his going into the water to swim?

6. Bartlett, British, first seen in the hotel with the woman, his friend and their discussions about going, his character, in Britain and his visits with Winston Churchill, the family, his views on the war? Going to Turkey, the plans? The invasion, observing, on the sunken ship? Discussions with Bean, reading his notes, stealing the information, the publication? Bean and his anger?

7. Bean, his assistant, typing, the articles? Going on the invasion, on the hill, running with the troops, the dead and wounded? His meeting with Turkish prisoners?

8. Hamilton, his authority, his personality? British and authoritarian? With Philip, with Bartlett, Bartlett giving him advice?

9. The journalists, the press, the officials, reading the articles, censorship?

10. Bartlett, the sinking of the ship, getting to London, the scene of his talking with General Kitchener, the corridor, the car, trying to make suggestions? Hamilton and his negative reaction?

11. The soldiers, the different characters, going for the swim, the dead body, in the boats, talking with the journalists, men suddenly dead?

12. The details of the campaign, the action, the amount of intelligence, those making the decisions, the failure of the Anzac landing, beginning, Lone Pine?

13. The months after the landing? Digging in? The Turkish prisoners – and the soldiers hostile, bossing them about, the irony of the translations?

14. The preparation for the August attack, Bartlett and his criticisms, the issue of water, the issue of further troops, from India and Ireland? The confidence in the strategy?

15. The graphic presentation of the war, in the trenches, the men going over the top, immediately slaughtered, the Turks calling out for them to stop, the rigid official and his keeping to the plan despite the deaths, Bean and his presence, the officer going over the top and dying? Philip, in the trenches, the photos of the men, their being dead within minutes, Phillip running through the fields, the continued firing, his getting into the trench? His showing his photos to the military authority who asked who would see them – and Phillip saying that he had?

16. Life in the trenches, the illness, nowhere to bury the bodies, limbs? Bean and sharing the suffering? The diarrhoea, illnesses?

17. The arrival of Keith Murdoch, reviewing the trench life, comments about the reports from the front, from Bean, from Bartlett? His meeting Bartlett and challenging him?

18. Murdoch, the letter, being detained in Marseille, going to the Australian Embassy, dictating Bartlett’s letter by heart, defiance of the authorities, Australian independence?

19. Hearing with the officials, with Lord Kitchener, attentive to Bartlett, but dismissing him?

20. The character of Bartlett, his defiance, the letter, relationship with Keith Murdoch, his being ordered back to England, his return, working with Murdoch, the hearings? His close friend, the journalist, being upset at Bartlett returning?

21. The visits to his friends, the woman coming to plead with him to keep quiet?

22. The sequences of Philip, serving in France, the ambulance work, the explosion and his death?

23. Bean, the evacuation, talking with General Munroe? Leaving the small defence squad behind? Their ability in deceiving the Turks? Bean and the records,
the letters of the soldiers, wanting to have a record, his assistant keeping them, their being saved? The visuals of the evacuation, everybody safe?

24. The role of Winston Churchill, not looked on favourably? His discussions with Bartlett?

25. Hamilton, his recall, Lady Hamilton meeting Bartlett and her spurning him? Hamilton, meeting Bartlett at the party, commenting on the massacre of the evacuation?

26. The information on each of the journalists, their perspective on the war, British, Australian? Their records and this story 100 years later?

DOUBLE WEDDING

US, 1937, 87 minutes, Black and white.
William Powell, Myrna Loy, Florence Rice, John Beal, Jessie Ralph, Edgar Kennedy, Sydney Toller.
Directed by Richard Thorpe.

Double Wedding is a piece of MGM fluff, one of the many pairings of William Powell and Myrna Loy, over and above the Thin Man series.
Powell portrays a bohemian artist who wants to make a film and auditions a young woman for the starring role, Florence Rice, and her rather slow-witted fiance, John Beal. They are both under control of the the actresses sister, Mona Lawley, a businesswoman who is meticulous and unrelenting.

As might be expected, when the two meet, there is an attraction despite their attitudes and, gradually, falling in love with all kinds of tests for the main characters – and an engaging supporting performance by Jessie Ralph as a tough-minded grande dame.

1. Screwball comedy of the 1930s? Based on a play?

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

3. The theme of the Bohemian versus the controller, and mutual change?

4. Charlie, William Powell and his reputation at the time, Bohemian, living in the trailer, wanting to correct films, the senior the rehearsal and his dramatics, his relationship with Irene and encouraging her, with water and his deadpan performances? Hearing about Margit, meeting her, initial sparring with her? At spikes, his friends? The interactions with market, in the trailer, doing her portrait?

5. Margit and her life, organised, bringing up Irene, making Irene’s choices, water and Irene living with her four years, running everything, the morning menu, keeping time, managing the shock, fashions, too busy the personal relationships? The dates, Bordeaux and Irene having to clocking? Slipping out?

6. Irene, romance, wanting to be in films, dependent on market, responding to Charlie, loving Bordeaux, but exasperated with his nice response to everything? Not being forceful? Going up to defining Margit, engaged to Charlie?

7. Water, his doping manner, always agreeable, respect for market, the Charlie? Irene defying him, the engagement, Charlie trying to build him up, challenging, the meeting in the restaurant, the plan to the punch and Waldo not able to do it? The finale, Waldo walking himself, in the bar, going to the wedding?

8. Market, employing cheer to follow Charlie, the reports, Charlie getting the reports about Margit? The comic style of the shadowing? Charlie and his deal?

9. Market, the return to Charlie, the arguments about leaving Irene alone, the deal, opposing, her disdain? Going to spikes, looking down on people, calling him in a? Going to the trailer, the outing in the country, snoozing, her taking the van?

10. Mrs Kensington- Bly, tough, humorous, advice to Margit, knowing Charlie, the exuberant past?

11. Claire, Charley marrying her, the reasons, the money, in Paris, the separation, his not wanting any money? Mark and distinctly?

12. The wedding, the setup, the trailer, awarded to be best man, Margit determined to have everything complete, the crowds arriving, everybody in the trailer, the judge and his exasperation?

13. Charlie, trying to delay the wedding, the mixups, descending into farce, the fights, the brawl in the street, Waldo finally arriving, punching Charlie? Charlie being knocked out?

14. The popularity of the stars in the 1930s and this as an entertaining star vehicle?

TERMINATOR: GENISYS

US, 2015, 126 minutes, Colour.
Arnold Schwarzenegger, Jason Clarke, Emelia Clark, Jai Courtney, J.K.Simmons, Courtney B. Vance, Byung-hun Lee, Sandrine Holt.
Directed by Alan Taylor.

Somebody replied that they would never see a film which could not spell Genesis correctly in its title. Well, it is not that Genesis – rather, it is her world conspiracy for machines taking over power, a new beginning, so why use the traditional name? This is a new Genisys.

But, that is getting ahead of things.

The original to Terminator films became classics soon after the release, James Cameron (pre-Titanic and pre-Avatar) directed them to quite some critical acclaim as well as huge box office. There was another Terminator, Terminator: Salvation, film with Christian Bale but, it soon became lost to memory. So, why another? Why not?
Arnold Schwarzenegger has finished his time as Governor of California and has returned to his screen career. Since The Terminator films were some of his biggest successes, time to capitalise on him. But, isn’t he too old? That is a question that recurs in the screenplay – with the wonderful response, consoling to those who are not as young as we used to be, “old but not obsolete”.

In fact, Schwarzenegger is not obsolete – and has an opportunity to appear in several incarnations of the Terminator. There is some footage from the first film with his coming back from the future to menace the young woman, Sarah Connor, who is to be the mother of the future saviour, John Connor. That was The Terminator. The character in Terminator 2: Judgement Day was much more benign, sent as a protector. It is he who is still around, vanquishes the killer machine and continues with his duties. Since these are all time-travel films, this terminator has survived from 1984 to 2017, becoming a little more wrinkled, and much greyer… But not obsolete!

To get us in the mood, with the touch of the post-apocalyptic, there is a pre-credit sequence where San Francisco is spectacularly destroyed. Then to the future, a grim place, where the machines have practically taken over and the rebellion against them is led by John Connor (Jason Clarke). There are to be two raids on the machine centres, in Colorado and at the core factory in San Francisco. But, John wants to send a loyal lieutenant back into the past to care for his mother because time can be altered and San Francisco could escape destruction. The earnest young time traveller is Kyle, Jai Courtney.

While the Terminator films are meant to be rather escapist, you have to try to keep your wits about you as you time travel with the characters, try to work out what has changed and what has not, The time travel takes Kyle back to 1984 (with some flashbacks to Sarah Connor and her childhood to remind us of her story in case we had forgotten) and the period before the destruction of San Francisco. Can Kyle and Sarah travelled forward to 2017 and prevent the destruction?

The answer is obviously use, but much more easily said than done. Off they go, pursued by the police, pursued by disguised machines, melting and recovering as they did in the previous films, hoping to find the old terminator, affectionately called Pops, who does eventually turn up but has been delayed by the traffic! There is a further complication as they find John Connor in 2017, not exactly the John that Kyle had had known before he was sent back to the past.

At this point, it is best to surrender the mind and just respond to the visuals and the emotions, the split-second timing, helicopter flights, Pops doing all he can to help – and reassuring Sarah, “I’ll be back”, getting into the centre, the attempts with weapons and explosives to destroy Skynet (the name given to the machines’ plan for domination) and a whole lot of mano a mano fights.

So, it is more or less as expected, despite the time and plot complications, an entertainment for the fans – and the final credits evaders will miss the throbbing clue to indicate, of course, that Skynet still lives.

1. The popularity of the terminator films? As entertainment? Its exploring themes of humans and machines? Time travel? Altering and changing time? The family? Protection?

2. The popularity of the films in the 1980s? The 21st century version? Incorporating the past, the near-present, the future?

3. A film of special effects, the machines, the melting, changing of the machines, wounds and recovery? The battles, the fights? Explosions? Stunts and action? The musical score? The title, the play on Genesis and creation? Skynet? The network, the robots, the dominance of machines, the conspiracy to destroy the humans? Robots, machines ruling?

4. The prologue, the comment about the times, the past, the visuals of the destruction of San Francisco and the spectacle of the effects? Audiences
anticipating the action to follow?

5. Kyle is a boy, his gift, Genisys, the countdown, his family, the party – and the potential for destruction? The boy later appearing with his family, Sarah, Kyle and Pops and their concern and protection? At the end?

6. The screenplay going into the future, John as the adult John, his face and disfigurement, leading the action against Skynet, his rousing speech, his followers? The plan for destruction in Colorado? At the Centre in San Francisco? Kyle and his loyalty? John wanting someone to go into the past, to find Sarah? Kyle and his volunteering, going into the machine, seeing John assaulted by the chief terminator and transformed?

7. Kyle, arriving in the past, naked in the street, the beggar, the getting the clothes, the police pursuit? The young policeman and his being protected by Kyle?

8. The visuals of the terminator 1984, Schwarzenegger in his young version? His being sympathetic terminator, to protect Sarah, the visuals, the fight with the destructive terminator? Destroying him?

9. The plan, the possibilities for altering the future? The past, Sarah as a little girl, her parents, the terminator protector, and knowing the details of what was to follow? Never being free? Love for her son, knowing him as the saviour of the future? Kyle as the father? In the 1980s, the pursuit by the police, the Asian terminator and his relentless chasing, imaging the deadly terminators past films?

10. Pops, old but not obsolete, his continued help? Sending off Kyle and Sarah in the time travel? Their leaving? Arnold Schwarzenegger and his sense of humour?

11. Arriving in 2017, the crash, naked, the police, the car pursuits? Pops and his finally arriving, grey-haired, delayed by the traffic? John, his appearance, plausible? Pops realising that he was a terminator, transformed? The shooting? The dangers, the pursuit, the time limits to destroy Skynet?

12. The young policeman, now older, helping, the interrogations? The terminators disguised as police?

13. Skynet, the officials, the plans, the advertisements, relying on John for his help? The countdown?

14. Kyle and Sarah, trying to get to the plant, the helicopter, Pops saying I’ll be back! John, the pursuit in the helicopter, the clashes?

15. The drama in the plant, the pursuit, the explosives, the weapons? Doors shutting?

16. The final fights, John versus Pops? John’s ultimate destruction? Pops and his surviving?

17. Skynet destroyed, the billboard screens and the advertisements going off?

18. Sarah finally free, the relationship with Kyle, with the young Kyle?

19. The scene in the final credits, Skynet still alive?

HOT PURSUIT

US, 2015, 87 minutes, Colour.
Reese Witherspoon, Sofia Vergara, Matthew Del Negro, Michael Mosley, Robert Kazinsky, Richard T. Jones, John Carroll Lynch, Jim Gaffigan.
Directed by Anne Fletcher.

It is almost a genre in itself, the odd couple comedy. But, habit usually makes us think of a male odd couple. It is much the same when somebody describes a film as a ‘Buddy’ comedy. It would seem that buddies are male also. However, this film offers us two female buddies, a female odd couple.

Obviously, they are not going to be buddies at the beginning. Reese Witherspoon, relaxing after her serious films, plays a dedicated Texan cop, following in the footsteps of her father whom she assisted when she was a little girl. But, she is a by-the-book officer, knowing every regulation possible and its application. She is mocked by several of the police officers at the station (though there are some dramatic developments which means that she has the last laugh). One day, she is given a mission to accompany a witness to a trial in Dallas. What could be simpler?

Well, the first complication is that the witness is a self-important Hispanic wealthy woman whose husband is about to give testimony at the trial of a cartel boss. Before you can say drugs, the home of the witness is attacked by two separate groups with a shootout, the two women, like each other or not, have to go on the run, with the criminals in hot pursuit.

Which means that this is a road movie, along the lines of the 1980s classic with Robert De Niro and Charles Grodin, Midnight Run. The two women get into all kinds of adventures, all kinds of comic situations, each rescuing the other when the going gets tough. It would be nice to say that they form bonds – well, they do, but not without a great deal of to-ing and fro-ing, some confrontations with the cartel lord, and a shooting climax. (And a few plot twists.)

This means that the comedy depends on the two actresses, Reese Witherspoon righteous and uptight, gradually, very gradually, mellowing, and Sofia Vergara, trading on her glamour and know-how. There is an amusing running joke with television reports continually making Witherspoon shorter and shorter and Vergara older and older. Audiences will get, more or less, what they expect.

1. Police film, Road film, Buddy film, female buddies?

2. The title – and the film living up to it?

3. Texas, the town, the police precincts? The mansion, the cartels? On the road, the shops, the farms? Dallas, the courts? Prison? The musical score?

4. Buddies, and The Odd Couple? Rose and her doing everything by the book, humourless? Daniella, wealthy, beauty, arrogant?

5. Rose’s father, his death, seeing her as a little girl, helping him with his work, and knowing the book, quoting it? Her mistake – and the Cooper boo-boo?

6. Rose at her desk, knowing all the regulations, the tall cops, their mocking her – and the later revelations that they were in the pay of the cartels? The police chief, sympathetic to Rose? Giving her the job? The later revelation about his being in the pay of the cartels? The task, serious, the officer accompanying her – and his touches of humour with her? The task, getting the witnesses, protecting them, to Dallas and the courts? The police and their raid on the house, masked? The two Latin Americans? The death of the witness? The current, her tiara, the jewelled shoes, the gold, always taking her case? Her response to a husband’s death? Rose and the phone call to headquarters?

7. The escape, the car, taking the case? The police pursuit, killers? In the car, the crash with the truck, the drugs and its spread, going to buy new clothes, Rose on a high?

8. The range of adventures, the crash of the truck, trying to steal the vehicle, their being accosted, the lesbian performance, the man shooting his fingers? Seeing him on television?

9. The motel, the pursuit, the escape? Taking the new vehicle, finding the man in the back, his comments, helping out?

10. The Latin Americans, the pursuit in the car, the guns and shooting?

11. The women, the two characters, the odd couple and their bonding, their help in the gun situation, the lesbian pretence, Daniella revealing that the men were her allies, the death of her husband, getting his wealth?

12. Her plan, her brother’s story, wanting vengeance, getting to Dallas, not testifying? Going to the little girl birthday party, the songs, the dances? Rose warning Daniella? The confrontation with the cartel chief?

13. Rose, disguised as a boy, infiltrating? Out?

14. The discovery of the police chief, her disguising herself as a waitress, intervening? Finding Daniella with the cartel boss, his pulling a gun, her threats, her shooting the boss? Her being wounded?

15. Daniella, in prison, friendly with all the guards, getting out, the gift of the shoe?

16. Rose, the kissing, emotions, the relationship with the criminal? Her mellowing? The future?

JURASSIC WORLD

US, 2015, 124 minutes, Colour.
Chris Pratt, Bryce Dallas Howard, Ty Simpkins, Nick Robinson, Vincent D' Onofrio, Irrfan Khan, Jake Johnson, Omar Sy, BD Wong, Judy Greer.
Directed by Colin Trevorrow.

Jurassic used to be a word that scientists used to describe primaeval stages in Earth’s evolution. Ask anyone over the last quarter of a century, after readers had devoured Michael Crichton’s novel and moviegoers had stormed the box office for Stephen Spielberg’s film version, and Jurassic meant Jurassic Park. The dinosaurs were there, cared for by earnest scientists, getting out of control through aberrations of science, but giving the audiences lots of thrills for their money.

There were two sequels, not quite as startling as the original, to say the least. Surely it was something of a risk to make another Jurassic film decades after the original. Not that filmmakers are usually risk-takers, but Universal Studios must be very happy with the present producers who risked making Jurassic World: an enormous opening weekend in the United States, throughout the world, and half a billion at the box office before a month was over.

Worth it? This question applies only to the fans, not to those who would not be seen dead, let alone alive, watching a Jurassic movie. And the answer seems to be yes. This sequel moves us back to Jurassic Park with explicit references to the personalities and what had happened before the disaster, re-opening 20 years after the previous collapse. Everything is now under control, under the control of technology and surveillance, under the control of the officer in charge, a rather humourless and uptight Bryce Dallas Howard. Her sister and brother-in-law, covering difficulties, sending their sons to their aunty who is to look after them and show them the sites. She is very busy, promoting Jurassic World, getting contracts, doing deals. She hasn’t noticed that there are some strange types around, especially some with military background, led by Vincent D’ Onofrio, obvious, well at least two us if not to her, that there will be dangers with the dinosaurs.

Some of the dinosaurs are being trained by a genial young man, Chris Pratt, who knows them by name, and has a way of bringing them under control. His assistant is played by Omar Sy (The Intouchables).

So far, so good, the boys going on all kinds of rides, the visitors seeing all the dinosaurs in their created habitats, tourists galore. Needless to say, there are some scientists who are experimenting with the dinosaurs, introducing all kinds of genes into their system, giving them characteristics of some of the more menacing creatures, and an ability to camouflage, raptor aggressiveness…

While we guess the rest, it is the experience of watching the rest that is important. The mutant dinosaur goes on a rampage, the military try to control but end up decimated, our hero, the trainer, who has had a bad relationship with the manager of Jurassic World in the past, has to join up with her, first of all to save the boys, then to save the park – if possible, with tourists fleeing, dinosaurs pursuing, pterodactyls let loose and swooping, lots of chases, just what the audience needed when they decided to buy their tickets to Jurassic World.

This is a “what if…?” imagining of a a world out of control. Interestingly, while we all talk of progress and experts encourage us to venture into all kinds of developments, the classic stories and so many of the movies are actually quite cautious, the Frankenstein Syndrome, where humans exceed their powers, arrogantly manipulating nature, creating monsters.

And, since this is a popular approach to disaster films and apocalyptic scenarios, they will always be welcomed – especially if the action sequences and special effects are well worked into the screenplay as they are in Jurassic World.

1. World consciousness about Jurassic Park, the novel, the films, the sequels? A Jurassic film for the 21st century?

2. The contribution of Michael Crichton, Steven Spielberg, the development of the themes?

3. Audiences, the perennial popularity of stories about dinosaurs? Pre-history, the types of dinosaurs, the raptors, others, the pterodactyls? Facts, science? Myths?

4. Impact of Jurassic Park, the revival of the park, the science, the possibilities, the stretching of credibility, the laboratories, the science, the entrepreneurs, the theme parks, staff and guides, security? Theme park expectations for the film?

5. The crowds, the public, delight, sense of adventure? Threats, the experience of disaster, injuries and deaths, panic and rescue?

6. The technology, gene technology, creating new creatures, splicing genes, creating new breeds, monsters? The huge dinosaur, character, camouflage, parts of the raptor, brain, prey, sport and killing?

7. The introduction to the boys, Grey, his age, knowledge, recitation, excitement for the trip? Zach, older, preoccupation with the girls, his role as older brother? The parents, the pretence about no divorce, the airport, seeing the boys off? Expectations of Clare? New vistas of Jurassic World, Costa Rica, the ferry, the crowds, the new attractions, the buildings? Maps, surveillance cameras, security? The explanations? The comic touch with Jimmy Fallon and his video guide?

8. Owen, Barry, their work with the raptors, their names, control, the creatures obeying orders? The assistant, dragged into the compound, Owen and his daring and control to get the man released?

9. Hoskins, the military background, seeing the creatures as weapons? His obtuse personality? Control of the troops? Their going out on mission, their being destroyed by the dinosaur? Dr Wu, pride in the creation, the laboratories, in league with Hoskins? His explanations? The buildup to the confrontations, the plans, the disasters?

10. Clare, as a person, the boss-lady, seven years not seeing the family? The control, being busy, with her staff, Lowery and his quips? His associate and her work? The clash with Owen, indications of their past, the meeting with sponsors, the plausible explanations of the attractions, bigger and better?

11. The boys, Clare not present, their chaperone? Going on the rides, the explanations, Grey and his excitement? Zach watching the girls? The two and the rides, in the ball, rolling through the park with the creatures? The trains and the crowds?

12. Simon Masrani, finance, his plans and ambitions, in the helicopter, Clare and her fear? Supervision, the disasters looming, decisions, having to cope, discussions with the Dr Wu, Hoskins? Flying the helicopter, crashing into the aviary?

13. The dinosaurs, creations, the huge dinosaur, the attack, killing, getting out of the compound, the threats? Response of the staff, Clare’s decisions? Evacuation – and the consequences for business? The military expedition, the manoeuvres, their deaths – and their names on the screen and being eliminated?

14. The crash, the pterodactyls escaping, flying, attacking people, the chaperone and her being mauled and drowned?

15. The boys, in the ball, its being smashed, their flight, jumping over the cliff? Going into the old Jurassic Park centre, fixing the vehicle? Driving, the rescue?

16. Clare, the phone calls, the boys and their special wrist bands? The map, showing the danger areas? Owen and Clare, the clashes, searching for the boys, working out what happened, finding them? The boys in the back of the truck, Clare driving? The raptors and their pursuit?

17. Hoskins, Lowery staying, Dr Wu leaving? The staff being evacuated?

18. The tourists, waiting for the boats, the injuries and being tended? The rescue and the next day?

19. The decision to free the big dinosaur, the previous demonstrations in the pools for the audiences and their getting splashed? Training the raptors, the raptor looking at Hoskins and later killing him? The dinosaur communicating with the raptors? The fight between the two large dinosaurs, the role of the raptors, the rogue dinosaur, battle and death in the water?

20. Barry and Owen, with the raptors, Barry and his being threatened, Owen rescuing him? Owen and his control?

21. The rescue, the arrival of the parents, reunited?

22. Owen and Clare, together?

23. The underlying messages about science, playing God, exceeding capacities, the profit motive, military motives?