EVERYTHING PUT TOGETHER

US, 2000, 86 minutes, Colour.
Radha Mitchell, Megan Mullally, Catherine Lloyd Burns, Justin Louis, Matt Molloy, Mark Boone Jr, Alan Ruck, Judy Geeson.
Directed by Marc Forster.


Everything Put Together is the first film of director Marc Forster, a Swiss director who moved to Hollywood and made the surprise hit, Monsters' Ball, for which Halle Berry won an Oscar as best actress.

This film is much more limited in scope. It is also dedicated to people who have experienced the anguish of SIDS, Sudden Infant Death Syndrome. This gives the film a highly emotional purpose in its portrait of a family and the grief at the death of a child. However, the film also focuses, even more strongly perhaps, on the reaction of the friends of the husband and wife and their inability to cope with the death. It reflects the common criticism of the United States where death is not able to be mentioned. This time, the young woman whose child dies is ostracised (silently and politely) from her group of close friends who are also pregnant and with whom she has trained for the giving birth. There is also an alienation between the husbands. This comes to a peak when the anguished mother, who has been invited to be godmother to one of the other children, is not informed that the parents have changed their minds. She comes to the church and there is a melodramatic scene.

Australian Radha Mitchell (High Art, Love and Other Catastrophes, Pitch Black) is very persuasive as Angie, the young mother who enjoys her pregnancy and is distraught at the sudden death of her child. Justin Louis portrays her husband. In the aftermath of the death, she is also alienated from him.

The film is done on a very small budget, is modest in its technical credits. However, it is strong and earnest in its performances and in its concern about SIDS and the repercussions on parents as well as the relationship with peers. This is an unusual topic and the film is effective in its way.

1. A challenging and sad story about pregnancy, birth, SIDS?

2. The career of the director, subsequent films, success in a variety of genres, this as a beginning? The cast?

3. The American city setting, homes, group meetings, hospital, church? Musical score?

4. The impact of the film for pregnant women, women who have given birth, women who have suffered in pregnancy or the death of children? A sympathetic response from men? Observers?

5. The title? As applying to the situation? Coping?

6. The portrait of the couple, the marriage, love for each other, the detail of home life? Angie and some edge to her character? Pregnancy, the experience of pregnancy, preparing for the birth?

7. Angie and her friends, the discussions, the support, her being able to rely on them?

8. The birth, joy, the sudden death of the child, within a short space of time? Their devastating effect on Angie? On her husband?

9. Angie and her emotions, trying to deal with the situation, the support of her husband? And yet her tension with him? His trying to cope?

10. Angie’s mother, remote, critical?

11. The reaction of the friends, their blaming Angie, the motivations, the reasons? Ostracism? The silent treatment? Polite yet devastating?

12. The characters of the women, in themselves, their marriages, friendship, superficial, gossip, the failure of friendship?

13. The friend in her pregnancy, for Angie to be godmother, arriving at the church, not having been told that they did not want to? Her upset, the scene?

14. The future for the mother, the father, the marriage? The question whether Angie would return to her friends and their way of life?

15. Scenes of death, the reality of death, its impact, having to cope?

INSTINCT

US, 1999, 126 minutes, Colour.
Anthony Hopkins, Cuba Gooding Jr, Donald Sutherland, Maura Tierney, George Dzundza, John Ashton.
Directed by John Turteltaub.

Perhaps it was the word, instinct, which at the end of the 1990s was, at least in film language, seen in the light of Basic Instinct. While this film does deal with some basic instincts, it is not a sexual exploitation film but rather an exploration of human nature, animal nature, the links between the two and the life of animals.

The film has something of a scientific, ethnological background, with Anthony Hopkins playing a scientist who wants to investigate animals, finds a kinship, is able to live with them, and communicate with them , so much so that when threatened by poachers, he kills the poachers, defending the animals and their lives instead of the lives of the criminal intruders.

The consequence of this is that he is arrested and interned in a Florida prison. He refuses to communicate, especially with his family and his daughter, played by Maura Tierney. The authorities, led by Donald Sutherland, instruct a talented young psychologist, Dr Caulder, Cuba Gooding Jr, to investigate and to interview. Initially, he has little commitment to the case rather than interest and part of his career, but as he continues to interview, to probe, to try to understand, bond grows between the two?

There are some complications with the brutal activities of one of the wardens.

There is not a final dramatic solution to this situation, but rather a continued challenge to the audience as to how they see human nature, human instincts, animal nature and animal instincts and the respective rights of each.

1. The title, the human experience, animal experience, the instinctive drive, natural, consequences?

2. The scientific background, animal evolution, human evolution? Human nature, intellect, will, feelings, the communication? Animal nature, knowledge, will, feelings, communication?

3. The strong cast, performances, credibility? The musical score?

4. In the United States, Florida, prisons? Science, laboratories? Medicine and psychology? The African background, the animals, the poachers, death?

5. Audience response to issues of human nature, animals, instinct?

6. The theories, Ethan Powell and his background, science, investigative experiences? Learning about the animals, communing with them, learning about them, feeling the communication? Living with the animals, silent with them? The defence, the poachers, their crimes, their right to their lives, Powell killing them?

7. The arrest, bringing Powell back to the United States, imprisonment, isolation, not communicating with his family? His manner in the prison, drawing on what he had learnt living with the animals?

8. Dr Caulder, his superiors, his talent, skills, visiting with Powell? His scepticism, personal self-interest? The effect of the interactions with Powell, his talking, Powell not replying? The length of time, the pressure from the superiors? Gradual breakthroughs? Dr Caulder and his learning experience, going beyond his normal horizons? Psychology?

9. Powell and his family, not communicating? His daughter, her concern, discussions with the doctor, the visits, the consequences?

10. The warder, his savage attitudes, behaviour, cruelty? The effect on Powell?

11. The police, the courts, justice, ordinary procedures, the charges against Powell, response, the hearings?

12. The issues of what is normal, human, humane? The conventions? The challenge?

LUV

US, 2012, 94 minutes, Colour.
Michael Rainey Jr, Common, Lonette Mc Kee, Charles S.Dutton, Danny Glover, Dennis Haysbert, Michael Kenneth Williams.
Directed by Sheldon Candis.

Luv is a small film, an independent film, written and directed by Sheldon Candis with a strong African- American cast, with such veterans as Lonette Mc Kee, Charles S. Dutton, Danny Glover, Dennis Haysbert, with the singer and songwriter, Common, in the central role. But, the film belongs to Michael Rainey Jr as an 11-year-old boy in Baltimore.

The action takes place over 24 hours, the little boy, Woody, preparing to go to school, living with his grandmother because his mother is in the Carolinas, and being taken out of the day by his uncle Vincent who has just got out of prison and wants to make a new start after his earlier violent life, with killings in the city.

Woody spends the day with his uncle, not going to school, getting a tailor-made suit, accompanying his uncle to an interview for a bank loan, meeting old friends in the neighbourhood, making contact with one of the bosses, Mr Fish, and trying to raise money to pay a mortgage in order to get the money for the loan by dealing with drugs, Woody experiencing all of this, including some shootings and a violent bashing.

The day does not end well for Vincent, thwarted in his dreams, causing and victim of violence. He has is meant well for Woody, trying to teaching what it is to be a man – but Woody, shrewd in hiding the money from the deal, will have to find his own way of being a man, and more immediately trying to visit his mother.

Quite a significant film for an American audience, especially an African- American audience.


1. A quality independent American film? An African- American film? American cities in the 21st century?

2. The title, with reference to Woody, with reference to Vincent, Woody and his mother?

3. The Baltimore setting, the feel of the city, ordinary homes, the streets, banks and offices, the seedier parts of the city, drug areas, gang areas, basketball training, wealthy homes? The countryside, police precincts? The musical score?

4. The opening, Woody and his mother, in the woods, the relationship between them? The reality that his mother was on drugs, was in Carolina, that he wanted to go to see her? His uncle’s promise? Unable to be fulfilled – except on his own initiative? The conclusion with his mother?

5. Home, Woody at home, with his grandmother, her love and care, the breakfast? His uncle Vincent, getting out of jail, smartly dressed, the car, getting the signature from grandmother for the loan? Taking Woody to school? The discussion about the girls and looking at him, his shyness, Vincent deciding to take him away for the day? Going to the tailor and getting him well-dressed?

6. The day, the screen indicating various times and the progress of the day? The shop and the clothes, in the street, going to the bank, the discussion of the plan to buy the warehouse, the manager, getting the superior, the reality of the second mortgage, Vincent’s promise to get the money? His visit to Cofield, the past friendship, the issue of money, drugs, the discussions about the murders in the streets? Cofield’s phone call? Later meeting with Vincent?

7. Going to see Mr Fish, the basketball, the commentary, the past relationship, Vincent and his indebtedness to Mr Fish, crime, drugs, money? Payments, getting drugs? The visit to Arthur, past friendships, associations, the friendliness towards Woody? Woody observing everything?

8. Going to get the drugs, in the neighbourhood, the dealers, suspicions, memories of Vincent and killings? His time in jail? The drugs, the shootings? The drugs in the garbage bag, in Woody’s satchel? The effect on Woody?

9. Vincent teaching would you how to drive the car? and his later helping Vincent getaway after the shooting?

10. The flowers for the woman at work, going to see her when she got out of the office, the partner arriving in the car, friendship, the clash, the fight, the shooting?

11. Going to the mansion, Mr Fish and his cooking, smooth talking? Relationship with Arthur? The discussions, the memories of the past, hospitality? Suspicions, handing over the money? The guns, the shootings? Vincent and his dying, Woody’s response?

12. The role of the police, their knowing Vincent, stopping his car in the street, the discussions, threats? The arrival after the killings? Interrogating Woody at the station? Letting him go? His drawings?

13. Woody going back and finding the money, having buried at and marked it? The car – and the visit to his mother?

14. The effect of the day on Woody, his background, middle-class, the gun and the language of killing, respectably dressed, accompanying his uncle, learning? His future?

THE SECRET RIVER

Australia, 2015, 160 minutes, Colour.
Oliver Jackson- Cohen, Sarah Snook, Lachy Hulme, Tim Minchin, Trevor Jamison, Genevieve Lemon.
Directed by Daina Reid.

The Secret River is based on a prize-winning novel by Kate Grenfell, a fictional account of the early years of the penal settlement in Sydney, just after its establishment as a prison for convicts, with the arrival of free settlers and the pardoning of convicts and their being able to find a home in Australia rather than returning to England.

The film, screened as a miniseries, is beautiful to look at, interesting re-construction of the early colony, the buildings, the wharves, the homes in Sydney, as well as the pioneering efforts of the settlers in the Hawkesbury River area, filled with recurring visuals of great beauty.

The drama focuses on one family, the Thornhills, with William Thornhill transported to Australia for stealing to feed his family, a conscientious man who is pardoned and allowed to work as a free settler. His wife had also come on the ship, not as convict, but as free, and therefore able to take responsibility for her husband, her establishing a rum shop and his working on boats for trade. The detail about life in Sydney, trade, the development of business, the need for food, its transporting, the role of the military, something of their brutality, especially in flogging, and the role of the government.

However, the relationship with the aboriginal people is very strong. They are seen as a presence, appearing and disappearing, lighting fires with smoke to communicate about the arrival of the white settlers, presuming to be able to walk through their land, planting yams for food, the women weaving baskets, scenes of corroboration denunciations, scenes of misunderstanding because of the differences in language. However, there is some hope with one of the settlers, Tom Blackwood, played by blocking human, learning the language, having an aboriginal wife and child. It is here voices the sympathetic arguments for the aborigines throughout the film. composer, Tim Minchin, place the eccentric voicing the hostilities about the savages while being savage in himself. There are glimpses of possibilities of harmony with children playing together and with the women of the colony being able to coexist. William Thornhill himself grows harder as the film goes on, State his claim, presuming that it is his, becoming more and more suspicious of the aborigines and finally with the white mob group attacking and killing them.

Englishman Oliver Jackson- Cohen is strong as William Thornhill and SarahSnook? (Sisters of War, Predestination, Not Suitable for Children) is persuasive as his strong minded wife.

There was criticism at the time that this was a white history of the period instead of a respectful writing of the story by aboriginal authors.


1. Made for television? The television audience? The Australian audience? Newcomers to the land? Aboriginal audiences? International audiences?

2. The adaptation of the novel by Kate Grenville, the adaptation for the stage, for the screen, the reputation of the screen-writers? The reputation of the novel? Its popularity – a piece of fiction written by a white author, interpreting the early years of the colony from the white perspective, the perspective on the aborigines, on the clashes between blacks and whites?

3. The title, the focus on the Hawkesbury River, secret, the home of the aborigines, the intrusion of the white settlers, traders, the change in the Hawkesbury and becoming a white settlement? The clashes with the aborigines? The success of the whites shown as built on this conflict, and violence?

4. The locations, Sydney, the early 1800s, the details of the buildings, houses, trade? The coast? The Hawkesbury and the land on the river? The recurring visuals during the film? The musical score? The song during the final credits?

5. The establishment of colony, post-1788, the range of the convicts, justice and injustice in their sentences, convictions for life, the governor and the granting of pardons, giving new opportunities for the settlers? The role of the free settlers? The military, rum as the currency, memories of the Rum Rebellion? The brutality of the military, the scene of the flogging? And the boys imitating this as a game?

6. The presence of the aborigines, appearing and disappearing? Their appearance, being judged as savage by the whites? The nature of the savagery compared with civilisation? The aborigines and the tribe, the men and women, the children, the warriors? The language – and Blackwood learning the language, his common-law aboriginal wife, his child? The policy of give a little, take a little? Possibilities of coexistence? Yet the quite presumptions about the land, ownership, taking possession? Fighting in defence of the land? Guns and killings?

7. The end of the film, 20 years later, the establishing of the mansion, wealth and respectability, Cobham House and the memories of England? The family, home, servants, good clothes? The visit of the son, his not wanting to speak with his father? The bond with his mother, his sister? His going home – and the irony of his friendship with Blackwood and Blackwood in the boat?

8. The story of William Thornhill, stealing to feed his family, the sentence to the colony, life sentence? Seeing him on arrival, dirty and scruffy? About to be sold? His wife, son, her pregnancy, rushing through the crowd, her being a free settler, claiming him? The claim being respected? The setting up of a house, William and his work offer from Blackwood, the traders? The birth of the child? Sal and her talking about England, always wanting to return, singing the songs, naming the places, the memories, idealising the past?

9. Having the rum shop, the clientele, Blackwood paying, the aborigines drunk and sitting outside? The closing down of the shop, rum being forbidden?

10. William, the years passing, success, his family? Learning the trade, venturing to the Hawkesbury, knowing the currents, manning the boat? Blackwood and his claim of land, William and wanting to move? Sal and her hostility, her control over her husband, training of the children? William and his dream, persuading her, the promise for five years? The birth of Mary, sailing, his claiming land, setting up the attempt, the aboriginal presence and smoke?

11. The years passing, planting the seed, the issue of the yams and the aboriginal upset, taking the shovel? Learning about the aborigines, their passing through, the attempt at language, “me, Thornhill”, “my place”? Daniel, playing with the aboriginal boy, flying a kite, belted because of having no shirt? The coexistence? Blackwood and his continued advice, William discovering him with his wife and child?

12. King, the trade, the contracts, William and his boat, the prices, transporting the, melons et cetera? King and the mixed race secretary with his education? His theory of educating the savagery out of the aborigines?

13. The years passing, William becoming more autocratic, getting the convicts as servants, holding it over the man who had been at school with him? Sal and her learning to understand the aborigines better, the women, the woven baskets, coming and asking for the sugar? Singing London songs, listening to the aboriginal women singing? The aborigines the rituals, corroboree? William understanding less and less? Confronting the aborigines, their setting the corn
on fire?

14. The other settlers, Sullivan and his madness, sense of superiority, the other men? Attacks and wounding? The final ganging up on the aborigines, the shootings, William’s hesitation, being confronted by the aboriginal leader, shooting? Washing the blood off his hands? The secrecy? Sal saying she hoped William would never do this?

15. The women, helping Sal when she was unwell, the visits, and living in peace with the aborigines?

16. The picture of the early settlement, the nature of the convicts, the free settlers, the administration, the taking of the land, the military, the violence against the aborigines? And the prosperity of the colony based on this experience?

17. The 21st century perspective on these stories, on ancestors, on aboriginal experience rights?

TALK ABOUT A STRANGER

US, 1952, 68 minutes, Black-and-white.
George Murphy, Nancy Davis, Billy Grey, Lewis Stone, Kurt Kaznar.
Directed by David Bradley

This is a short, moralising film, supporting feature from 1952, the McCarthy? era.

George Murphy had a successful career as a song and dance man, especially at MGM, but gave up his show business career for Californian politics, becoming a senator. His wife here is played by Nancy Davis who was to marry Ronald Reagan and become the First Lady of the US. The young Billy Grey gives an intense performance as their son, obsessed with a stranger whom he accuses of poisoning his dog.

The stranger is played by Kurt Kaznar and Lewis Stone appears as the newspaper editor of the town. A strong cast, with Murphy doing his sympathetic thing but Nancy Davis having a rather lacklustre role as the pregnant mother, mainly reacting to her son and husband.

With the California setting, the film shows the orange growers, the difficulties with the weather, with the cold, burning fires at night, the need for fuel and the difficulties in transport. This reaches a crisis point when the young boy, Robert, in anger against the stranger empties all the stranger’s oil just when his father and fellow orange growers needed.

The film shows a happy American family, the young boy rather precocious, especially in his vocabulary.

But the focus is on a dog and the boy’s affection for it, suddenly finding it dead. Because the boy had called on the stranger at Halloween and had disliked him, Robert immediately concludes that the stranger has poisoned his dog, goes to visit him, is physically aggressive, is psychologically obsessed, can’t be told anything, reacting badly to his parents, especially his father. His father advises him that he needs evidence and so he discusses the case with the editor and goes to try to find evidence – including an address for a doctor that the editor had rung. There is a strange episode where Robert encounters a young boy, goes into what is called a haunted house, but is, in fact, the house of the doctor – there is a later explanation of how he had operated on his son who had died on the operating table and he had bought the property next to the Orange farm for seclusion.

After the fiasco with the oil, Robert runs away, falls into a stream but is rescued by the stranger, warmed and fed, with Robert mellowing. Afterwards, the editor is able to provide more information concerning a man wanting to poison the coyotes and putting out poisoned meat and Robert’s dog eating it and dying.

One hopes that Robert has learned his lesson.

A GUY THING

US, 2003, 101 minutes, Colour.
Jason Lee, Julia Styles, Selma Blair, James Brolin, Shawn Hatosy, Lochlyn Munro, Diana Scarwid, David Koechner, Julie Hagerty, Thomas Lennon, Jackie Burroughs, Jay Brazeau.
Directed by Chris Koch.

A film with a title like that and a trailer that seems to indicate it is American Pie for adults does not bode well. Since it opens with a groom's party and some sexual hijinks and ambiguities, it looks as if that is where it is going. But, no. Its heart is in the right place and true love must win out at the end.

Jason Lee (Kevin Smith's films, Dreamcatcher) has one week before he marries Selma Blair, rich, accomplished and something of a controller. The ambiguities concern one of the dancers at his party who has ended up at his place. Well, it turns out that she, Julia Styles, is the bride's cousin - with Jason making extraordinary efforts not to meet her (giving rise to a number of comic turns) and then meeting her all the time, especially when he is confronted by her former boyfriend who is a psychotic cop under investigation by internal affairs. There is plenty of plot, especially since Jason's older brother goes into raptures at every occasion.

Once again, you know what is going to happen - but how, and when? Will the wedding go on? What will happen to Selma (well, you can guess that) and what will happen to Jason (of course, it does). Jason Lee is an agreeable screen presence. Julia Styles is the less glamorous, sweet kind of actress and so brings to the film some sharpness instead of simple sweetness. There are some funny lines, quirky characters and it turned out to be more likable than anticipated.

1. A romantic comedy, the male focus? The title, the phrase being quoted throughout the film?

2. The city, homes, apartments, clubs, company offices, parties, socials, the church? Musical score?

3. The cast, the range of skills, comic?

4. Expectations from the name, raunchy male comedy? But the film more humane?

5. The making of one mistake, the consequences, compounded, comic, and real but…?

6. Paul, in himself, working in advertising, His relationship with the boss, his fiancee the boss’s daughter, her father and his roving eye (a guy thing), the snobbish mother? His own raucous parents and their manner, jokes? His brother, Pete, his broken marriage, his infatuation with Karen, mentioning her at every moment? Jim and the organising of the stag party? Paul, the drinks, the dancing girls? His waking up, the shock of finding Becky in the bed, his assumptions? His mother-in-law’s phone call, Karen arriving, awkward, getting Becky out of the room, the Minister and his watching – and the later finding of the photos and confronting Paul, his son finding the torn up photos, his censorious manner? The irony of his presence to conduct the wedding?

7. Karen, in herself, her family, with her parents? The controller, the plans, wanting the string quartet? Responses to Paul? Suspicions? The panties and finding them, the phone call to the shop and the response of the man at the counter (saving Paul, a guy thing)? The dinners? Karen wanting Becky to meet Paul? Her response to the diarrhoea? Chatting with Pete, the memories of their first meeting, Islands in the Stream? The screenplay preparing audiences for the end?

8. Becky, as a dancer, in bed, the panties, leaving, the Minister, the embarrassment? At the toll gate and the driver’s anger? At the house, Karen’s cousin, wondering about Paul, coming back in and discovering him, the pretence? The record store, their conversations? Her manner of frank speaking, pleasant, present at the dinners, observing everything?

9. Karen’s parents, proper? Paul’s parents, raucous jokes?

10. The chain of events, the stag party, in the bed, the toll, the business meeting, Paul and crabs, the man from the toilet, going to the shop, the shouting in the shop about crabs and medicine, the assistant and his being called a chef, Karen’s mother meeting him, employment for the party – and the irony of his cooking well? The diarrhoea pretence? The record shop? Pete and his attraction? The string quartet and Jimmy’s misinterpretation?

11. The planning, being fitted out for the suits? The dinner, the talk, the chef, the Minister and his being proper, the hash in the sauce, everybody reacting?

12. The day, talking with Pete, Ken overhearing (men as hunters, the guy thing)? The crowd in the church, everybody present, the music and the singer, awkwardly going up the aisle? The Minister, asking if anyone had objections, pausing and waiting?

13. Paul, his declaration, reactions? Pete, Islands in the Stream, his proposal, Karen going with him?

14. Paul in the street, the encounter with Becky, the kiss and the applause, future?

MADAME BOVARY

Belgium/US, 2014, 118 minutes, Colour.
Mia Wakiskowska, Rhys Ifans, Paul Giamatti, Henry Lloyd- Hughes, Logan Marshall- Green, Ezra Miller, Laura Carmichael, Richard Cordery, Olivier Gourmet, Luke Tittensor.
Directed by Sophie Barthes.

Gustave Flaubert was not a prolific novelist. But his Madame Bovary became something of a classic, still highly regarded, still considered an opening into France in the 19th century, manners and morals.

There have been several film versions of his novel, a 1949 Hollywood version with Jennifer Jones, a French version in 1989 with Isabelle Huppert. This time, it is an international co-production, with Sophie Barthes as the co-writer and the director was born in France and educated in South America and the Middle East, an Australian star, Mia Waskikowka, as Emma Bovary. The merchant Lhereux is played by Welsh Rhys Ifans. Charles Bovary is the British Henry Lloyd- Hughes, the Marquis is American Logan Marshall- Green, and Charles Bovary’s friend and adviser, Monsieur Hamois, is American Paul Giamatti.

One of the difficulties for this international co-production is the mixture of accents, especially Mia Wasikowska with something of an American accent which the director thought was the neutral accent. It jars throughout the film.

But, that criticism aside, this is a most impressive production, immersing the audience in the 19th century, costumes and decor, wealth and ordinary life in a provincial country town with visits to the society world, the world of business, and the cathedral in Rouen.

But, the focus has to be on Emma Bovary herself. There is very little dialogue in the first ten to fifteen minutes of the film, rather communication by visuals and body language, Emma as a young girl along with other students in an enclosed school, supervised by nuns, learning to go through all the manners and styles of cultivated young ladies. As she lights a candle in the chapel before she leaves, she prays that she will find a good husband.

As her story unfolds, the audience realises with her, that she was quite inexperienced, sheltered, and had imagined a life that was not to be. She later confides that life has been a disappointment. It seems to begin well with a celebration of her marriage, a meal outside event, with a fond farewell from her doting father. As she leaves the party with her husband, with a horse and cart, she hopes that life as the wife of a country doctor will fulfil her dreams.

It is not that Charles Bovary is a bad man. Rather, he is duty-bound, conscious of his role as a doctor and his responsibilities, a doctor by day, a husband by night, rather unimaginative and without a clue as to his wife’s feelings. The village is small, her husband walking her briefly to the edge of the town - and that is it. She feels confined to the house, becomes bored, leaps at the opportunity when the local Marquis invites her to ride to hounds where she witnesses the brutal slaying of the stag.

Temptation comes to her in the form of the local merchant, Lhereux, very well played by Rhys Ifans. He tempts her with luxury, with beautiful fabrics, the possibility of fine dresses, curtains, rugs, and she indulges her love fine things with reckless extravagance, beguiled by seemingly unlimited credit.

It seems inevitable that she will be looking outside the house for some kind of fulfilment, for relationship, for sexual experience – which she finds for a brief time with the Marquis, and also a brief time with a lawyer in Rouen. But, there is gossip, which her husband does not seem to have heard but, passing the local peasant women in the town, she knows that she is the object of the gossip.

There might be some hope in an incident where she urges her husband to operate on the clubfoot of his friend’s apprentice, thinking that this might be some kind of achievement and that the doctor will be happy to move to the city. She is frustrated by the result.

Whether it is fate, whether it is her disillusionment, whether it is a result of her impetuous nature and self-indulgence, she is on the path to tragedy.

The director stages every scene with impressive visual craft, with fine performances, with a sense of French society at the time, differences in class, wealthy aspirations, the role of duty and its suffocating consequences on those who want more from life.

This is a fine film showing how significant literature can be well dramatised on screen.

1. The work of Gustave Flaubert, France, the 19th century? His observation of French manners and morals? The adaptation for the screen, the realism, the re-creation of the period?

2. The 19th century atmosphere, the convent and school, the lady-like exercises for the girls, the supervisions of the nuns, the religious atmosphere, the chapel, lighting the candle? Emma at home, the marriage, the celebration outdoors? Travel by horse and carriage? Going to the village, small, Charles taking her to the edge? The shops, the salon for clothes and specialties? The castle of the Marquis? The hunt in the forest? At home, domestic, her husband’s practice? The city of Rouen, the Cathedral, the office? The musical score?

3. The portrait of Emma Bovary, as a girl, proper, airs and graces, lighting the candle, her hope for a husband? The wedding, the house, the celebration, her father’s speech and farewell? Young, inexperienced, her duties as a wife, the country doctor, the house, the servant? Her being treated as a lady? The young man and his club foot, her influence on her husband, the operation, buying the shoe? The merchant and his visits, tempting her, her growing extravagance, wanting extras, going into debt? Her husband at work, sexual duties? Her ambitions, going to the hunt, the new dress, riding, witnessing the death of the stag? Her meeting with Leon, going to the concert in Rouen, his appearance, her visits, the relationship? Imposing on him, the pressure on him to reject her? Her being led by Lhereux, the rug, the curtains, the boot for the young man? Playing the piano, going to the lesson, an excuse to visit Leon? Getting more into debt, the gossip in the town, the peasant women on the path looking at her? Wanting her maid to be in uniform, her intimate confiding in her? Her visit to the Church? The priest earlier with the first communicants? His asking her about praying, confessing, better to find silence in the woods? The rejection by the Marquis, by Leon? Lhereux and his advances? Her husband’s inheritance, the arrival of the bailiff, the hopelessness of her situation, the Marquis not giving her any money? The pills, walking through the forest, her collapse, her death?

4. Charles, good man in the traditional vein, unimaginative, devoted to his patients? His devotion to his wife? Discussion about his cases and the physiological detail? Meals, calling his wife ‘dear’, the sexual relationship? His friendship with Hamois, the boy, the apprentice, persuaded to do the operation, urged on by Emma, his studying, how he might do the operation, the blood, the failure, possibly cutting the wrong tendon? Allowing Emma her ways, not suspicious? His not wanting the extravagance, able to live without it? The inheritance, the coming of the bailiff, the debts?

5. The Marquis, the dandy, hunt, killing the stag, Emma going to visit him, the sexual relationship, his casual approach, going away, not willing to take Emma with him? His saying he had no money to help her?

6. Leon, his interest in Emma, appearing at the concert, the affair, her visits, the embarrassment, the gossip, his co-workers and their threat, rejecting her?

7. Lhereux as a character, smooth, persuasive, pressurising? The charm and all his fabrics, promises? Ultimately humiliating Emma, her debt?

8. Hamois, his influence, the boy, the operation, the consequences? An adviser to Charles?

9. The village, its life, the class distinctions, Emma and her appearance of wealth, even in the countryside, with the cattle? Costumes and decor? The house and the interiors?

10. The opening and closing, Emma in the forest, her dying? The final scene of the people searching, the torches, calling out her name? Her being lost?

11. Flaubert’s perspective on France of the time, social comment, moral comment?

54

The Directors cut: US, 2015, 105 minutes, Colour.
Original: US, 1998, 89 minutes, Colour.

Ryan Philippe, Mike Myers, Salma Hayek, Neve Campbell, Sela Ward, Daniel Lapaine, with guests Cheryl Crowe, Donald Trump, Art Garfunkel, Peter Bogdanovich, Lauren Hutton, Michael York, Lorna Luft, Thelma Houston.
Directed by Mark Christopher.


54 was released in 1998 but failed in its test screenings which were held in suburban walls rather than in New York City where the film is set. The responses were rather negative, especially with some homophobia about the club and about the central character. While it is not accurate to say that his character was cleaned up, a lot of the ambiguity about his bisexual behaviour was eliminated. aspects of the gay sub-culture were also eliminated.

It is said that about 25 minutes of film were re-shocked, again changing the central character, Shane, especially in his relationship with Greg and Anita, this becoming more explicit, and in quite a dramatic change, the responsibility for stealing the money from Steve rebel was change from Shane to Greg. In the director’s cut, it is Shane who robs the money and who later returned some of it to Steve.

There was also quite a change to the ending of the film, Shane becoming somewhat disillusioned, going away to study, and being united with Steve and others after he was released from jail. The restored ending is much starker, and not necessarily and ending with great hope for Shane and his future.

While the film is not a masterpiece, the restored version instantly gain something of cult status, something of a gay icon film, and a nostalgia for a period which was one of self-indulgence and some dissolute decadence.

A review of the original release:
54 is a brief re-creation of the famous nightclub in 54th Street in New York City, called 54. In the late 70s and early 80s it was a celebrated place for celebrities to frequent. It was also a centre for drug dealing. The glitz and glamour, the music - and the available sex also contributed to its reputation. It was presided over by Steve Rubell, a drug addict, homosexual master of ceremonies who also had a rather iron grip and control on the way that his club was run.

Steve Rubell is played very effectively by Mike Myers, rather unlike his Austin Powers performances. It indicates his capacity for more dramatic roles. The focus of the film is on a young man from New Jersey, played by Ryan Philippe. His dream is to go to New York City and all his fantasies are fulfilled as he his picked out by Steve Rubell, is promoted within the club, becomes a kind of centrefold and is available to all comers. This contrasts with the ordinariness of his family life back in New Jersey. He makes friends with a couple, played by Breckin Meyer and Salma Hayak, falls out with them, is able to reconcile, discovers some truth about himself, especially as the girl of his dreams, played by Neve Campbell, turns out to have feet of clay. When Steve Rubell is arrested by the IRS, the club loses its spirit and the central character goes off to study. He is able to look back then on the glitz, glamour, the liberty and licentiousness of Club 54.

The film is also peopled by guest appearances of celebrities who used to frequent the club.

1. Originally, a film of the 1990s, remembering the 1970s and 1980? Disco, clubs, music, drugs, the clientele, celebrities, the elderly, the cruisers? The staff, Steve Rubell? In New York story?

2. The original version, cut by the producers, re-worked? The additions for this film, the change of the ending? 21st century perspective?

3. The cast, their status, the careers since this film?

4. Shane, his friends in New Jersey, together, flirting with the local girls, bored? The working-class father, his racial prejudices, Shane’s sisters and home interaction? The girl from Montclair in the car and her rejection of him? Shane and his good looks, but slow?

5. Shane and his friend, the newspapers and 54? Going to New York, the glamour, the local actress, Julie, photographed? At the door, Steve and his choosing who to let in, his assistant? Shane let in, his friend not? No shirt, entering into a Wonderland (or Through the Looking Glass)? Light and dark, the crowds, the sexual atmosphere, nudity? People cruising, men and women? Upstairs, the overview, the singer? His being entranced?

6. The job, Greg and Anita, the friendship, sharing the accommodation? The boys in the bar, the training, the money, promotions and Steve’s choices? His eye on Shane? Billie Auster and her grooming him, the relationship? Sex and availability? Watching the sunrise nude? The clients, of both sexes?

7. Greg, the drugs, money, his marrying Anita, her work in the cloakroom? Shane and his advances, Greg and his protectiveness, antagonism towards Shane and his approaches? Shane, wanting to make money with the drugs, stealing from the cache of money in the roof? Steve’s reaction, firing his accountant of 10 years, the reaction? His seeing Shane as an asset – and Shane paying him back?

8. The work in the bar, the drugs?

9. Dottie, being called Mona, age, the high life, in the shop, helping Shane with the drugs, her exuberant dancing, playing to the gallery, the pathos of her death, her being carried out?

10. Anita, the opportunity to sing, the fanfare, her performance, cut short by the death?

11. The range of celebrities in the club, American celebrities, the British ambassador? Shane and his posing for the cover of the magazine? The invitation to dinner, dressing up, going with Anita, the group making fun of him, his not knowing Errol Flynn? Being called a troglodyte? The repercussions?

12. His status as Shane 54? going home, with his sister, his father not communicating, leaving? His throwing the drugs out the window?

13. Greg, his anger, the compromise? Sexual availability to Steve? Shane and the promotion?

14. The celebrities, Andy Warhol, the basement, the Arab prince, the feting of Truman Capote? Grace Kelly? His being asked to look after her?

15. Meeting Julie at the resort, talking, the possibility of a relationship, her driving away, his disillusionment with her?

16. The raid, Steve arrested, the bags of money, the Internal Revenue agents? Shane and Steve’s affection for him, ousted, wearing the garbage bag, Anita and Greg, walking together? What future?

17. Glimpses of another life, self-indulgent, decadent? A symbol of the times?

FOR THE BOYS

US, 1991, 138 minutes, Colour.
Bette Midler, James Caan, George Segal, Patrick O' Neal, Christopher Rydell, Arye Gross, Norman Fell, Rosemary Murphy, Arliss Howard, Bud Yorkin, Dori Brenner, Jack Sheldon.
Directed by Mark Rydell.

Word-of-mouth from overseas suggested that For The Boys was a big-budget piece of Americana, something of a flop. Word-of-mouth often means instant success and many millions at the US box office. However, this is a very interesting and entertaining film which developed a strong favourable reputation.

The title comes from those concerts for the boys, the American troops, during the wars of the 20th century. James Caan plays one of the top entertainers during World War II. Into his company swirls the show-stopping Bette Midler. So begins a show business partnership that has more than its share of love and hate.

But the film belongs to Bette Midler. It was produced by her own company. And fans really won’t want to miss her. The part is tailor-made. She sings, she dances, she clowns – and does some serious and sentimental acting as well, no disappointments with her.

To highlight the entertainment does not do justice to the film. It has a look at changing American attitudes, especially towards war, the film continues interesting .World War II looks like the old movies. But Korea looks a bewildering war in an alien landscape with unnecessary suffering.

The Vietnam sequences make the most impact. They are brief. But the obvious change in a quarter of a century in ‘the boys’ looks quite frightening. Audiences will find the mixture of song, comedy, brutality and death quite powerful. Bette Midler’s singing of the Beatles song, In This Life, is a very moving sequence.

But it’s all big and brassy: old-fashioned flashbacks, the old live TV shows, the grand finale. Yet, the serious undertones are never too far below the surface, including Mc Carthyism and the blacklist.

The film’s director is Mark Rydell who directed Bette Midler and her first major performance, her Oscar-nominated The Rose. His son, Christopher, appears as Bette’s son, moving in the Vietnam section.

(One criticism is that the make up for the characters in their old age looks like make up rather than reality, making them rather grotesque.)

1. An interesting and entertaining film? From the 1990s, a perspective on the United States, the wars, changes?

2. A Bette Midler vehicle, a screen presence, bold and brassy, her songs, performances?

3. A piece of Americana, World War II, the Korean War, the Vietnam War? Showbiz and the troops? The development of television? The blacklisting? The recognition in the 1990s?

4. The title, the troops, the different responses? The changes in manner and brashness from the 40s to the 60s?

5. The framework, Dixie old, tough, not wanting to go to the celebration, telling her story to the assistant, her change of heart, going to the gala?

6. The assistant, his type, sympathetic, pressure from the producers, listening to Dixie? The film returning to the two, different chapters for the film?

7. Bette Midler as Dixie, initially singing, the girls group, the similarity to the Andrews Sisters? Her husband at war, with her boy? The uncle, his writing the material for Eddie Sparks? The message, thinking it was her husband’s death? The invitation to come to England? The initial encounter with Eddie, the nervousness, getting dressed, the cue? Eddie as the song and dance man, comedian? His relationship with Art? The manager? The band, the band leader? The repartee, Dixie responding with sex jokes? Eddie’s anger, wanting to get ride of Dixie, Art and his plea? The issue of the apology, Eddie eventually apologising and singing to Dixie? The promoters and their predicting Eddie and Dixie to be a famous couple? Going to the war, entertaining in Africa? The young woman, her dancing and gymnastics? Eddie organising for Mike to come, his arrival, filming? Dixie and her response, together on stage? The transition to his funeral, the presentation of the flag?

8. After the war, the television show, the sponsors, the censor present, the audience and their eagerness? Dixie and her being bossy, Eddie fostering his career? The alienation from his wife, his daughter’s coming to the set? Daniel and his growing up, with the girls, responding to Eddie? Dixie and her off-colour jokes, having her own way, the audience responding? The announcement on air that they would go to entertain the troops in Korea? Dixie announcing the trip to Tokyo? In Korea, the snow, the injured man, the effect on Dixie? in Tokyo, the sexual encounter, the aftermath? Danny, his devotion to Eddie, Dixie’s anger and challenging her son?

9. The blacklist, the journalist and gossip columnist in Tokyo, the anti-Communism? The feeling about the blacklist, Art and his being targeted, his offhand remarks about communism, dressing as Santa Claus, giving his typewriter to Eddie, Dixie and her anger?

10. The Vietnam war, Daniel growing up, the military graduation, his response to his mother, to Eddie? The different jobs, establishing the bistro, the clientele, her enjoying it? Art and his visit, pleading for Eddie, Eddie coming in, persuading her to do the tour? In Vietnam, the locations, the troops, the Vietnamese children? Meeting Daniel, talking with him? The performance, the dancer and her being mobbed? Dixie coming on stage, telling them to shut up, commenting on their manners? Her singing In This Life, the quiet, the emotion, the minuet dance? The suddenness of the attack, Daniel on point duty, the deaths, the dancer and her being shot? Daniel rushing, to warn, Dixie watching him die?

11. The pathos with Dixie telling the story, the young assistant listening? His agreeing that she should not go, his going to make the phone call, coming back, her absence, his thinking she had done something rash, her boisterous appearance, the pink dress, her decision to go, the 50 million viewers?

12. Her arrival, the relief of the producers, the patriotic dancing and the flag on stage? Going to see Eddie, his being 91, their talk, her anger with him, the sadness about Daniel and his death, her questioning patriotism, the futility of war?

13. Eddie on stage, his performance, the award, lost for a word, talking about Daniel, his emotion, Dixie hearing and watching, her coming on stage, the reconciliation? Her off-colour jokes? The dance steps? Their walking offstage, as life and achievement?

THE GROOMSMEN

US, 2005, 98 minutes, Colour.
Edward Burns, John Leguizamo, Matthew Lillard, Donal Logue, Jay Mohr, Brittany Murphy, Heather Burns, Jessica Capshaw.
Directed by Edward Burns.

The Groomsmen was written and directed by Edward Burns who also stars in a central role. Burns has had many good roles as an actor but came to the fore with his 1995 film The Brothers Mc Mullen. It was a heartfelt story, set on Long Island, amongst people that Burns had grown up with and knew well. His background, as well as the backgrounds of his characters, was a blend of Irish and Italian Americans. He continued these themes with quite a number of films, especially in his follow-up film She’s The One and, 10 years later, The Groomsmen.

The film sounds as if it is one of those raucous comedies, with a group of men getting together, letting off steam, sex-preoccupied. While there are some touches of this, it is a far more serious film, Burns writing some very good lines for a strong cast, showing a group of friends coming together in preparation for a wedding, the clashes, then bonding.

The film boasts some very strong performances, especially from Donal Logue as Burns’ older brother, who has some resentments, but who is preoccupied by the fact that he is infertile and that his wife wants children, with his being afraid to tell her the truth. There is also an unexpectedly good performance from Matthew Lillard, who can do all kinds of silly roles from Scream films to Scooby Doo. But here, he is the most sensible of the group, a married man with children and a sense of responsibility. Jay Mohr who is also good at clowning in many films plays the 35-year-old has not grown up, who can’t understand why his former girlfriend does not want to see him any more, and still lives with his genial and protective father. John Leguizamo also has a good role as the friend who has been absent for eight years but who returns for the wedding, revealing his secret, that he is gay, rejected by his father and feeling that his friends would not understand – but, they do.

Brittany Murphy is the fiancee of Paul, Edward Burns himself in a rather more subdued role.

There is a lot of realism in this presentation of men in their mid-30s, American men with their presuppositions about what it is to be a man, the sometimes infantile behaviour, yet the strong bonds that can be built on. Burns is always sympathetic to the women characters, to Paul’s fiancee, her moods, and wondering whether it was simply the pregnancy that forced them into marriage, with Heather Burns as the older brother’s wife.

1. The title, the group, friends, clashes? the wedding focus?

2. The Long Island setting, the community, homes, bars, going fishing, the strip joint, the church for the wedding? The musical score?

3. Edward Burns and his films, personal, writing and directing, performance? Characters and dialogue?

4. Situation, the engagement, the pregnancy, the couple living together, planning the wedding? The effect of the pregnancy and the decision about marrying? The preparation? Friends, visits?

5. Paul’s story, the younger brother, Jimbo and their growing up, the older brother protecting? His friends? Relationships? The story of his meeting Sue, the relationship? His accepting the pregnancy – or not? His outings with his friends? At home with Sue? Love, tension, her moods, his not being verbal? Dez and his common sense? TC and his visit, Paul being aware of his homosexuality? Mike as his cousin, talking, slow on the uptake, drinking, coping with his stances against TC? Going fishing with Jimbo, their talk, tensions about the wedding, the softball game and the fight with Jimbo, talking with Sue, the issue of flowers and his making breakfast?

6. Jimbo as the older brother, seeing his role with Paul? Jimbo marrying, love for his wife, yet arguing? Going fishing, questioning whether he be one of the groomsmen or not? At home, discussions with his wife, arguments? Going to the strip joint, with Crystal, TC coming to rescue him, the discussions, the arguments, TC and his persuasion, getting Mike to help, going to Mike’s father’s house? Sobering up? Talking with Paul and the truth about his not being fertile, his wife wanting children, the effect on him? The softball fight? Accepting the truth, explaining to his wife, her loving response? The issue of adoption, Paul and his explanation of true parenting in love?

7. Mike, 35, his age, the break with Jenny, visiting her house, almost stalking, his obtuse non-acceptance, her brother punching him? The drinking, talking with his friends? TC arriving, his animosity, the issue of the important baseball card, the fight in the bar, his learning the truth, the reconciliation, learning why TC took that card? His work in cleaning grounds? Living at home? Dependent on his father, his father supporting him?

8. TC, leaving, away for years, his homosexuality? The clash with Mike, arrival, the clashes in the bar, the fight, the apology, the reconciliation? Telling Mike the truth? His friendship with Jimbo, going to the club, helping him, his father’s reaction in the past, going to visit his father, his father embracing him?

9. Dez, managing the bar, the memories of the band, trying to organise the band, their practices? A man of commonsense, marrying young, his love for his boys, normal household, his support of life, helping? The band rehearsals? His understanding TC?

10. The resolution, the wedding, playing out against the credits, the details of the wedding? A film of human values, in ordinary men and women, a film especially for men, American men and their stances and attitudes, understanding these? And a film of hope?