THE GUNMAN

US/France, 2015, 115 minutes, Colour.
Sean Penn, Jasmine Trinca, Javier Bardem, Mark Rylance, Ray Winstone, Idris Elba.
Directed by Pierre Morell.



The Gunman is definitely a Sean Penn film. Not only does he star, he has some credits as a producer and as contributing to the screenplay. While this is an action story, there is strong critique of the methods of international corporations, their ruthlessness, the background to their bargaining for contracts and are not being afraid to stoop to murder to achieve their ends and cover all this up. Sean Penn concerns.


The film is based on a novel by French writer, Jean-Patrick? Manchette who died in 1995. His novels were action thrillers and his plot is taken here and updated to the 21st century.

The initial action takes place in the Democratic Republic of Congo, a group of ex-patriates, American, British, Spanish, seem to be an advisers on projects, with links to humanitarian activities in the area. It is 2006, issues of rebel fighting, governments working against corruption and a minister deciding that there will be a veto on international contracts. It is probably inevitable in these circumstances that he is assassinated.

The audience realises early in the piece that the expatriates are not as fun-loving or charming as they might seem. Penn plays Jimmy, the designated assassin, and has to leave the country instantly, even abandoning his girlfriend who works in a clinic in Congo. Her asks his Spanish friend to take care of her.

The action moves to 2014, with Penn again working in Congo, but this time for an NGO, seemingly regretting his actions in the past. When a gang of armed men appears on a worksite intent on killing him, he flees to London where he makes contact with one of his old associates, Cox (Mark Rylance) and tries to get information as to who might be pursuing him. His other London contact is Stanley (Ray Winstone) a tough type, especially in action in a London pub where Jimmy loses his cool, which leads to him being taken to a doctor and found that he has brain damage which threatens his life.

Nevertheless, of he goes to Barcelona to confront his other associate, Felix (Javier Bardem) who has married his girlfriend. All the action that one might have anticipated with such a title, Gunman, for a film, certainly takes place – and then some. We have already realised that, at 54, Sean Penn has decided that he also wants to be an action star (and the current director, Pierre Morrell, directed Liam Neeson in Taken). There are many, many scenes where Sean Penn has his shirt off giving obvious evidence that he has been many times to the gym and is keeping himself tough (a credit to the man listed in the final credits as his Personal Trainer).

The film also has action sequences in Gibraltar, introducing a CIA contact (Idris Elba).

The final action is symbolic and contrived, taking place in Barcelona and its bullfighting ring, enabling a confrontation between Jimmy and the villain, with bulls accidentally set loose and killing the villain. There is an important note in the final credits saying that Barcelona since 2011 is an anti-bullfighting city.

The description of The Gunmen is probably more exciting than the real thing, which has many points of interest, some alarming bloodshed and some goring in the arena, but at the end, with both noble repentance and love, it is not as satisfying as it might have been.


1. An action thriller? International? Corporations? Ruthlessness? Politics?

2. Adapted from the 20th century for the 21st century? Congo, the scenes in Kinshasa, in the village, the hotel and the assassination? 2006? The return to Congo, 2014, humanitarian work? Scenes in London, the wealthy office, the pub, hospitals? Barcelona, the beauty of the city, the countryside? The restaurant, the farm house? Attacks, shootouts? Gibraltar? Barcelona and the bullfighting ring – and a disclaimer about the city now? The musical score?

3. The action director and his career?

4. Introduction, 2006, rebels and the war, the international team, the bonding, the restaurants, drinks, friendship? Anna and her work as a nurse? Her love for Jimmy? Friendship with Felix? The Minister, denying the contracts? The corporations, the work, hopes, international connections? The plan for the assassination, the team, the motivation? The involvement of the men?

5. Sean Penn as Jimmy, as an action hero in his 50s? Tough, appearance, American, love for Anna and the bond with Cox, the workers, Felix and his asking him to look after Anna? His being chosen as the assassin, his keeping vigil in the hotel, the gun, shooting, the death of the Minister, his being got out of the country?

6. Eight years later, his humanitarian work, the quality of several MSC sisters sent an apology she did send a card Peter Price denial is apology to you pedicab war must be getting old because he NGO, the, the locals, collaboration? Trying to protect the workers? The gunmen, the fight, Jimmy and his skills, the deaths of the men, the shock of the local man?

7. Escaping to London, tracking down Cox, well-dressed, the office and its views, affluence? Cox and his manner, offering to supply information? The contrast with Stanley, tough, the meeting in the pub, the crab watching the football, the problem the fight, Jimmy’s collapse, come to the hospital, the’s MRI, the brain damage and the diagrams, the warnings, Jimmie throwing the scans away? Stanley and his helping with contacts in Barcelona?

8. Barcelona, come to Felix and his office, affluent? Audiences assuming that he might be the villain? Jimmy sang and, the adoption, the confrontation with Felix in his office? Felix’s threats about Anna, the plan for the dinner, Jimmie arriving, and his reaction? Jimmy wanted information, Felix’s promise?

9. And, her leaving, the later visit, the sexual encounter, memories of the past? The documents?

10. Going to the house in the country, the military types and their attack, Jimmie using his wits, helping and, the shooting, the escape? Felix and his drinking, his attitude, perhaps a death wish? Killed?

11. Gibraltar, Jimmy sitting on the bench, the approach of the CIA officer, the discussions, promise of help, later contacts? Present at the final confrontation at the arena?

12. Jimmy, the conference, Cox present, the discussion, Jimmie bashing the woman? The chase through the plant, hiding? And are being abducted? Cox’s thugs and their pursuit? Jimmy as the Gunman?

13. The arena, Cox and his associates, their pursuit of Jimmy, his killing them? The bullfighting, the parallel with Jimmy and Cox?

14. Anna, her escape, the pursuit, the accidental loosing the pools, the dangers, the rescue of Anna, Cox being caught?

15. The CIA, Jimmy and his repenting, being honest, getting the documents, the papers? Testifying? Jail sentence? His finely being reunited with Anna, her humanitarian work, Jimmy’s future?

FLYING FORTRESS



UK/US, 1942 60 minutes, Black and white.
Richard Greene, Carla Lehman, Betty Stockfeld, Donald Stewart, Basil Radford, Sydney King.
Directed by Walter Forde.


Flying Fortress is a film of historical interest. It was one of a number of films made by Warner Brothers at Teddington Studios in London during World War II to, American focus stories which served as propaganda in the United States for participation in the war as well as morale boosting stories for a British audience. They were small budget, featured some American actors as well as a local cast.

This film focuses on flyers, an arrogant wealthy socialite played by Richard Greene, and a down-to-earth pilot played by Donald Stewart. Stewart is blamed for a crash for which he was not responsible and loses his licence. His journalist sister, Carla Lehman, tries to trap Greene but is unmasked.

Both men volunteer to transport the new American planes, flying Fortress, to Britain, clash, become friends, decide to join the RAF in Canada, are billeted in England where Greene and Lehman bury their differences and Stewart immediately dates a driver who turns out to be aristocracy and her seemingly feeble brother who turns out to be their Wing Commander raid on Berlin.

This means that there can be some action, some comedy, some romance, and, especially, a criticism of the brash Americans and their intrusion on the stiff-upper-lip British as well as some tongue-in-cheek pokes at British manners.

The climax is the raid on Berlin, with some actual action footage as well as reconstruction of the dropping the bombs on and electricity plant. There are also some heroics as Greene goes outside the planned to do some repairs for a safe landing

Supporting feature but one which indicates the movie atmosphere of the times and the need for propaganda films.

THE CLOUDS OF SILS MARIA

Friends, 2014, 122 minutes, Colour.
Juliette Binoche, Kristen Stewart, Chloe Grace Moretz, Johnny Flynn, Brady Corbett.
Directed by Oliver Assayas.


This film is a fine opportunity for audiences to see Juliette Binoche and admire her screen presence and acting skills. She has been performing since the mid-1980s, in French films and then internationally. In 1996, she won an Oscar for Best supporting actress in The English Patient. Since then, she has developed her international reputation at home in France and, extensively, abroad. She has also had a stage career on London’s West and won a Tony award on Broadway.

This background is relevant because The Clouds of Sils Maria is about an actress and her career, an international star, reaching middle age, challenged in her career, having to make decisions and face the future. As we watch Juliette Binoche in a most persuasive performance as Maria Enders, many audiences will be thinking about her in real life and her on-screen impact.

While Juliette Binoche won a French Cesar award for the performance, Kristen Stewart won for Best Supporting Actress. Though she was a child actress, appearing with Jodie Foster in Panic Room, her principal reputation rests on her presence as Bella in the Twilight series. This performance takes her well beyond Twilight. She appears as Maria’s personal assistant, the first 20 minutes or so of the film showing her continually on mobile phones, making contacts, making decisions, arranging dates, doing PR work.

The initial situation is a tribute to a playwright who put Maria on stage and on-screen, launching her career. She has been invited to receive an award on behalf of the playwright who does not wish to go – the information coming very quickly that he has died. Maria is somebody who has an instant negative reaction to things, wanting to refuse, thinking something is impossible – but actually then doing it and forgetting what she thought previously and enjoying the process.

Maria and Val decide to go to the house of the playwright and stay in the Swiss Alps, quietly domestic, walking in the mountains, Maria making a decision to perform and play, playing Helene, the nemesis of her original character, Sigrid. During their walks, Val says the lines of the other characters, almost deadpan, yet the experience of watching these rehearsals makes the audience realise that that some parallels between the characters in the play throw light on the relationship between Maria and Val herself.

The suggestion for casting the young Sigrid in the new play is for an actress, Jo-ann, Chloe Grace Moretz, Val and Maria going to Jo-Ann’s? latest film, a superhero blockbuster, in a local cinema, Val really liking the film, the characters, the science fiction issues, while Maria mocks them and laughs at them. Nevertheless, there is a meeting between the two actresses and the project is to go ahead.

It is difficult to write any commentary on the latter part of the film because something dramatically happens without explanation. There is also a complication with rehearsals going head for the play, a personal scandal around Jo-Ann?. But the show must go – with Jo-Ann? behaving towards Maria in a manner reminiscent of Eve in All About Eve. What is Maria to do? She does have a final interview with an enthusiastic young director who pitches a science-fiction script to her – and the film ends with a close-up of Maria’s face, the audience supplying the continuity of her story.


1. The title, the Swiss settings, Sils Maria, the clouds, the clouds looking and acting like a snake, slithering through the mountains?

2. A film about theatre and film, about acting, about careers, over the years, playwrights, directors, tributes, performances? A film star and her age? The up and coming actress? The personal assistant?

3. Juliette Binoche as Maria, Juliette Binoche as a star in real life and career, acting as a star, her character, age, the trajectory of her career, success, acclaim?

4. The opening, the train, travelling with Val, the phone calls, Maria being unwilling, but relying on Val, the news of the death of the playwright? Arrival, the MC meeting, explaining, costume fittings, posing for photos, phone calls, her dislike of the actor from the past, the past with him, acting, the affair, his reaction to her? Going on stage? The tribute to the playwright? His importance to her in her life, as a friend, as writing a play for her?

5. The interruption to the social, the director, his making his pitch to Maria, her reaction to act to the playing and character of Helene? 20 years earlier, her playing Sigrid? Her wanting to stay with that part, yet the difficulties of age? The arguments for her to play Helene? Helene and Sigrid being two aspects of the one person?

6. Maria, her reactions, sometimes glum, saying she would not do things, yet then doing them, enjoying them? A bark worse than her bite?

7. Her reliance on Val, their friendship, her work as PA, all the phone calls on the train, the continued calls? Val having to make decisions,’s PR, the contacts, Maria’s work with Val, its detail, coping?

8. Their friendship, time spent together, ease with one another, the visit to Rose, staying at the home? Domestic scenes? The walks in the mountains? Getting lost, the bus coming home? The walks and Val reading Maria’s lines, rehearsals?

9. The growing significance of the parallel between Sigrid and Helene, Val and Maria, the way that it affected each of their lives?

10. Val, going to see her boyfriend, sick on the road, her return? Possibly pregnant? Breaking with her boyfriend or not?

11. Val and her enthusiasm about Jo-Ann?, watching the film, the superhero, watching in 3D? The discussions afterwards, Val taking it seriously, admiring
Jo-Ann?, accepting blockbusters, her not having an elitist attitude? Maria, reactions, criticisms, laughing at the film? Her interest in Jo-Ann?

12. Val arranging the meeting, Jo-Ann? and Chris, novelist, his betrayal of his wife? The later consequences and her attempted suicide? Jo-Ann? flattering Maria, the discussion of issues, Jo-Ann? and her life story, admiration, quoting the films? The transition to London, the reporters, Jo-Ann? realising she was going to be labelled as a home-wrecker and accepting this?

13. Maria, Val and her enquiries about the snake, having the map, going for the walk, Maria’s attitude, Val disappearing – and no mention of her later? The visuals of the snake, Maria’s comments, the clouds coming through, winding their way through the valley?

14. Maria in London, and new personal assistant, the discussions with Jo-Ann?, the reporters, the scandal, the news of the wife’s attempted suicide, Maria looking at the photos on the?

15. The director, his concern, rear deciding to go for the rehearsals, Jo-Ann? agreeing, his being interviewed and the press focusing on the effect of scandal?

16. The stage set, the office, the glass? Helene’s office, Sigrid collecting the documents, taking them to Helene? Maria’s perspective, wanting Jo-Ann? to spend a few seconds looking at her, Jo-Ann’s? haughtiness, saying that the audience had lost interest in Helene? The All about Eve syndrome?

17. The film director, his pitch to Maria, science fiction, yet more abstract? His explaining things, Maria interested, the director not feeling connected to the
present generation, wanting to make a film outside this? Maria listening, an opportunity for her, the final close-up of her face?

THE AMAZING SPIDERMAN 2, THE RISE OF ELECTRO

Andrew Garfield, Emma Stone, Jamie Foxx, Dane de Haan, Paul Giamatti, Chris Cooper, Colm Feore, Sally Field, Felicity Jones, Campbell Scott, Embeth Davidtz.
Directed by Mark Webb.

Audiences seem to have had a glut of Spiderman films in the last 10 years or more, three films with Toby Maguire, directed by Sam Raimi which, on the whole, were very popular. So, it was a surprise that Hollywood decided to re-boot Spiderman and begin another series. Whatever the reasons, here he is – again.

One of the key things that this sequel does is to give some explanation about Peter Parker’s parents. In the previous film, it was shown that they disappeared, taking secret material with them, and not heard of again. This was something that made Peter Parker brew about his parents and himself. This time the film has quite an elaborate explanation of what happened, the work of Richard Parker with spiders and with human tissues, the exploitation of his work by his partner, his having to get away quickly with his material, taking his wife, farewelling his son as a little boy and leaving a video for him. It shows the Parkers in a plane escaping, but coming to a sad end. It is only later in the film that Peter himself begins to make investigations to discover what happened and to find his father’s video.

In the meantime, he is involved in all kinds of exploits, confronting a truck with nuclear material, participating in havoc in Manhattan traffic, arriving just in time for his graduation, but missing the valedictory speech by Gwen (Emma Stone). But Aunt May (Sally Field) is there to congratulate her nephew.

A bizarre character is introduced in the form of scientific nerd, Max, Jamie Foxx. He is devoted to Spiderman and encounters him briefly. When, on her way to work, Gwen also encounters him, he is a quietly courteous man who talks to himself. But, accidents happen. He falls into a vat of electric fields and absorbs their electricity, turning into an arch-villain, with extraordinary make up, wanting to confront Spiderman, and wreaking havoc on New York’s electricity system, communications, air traffic control…

So, that is the first confrontation that Spiderman has to deal with.

In the meantime, Peter and Gwen are seeing each other, in love.

Then, onto the scene, comes his old friend and schoolmate, Harry Osborne (Dane de Haan), with a terminal illness but with a determination that getting a transplant of blood from Spiderman will cure him. He is remembering his father’s work with Peter’s father. Harry becomes more obsessed, asks his friend Peter for help, which puts Peter in rather a dilemma. However, Harry has an injection and turns into a monster, the Green Goblin, building up to a second confrontation with Spiderman. And just when you thought everything was resolved, there is quite a shock at the end – which publicists hope will not be revealed so that audiences will experience it in its fullness.

Then, the film does go on from another 10 minutes, introducing another villain with Paul Giamatti’s face and voice but enclosed in a monstrous creature. This means that the last 10 minutes are in fact the trailer for the next episode.

This makes this sequel something of an interim – with The Amazing Spiderman 3 to look forward to.


1. Marvel comics? Popularity, the film versions, the spirit of the Marvel comics and superheroes?

2. The Spiderman comics, the stories, the variety of film versions?

3. A New York story, the streets and buildings, the giant truck and the driver, driving through the traffic? Action, destruction? The contrast with Peter Parker, at home, his aunt, ordinary? College, graduation, speeches? The Osborne Corporation and buildings, interiors, the laboratories? The Osbornes, Harry and his father? Max, his apartment, his work, supervision, vistas of the city, electricity and power?

4. The prologue, Peter’s parents, their work and experiments, DNA, mutant possibilities, animals and humans? Parker and his treating himself? Spider venom? His partnership with Osborne, Osborne selling out? The decision to leave, leaving Peter, the video – and its not being seen till later? Parker and his wife, on the plane, the pilot dead, the killer, the fight, the crash? Peter later opening the bag, finding the video, information, the subway station and the secret entrance? Peter and his being able to accept what his parents had done?

5. Peter Parker as Spiderman, his clothes, the transformation, the spider qualities, the web? His missions? The populace and their response? The little boy and his admiration? In action and the traffic, the truck, the driver, his arrest and prison sentence? Peter’s being late for the graduation, Gwen’s speech? The family celebrating?

6. The special effects for Spiderman’s flight, the web? His love for Gwen, the continual appearances of her dead father? The blood, wanting to do his laundry, his aunt and the domestic scene? Harry returning, Peter going to see him, Harry’s disdain, change of heart, the request about Spiderman’s blood? Peter’s refusal? Spiderman and his meeting with Max, saving him, Max and his gratitude, pleasant, meeting Gwenn in the elevator, his birthday?

7. Max, his job, quiet, people ridiculing him, his birthday, falling into the tank, the transformation, being electrified, the effects, the transformation his appearance, giant? The city, the control of the electricity, plane flights etc? His turning against Spiderman? Gwen and her meeting him? The final confrontation?

8. Osborne, summoning Harry, his death, his attitude towards his son, the videos and his speeches? Harry, age, spurned by his father? The manager of the board, control over Harry, the board meeting and his lack of interest? Harry Gill, dine, needing the trans formation? Getting it, becoming the Green Copper, flying? The dramatic encounters, especially with Quentin?

9. Gwen, working in the office, the plans for Oxford, love for Peter, the final confrontation, his inability to rescue her, her fall and her death?

10. Peter retiring, the chaos in the city, the boy confronting the driver, the manic driver, his monster machine? Confronting Spiderman? The fight?

11. Spiderman’s achievement, heroic?

12. What Spiderman stood for, confronting evil, corruption, upholding what is right?

RACE STREET


US, 1948, 80 minutes, Black and white.
George Raft William Bendix, Marilyn Maxwell, Harry Morgan, Gale Robbins.
Directed by Edwin L.Marin.

Race Street is a late film noir, a star vehicle for George Raft who had his own personal connections with gangster syndicates and featured in many gangster films. This time he is the good man, in financial advising but wanting to get out, especially when his friend, Harry Morgan, is murdered and he himself is beaten up by the boss of the syndicate in San Francisco. William Bendix plays a plainclothes detective, eager to arrest the leader of the syndicate which he had failed to do years earlier.

There is strong atmosphere of San Francisco at the time, an indication of syndicated crime and its brutality, the work of the police. Raft opens his new club which he wants to manage by getting out of any gangster connection, featuring Gale Robbins as his sister who is the lead singer.

Since this is a film noir, there has to be a femme fatale. She is played by Marilyn Maxwell in a brunette wig, seemingly an heiress who owns racehorses, who is in love with Raft. She does a nice girl so well that it is a surprise when we discover her to be in cahoots with her husband, the gangster.

The film was directed by Edwin L. Marin, director of many westerns, especially with Randolph Scott, and small budget films of this period.

1. Small-budget, B-budget-film?

2. San Francisco, the streets, the race track, offices, nightclubs? Musical score? Song interludes?

3. The traditions of film noir, the gangster world, the ambiguous hero, the police, the femme fatale?

4. Dan Ganin, a George Raft character, age and experience, financial advice, phone calls, his friendship with Hal, memories of the past, his always helping Hal to stay with it, the strong arm tactics, protection, his reaction to Hal’s death on finding him at the foot of the steps, his being beaten by Dickson at the same place? His friendship with Barney Runson? Police advice? His relationship with Robbie, meeting her, the races, at the course, the bets, his not being a betting man? Opening the club? Robbie, her devotion to him? His sister and her singing? His wanting to confront Dickson? The plans to leave, discussions with Robbie, listening to her phone call, his dismay at her betrayall? Her lies? The final confrontation, his being shot?

5. Barney Runson, the San Francisco cop, telling the story, his taking down the criminals, his friendship with Dan, warning him, at the track, his suspicions of Robbie? At the club? Hal’s death? The final confrontation and Dan’s death?

6. Hal, longtime friend, his bad leg, telling his story, Dan always supporting him? The protection racket, his being victimised, the murder?

7. Robbie, her love for Dan, at the racetrack, their discussions, plans? The revelation that she was a blonde entertainer, Dickson’s wife, the plan to leave, her phone call to Dickson, rubbishing Dan?

8. Typical cast, people of the nightclub, Dan and sister and her sons, police, thugs, gangsters?

TESTAMENT OF YOUTH

UK, 2014, 129 minutes, Colour.
Alicia Vikander, Kit Harrington, Taron Egerton, Emily Watson, Dominic West, Miranda Richardson, Joanna Scanlon, Colin Morgan, Anna Chancellor, Hayley Atwell.
Directed by James Kent.


This is the kind of film that admirers of British-making really appreciate. It is beautifully mounted, re-creating its period. It has a fine cast and impressive performances. It dramatises British themes and explores the British character. It is in the tradition of the Merchant- Ivory period films of previous decades.

The title comes from a memoir by the central character, Vera Brittain. Like Gertrude Bell, ten years earlier, whose adventurous life was dramatised by Werner Hertzog’s Queen of the Desert, Vera wanted to go to the University but this was thought of as impossible. A young woman should be considering suitors and marriage. The setting is 1914.

Initially, Vera comes across as a wilful young woman, somewhat tomboyish in an opening swimming scene with her brother and his friends, upset with her father who has bought her a piano which she considers a bribe to stop her going to the University. She stands up to her father who relents and, at least, allows her to sit for the entrance exam. On her way to the exam she meets one of the staff of the College, Miss Lorimer (Miranda Richardson in a somewhat acerbic, blue-stocking presence). Although she does not answer some of the questions properly, her independent way of mind gains her a place at Oxford. Exhilarated, she goes to the college and begins her course.

But, it is 1914 and her brother, Vera pleading with her father to let him go, enlists, as do some of his friends, including Roland, with whom Vera has fallen in love. As more and more young men go to battle for King and Country, the challenge to Vera is whether she should continue her studies or volunteer as a nurse. When she does volunteer, and is belittled as upper-class by some of the matrons, she proves herself, comforting wounded and dying men, exercising skills, and even sent to France where she has to care for some of the dying German soldier patients.

Needless to say, this has a profound effect on her as well as on her brother she later tends and in her relationship with Roland and immediate preparations for their wedding.

In many ways this is very sad film, the fate of the young men going off to war, romanticising some of their war action in poetry (as did a number of the English poets who served in France).

The situation is mystifying to Vera’s parents, played effectively by Dominic West and Emily Watson, who obviously belong to a previous generation, a mix of the Victorian and Edwardian era, never contemplating what World War I was to bring to the world and to England itself.

Vera is played by Alicia Wikander, the Swedish actress who are impressed in the Danish film A Royal Affair and moved internationally very quickly to such films as the mediaeval The Seventh Son, the Australian Son of a Gun, and the intriguing science-fiction, Ex Machina. She brings both strength and tenderness to her interpretation of Vera Brittain. Kit Harrington, of Games of Thrones and Pompeii, is very sympathetic as Roland.

Vera Brittain returned to the University, completed her course, became a writer and, in 1933, wrote this memoir, Testament of Youth.


1. A World War I memoir? Vera Brittain, her life, the experience of the war, relationships, her career?

2. England, Yorkshire, the country house, the countryside, the waterhole, the hills, the road? London, the Armistice? Oxford, the University, the streets, the surroundings? The war hospital? In France? The trenches, the front, the wards, the German ward? The scenes at the meeting after the war? The musical score?

3. The colour, so light and bright prior to the war, muted colour and darker shades during the war? The end and more light coming back?

4. The Armistice, Vera in the crowds, pushing through, the celebrations, going to the church, her grief?

5. The young people in 1914, the Brittain family, going for the swim, the joke about the rats in the water, going to the rescue? The friendship? The father buying the piano, Vera’s anger, Edward playing the piano, Victor and Ronald, love for Vera? The challenge to her father, wanting to go to Oxford, the payments for the course? Writing poetry, her studying, throwing the books at the window? Ronald and the relationship?

6. Oxford, her aunt chaperoning her, meeting Miss Lorimer, her terse comments, the exam, not doing the Latin translation, in German instead? The letter, anxiety, gaining the place? Arriving, Miss Lorimer, her joy and hopes? Miss Lorimer’s comments of welcome, caution and discipline?

7. Going out with Ronald, the aunt as chaperone, the continually trying to get away from her, in the theatre, his arm against the back? Seeing the newspaper, the headlines, war?

8. The spirit amongst young people at the time, the cadet parade, the speech of the headmaster, King and Country? People signing up? Ronald, his family, his decisions to go? Edward wanting to go, Vera challenging her father? Victor and his going to war?

9. Vera feeling she should do something, wanting to volunteer, the discussions with Miss Lorimer? The harsh nurse, her work, making mistakes and apologies? Her being considered a toff?

10. Ronald, his service, the return, sleeping, keeping away from everyone? Vera going to the family? On the shore, the discussions, his agreement to return? Going to headquarters?

11. The plan for his return, the wedding, Vera and the family dressed for the ceremony, the phone call, the news, her grief? Everybody saying that he had a noble and painless death? Vera going to the wounded man, getting the truth? A very painful death? The return of his clothes, Vera searching them, finding the letters and poems? The family burying his clothes?

12. Victor, his action, returning blind, Vera and her care, proposing to look after him, his turning her down, his death?

13. Vera, her decision to go to France, her work with the Germans, speaking German, the sufferings, the dying man? Finding Edward, saving him?

14. Her parents, belonging to a former generation, prim and proper, calling her back, her cleaning the house? Seeing the postman, the image of Edward? His death?

15. At work, the end of the war? The celebrations in London, Vera going through the crowds, into the church?

16. Her going to the meeting, the anti-German atmosphere, the shouting against her? Her speech about the German soldiers, their families, the death? Her urging no more war, for peace?

17. Going back home, swimming, the memories, her writing the memoir, its title?

THE AGE OF ADALINE

US, 2015, 110 minutes, Colour.
Blake Lively, Michiel Huisman, Harrison Ford, Ellen Burstyn, Kathy Baker, and, narrator: Hugh Ross.
Directed by Lee Toland Krieger.

It would have been more cumbersome, but The Agelessness of Adaline would have been a more accurate title.

There is always something intriguing about people who have the gift of longevity, agelessnessness, never changing, life for years and years – it is intriguing with vampires, but more attractive in a romantic setting.

The film opens on New Year’s Eve, 2014, and a young woman called Jenny is celebrating the eve of her birthday, the film goes into flashback, to the early part of the 20th century in San Francisco, where Adaline’s parents lived. Jenny is in fact Adaline who has spent decades assuming new identities, escaping before she is found out, and coping with remaining at the age of 29 forever.

Adaline has a job with the library which is digitising old film. She readily agrees to process the film and takes the advantage of looking at it, San Francisco at the time of the earthquake, her mother and father marrying in the Cathedral, her being born in 1908 and growing up, falling in love, her husband intrigued by astronomy, but dying suddenly in an accident on the Golden Gate Bridge.

The voice-over gives an attempt at a scientific, physiological explanation of why Adaline becomes ageless, after a car accident, and it is be fixed in a state of never-changing physically. It may or may not hold water, but the film’s emphasis on science, love for astronomy and other sciences, benefit by having a scientific-sounding explanation.

Then Ellen Burstyn appears, the actress herself being over 80 when she did this role, as Adaline’s daughter, an ageing woman, needing medical help, but devoted to her mother – sometimes a touch disconcerting when the older actress speaks of the younger actress and calls her Mama. Blake Lively is charming and a very attractive Adaline.

At the New Year’s party, a young man (Michiel Huisman) puts his hand in the elevator door to stop it and talks with Adaline, attracted by her, tracking her down in her job. His wealthy and offers his books to the library. Can there be any future? Adaline has avoided this kind of a relationship for decades and refuses him only for him to persist and for her to succumb. In the second part of the film, she goes to visit the young man’s parents, played by Harrison Ford and Kathy Baker.

Harrison Ford offers a winning performance, more akin to his age a character with a marriage of 40 years rather than an action adventurer. The plot becomes complicated when Harrison Ford recognises Adaline and, once again, she has to face the consequences – with some flashbacks to encountering him when he was a young student in England.

Audience curiosity has been aroused as to how the film well finally work out, perhaps Adaline and the young man marrying, his knowing the truth or not. Another explanation is offered with the voice-over returning to his deadpan narration of science and physiology.

One of the features of the film is to highlight how much of a single grey hair can mean an extraordinary amount in the drama.

1. A romantic film, the different eras?

2. Plausibility and implausibility of the plot, the change in Adaline? The screenplay’s scientific explanation? The first accident and the ageless situation? The second accident and the possibility of change, growing old, death? The details of the science background, for physiology and growth? The interest in science, astronomy, the stars? So many stars and their being seen as a companion for every human being? The film as a scientific? The voiceover, the tone, information, the commentary?

3. The initial period, San Francisco, Adaline’s family, San Francisco earthquake, the family wedding? The transition to 2014, New Year’s Eve, the focus on Jenny? Her age, appearance, and name, the comment about her going to change her name? Getting ready for the party, the blind friend and the piano, the presence at the party, the painter approaching, and her recognition that he was a painter? Ellis, his hand in the elevator, the comment about hands in the right place? Jenny disappearing?

4. The library, the job, the colleagues, digitising film, Jenny watching the film about San Francisco, the quake, society, the wedding, the birth, Fleming growing up?

5. Adaline marrying, love for her husband, his love of the stars, Golden Gate collapse and his death? The birth of Fleming?

6. Adaline driving, the accident, the visuals, the explanation?

7. The 21st century, the flashbacks, the policeman pulling her up, aged 45 and his disbelief? The continually escaping, secrecy, changing her name? The time in England, in Paris? The time with William, the breakdown, the battery, her driving, falling in love, the decision to leave, seeing him sitting with the ring?

8. William, his story and memories, the photo? Recognising Adaline?

9. Fleming, her age, the older actress and the younger actress for daughter and mother? Fleming’s age, in the home, her hips, wanting to move, Arizona? Adaline not wanting her to go? The lunch on New Year’s Day, happy birthday, phone calls?

10. Ellis, donating the books, arguing with Jenny, her not wanting any photos taken, the meal, her secrecy? Her decision to leave, her abrupt comments, the effect on him? Talking with Fleming, Fleming’s urging, the decision to apologise? Her taking him to the drive-in theatre and the explanations, the roof and the stars?

11. Allowing herself to love, going to his home, the sexual encounter, the relationship?

12. Ellis, his character, wealth, charity, his relationship with his parents?

13. The drive, picking up his sister, the picture of Ellis’s parents, the forty-year marriage, getting ready to receive the guests? William and his recognising Adaline, getting caught up in his memories of her? Kathy being hurt? The trivial pursuit game and her winning? The spirit of the house?

14. William seeing the injury on her arm, memories of his sewing it up, searching out the photo, confronting her? The truth? Her leaving, Ellis upset?

15. Her running away, the note, Ellis following her, the crash and the hit-run driver? The explanation of what happened to her physically, the defibrillator, the recovery?

16. Telling Ellis the truth? Fleming arriving, pretending to be the grandmother? The happy ending?

17. One year later, Fleming with the dog, staying home, going out with Ellis – and discovering her grey hair?

18. An attractive cast, and attractive story – but for Romantics?

FRONTIER MARSHALL

US, 1939, 71 minutes, Black and white.
Randolph Scott, Nancy Kelly, Cesar Romero, Binnie Barnes, John Caradine, Eddie Foy Jr, Ward Bond, Lon Chaney Jr.
Directed by Allan Dwan.

Frontier Marshall is a brief film of 1939 with Randolph Scott as Wyatt Earp (who had died in Los Angeles just over 10 years earlier). This is a story of 1880, the opening up of the Arizona silver mines, business in Tombstone, stagecoach businesses, saloons and, eventually, the bank.

The Wyatt Earp story, his friendship with Dr Holliday (here Doc Halliday) and the gunfight at the OK is well-known from later films in the 1950s, Hour of the Gun, The Gunfight at the OK Corral, and the films of the 1990s, Tombstone with Kurt Russell and Wyatt Earp with Kevin Costner.

This film is fairly basic, Wyatt Earp being offered the job of Sheriff after his handling of the crisis with a drunken Indian. However, he is bashed by some of the henchmen of Carter, John Caradine, who is a saloon and the owner and organiser of stagecoach robberies. Earp becomes friendly with Doc Halliday, encouraging Doc’s fiancee from the past, Nancy Kelly, to stay and look after him. In the meantime, Gerry, the saloon dancer, Binnie Barnes, is in love with Doc and jealous of Sarah. This all comes together when the little son of the Mexican bartender is shot, Sarah acting as a nurse, Doc operating with difficulty, Gerry helping.

The OK Corral incident is rather brief, Earp handling it single-handedly.


Cesar Romero is a more sympathetic Doc and is given a back story of practising medicine before he became a killer.

Of interest, the popular comedian, Eddie Foy, is portrayed by his son, Eddie Foy Jr. The Foys were portrayed, with Bob Hope in the central role, in The Seven Little Foys in 1950.

Randolph Scott, who was to make so many westerns in the next 20+ years, is a strong and sturdy Wyatt Earp.


1. A Wyatt Earp, Tombstone story? 1930s interpretation? The audience familiar with the characters, Tombstone, the Gunfight at the’s okay Corralled?

2. A brief film, black and white photography, the cast, led by Randolph Scott? Character actors?

3. The initial information, Arizona, the pioneer of the silver strike, the flooding in of diggers, the metropolis, turning into Tombstone, lawless, the fearful sheriff, gunfights, Stagecoach robberies? The end with the sign of the bank going up and becoming respectable?

4. Carter, his colleague, setting up in business, the saloon, robbing the Stagecoach? Getting Indian Charlie drunk, his going on a shooting spree? The sheriff afraid? Wyatt Earp visiting, hearing the noise, coming down from his room, the gun, the confrontation with Charlie, the shooting, dragging him out, not dead? His being taken, bashed by Curley? His returning, talking to the mayor, accepting the job of Marshall?

5. Life in Tombstone, the gamblers, the saloon, Jerry and her singing, the dancing girls? Card games, Gerry giving a cheating signal? The arrival of Doc Halliday, his reputation, cough, the challenge?

6. Doc, sick, his reputation as a killer, Jerry attracted to him, his friendship with Wyatt? Sarah and her search for years? His wanting her to leave?

7. Eddie Foy, his reputation as a comedian, travel and the West, his arrival, expectations, taken to the other saloon at gunpoint, his performance? Wyatt rescuing him? Making Pringle dance on stage? Carter being upset? Foy going to the proper saloon? The shootings?

8. Doc and Sarah, Jerry and her jealousy? Earp urging Sarah to stay? Doc’s love for her?

9. Earp accompanying the Stagecoach, the bullion, Gerry overhearing after confronting the, letting Carter know? Doc going on the stage? Gerry upset?

10. The ambush, the shooting, Carter’s death?

11. Doc and his being wounded, the return, Sarah and her memories, Doc and his medical work, saving lives? Sarah caring for him, getting Jerry to help?

12. The shootout, Pablo being shot, Sarah wanting to save him, Doc and the operation, getting the equipment?

13. The buildup to the OK corral, Earp taking on the killers single-handed, his manoeuvres, the shooting?

14. Doc’s death, burial? Jerry leaving because the town was come becoming respectable? Sarah saying staying to help?

15. Passing Boot Hill on the way out? The Western heritage of Tombstone and the beginning of its legends?

EUROPA REPORT

US, 2013, 90 minutes, Colour.
Daniel Wu, Sharlto Copley, Christian Camargo, Karolina Wydra, Michael Niqvist, Anamaria Marinca, Embeth Davidtz, Isiah Whitlock Jr, Dan Fogler.
Directed by Sebastian Cordero.

Europa Report is a small science-fiction film about space exploration. The director is from Ecuador and made the science-fiction film, Cronicas. The cast is international, several Americans but actors from South Africa, Russia, Romania, Sweden.

Apart from the framing press conference focusing on a panel of three scientists, the action takes place inside the spacecraft on its way to Jupiter to search for life under the ice. At first all goes well, the film showing ordinary life within the craft. However, communication is cut and it is only when footage is returned later to earth that the scientists can reconstruct what happened, members going outside the craft for repairs or for exploration, shock movements within the craft and the final survival of one of the crew who speaks to camera. And this is later found with the other footage of what happened.

The film has something of an authentic feel about space exploration and the commitment of astronauts.

1. Small-budget film? Science and technology? Space exploration? Astronauts, the tasks, personality, commitment?

2. The setting in space, the spacecraft, external visuals, the interiors, the workplaces, gravity?

3. The basic premise, the expedition to Jupiter, the ice on Jupiter, exploration? The ambitions? The knowledge from the expedition? Life in the galaxies?

4. The opening, the characters, their working together, Corrigan showing the craft to the little girl on earth, the sudden disconnection?

5. The press conference on earth, the scientists and their explanations, their enthusiasms? No information until the footage was sent from the spacecraft?
The reconstruction of what happened?

6. The six characters on the craft, the men, the women, their work, interactions, support?

7. James Corrigan, his work, going out of the craft, his suit, the substance in his suit, his death?

8. The captain, his control, communications, decisions, the upset and his death?

9. Katya, Russian, her skills, going outside, the exploration, the ice, the lifeforms, communicating them, the creature, her death?

10. Daniel, his work, the craft on the ice, trying to lift off, his death?

11. Andre, serious, his concerns, growing anxiety, concerned about Katya, his having to go outside, his hold for the blast off, the creature?

12. The visuals of the creature?

13. Rosa, the video of her comments, interspersed throughout the press conference, her courage, concern for the others, her know how, her being the last,
giving the interview?

14. The reversing of the footage, from disaster to a happy group setting out?

15. This film in comparison with spectacular space and science fiction, its knowledge of space and exploration, a more authentic interpretation?

A COEUR OUVERT/AN OPEN HEART/MONKEY ON MY BACK

France, 2012, 87 minutes, Colour.
Juliette Binoche, Edgar Ramirez, Hippolyte Girardot.
Directed by Marion Laine.

An Open Heart was directed by Marion Laine, who has a strong reputation based on the film, A Simple Heart.

The action of this film is confined to the apartment and to the hospital.

On the domestic level, it is the story of a marriage, many years passing, an unwillingness to have children. However, Mila (Juliette Binoche) discovers she is pregnant, thinks of having an abortion, changes her mind and looks forward to having the child? Her husband, Javier (Edgar Ramirez) has a background of an alcoholic family, drinks in frustration, this affecting his work at the hospital, his moods with his wife, the passionate love making, then his moods and tensions.

On the hospital level, husband and wife are surgeons, he responsible for setting up a section for transplant surgery – and there are scenes of these operations. Mila is a fine surgeon and finds it difficult with the politics of the hospital, the decision to suspend her husband, his prospects or a lack of prospects for the future, and even with his moods.

The stars are fine in their roles, bring some life and conviction to both aspects of this drama.

1. A domestic drama? Marriage, pregnancy? Consequences?

2. Medical drama, hospitals, surgery and surgeons, administration?

3. The French setting, apartments and action within the apartment? The hospital, surgery, the operation table? Patients, the corridors? The staff and meetings?

4. The title, the reference to Javier and Mila, to the surgery, heart transplants?

5. The focus on life within the hospital, the collaboration in the operating room, the details of operations? The aftermath?

6. Javier and Mila, their marriage, love for each other, work together? The decision not to have children? Mila not wanting children, wanting a professional life?

7. The collaboration, their love, at the parties after the operations, love making at home, the exhilaration between them?

8. Javier, his drinking, becoming unreliable, the background of his family and alcoholism? His being late for surgery? The criticisms of the administration? Suspending him? Driving him more deeply into drinking? His behaviour at home, erratic? His physical collapse, his trying to do exercise and recover? His confrontation with the administration, criticism? Not able to go elsewhere because his file would follow him? Hearing the news of Mila’s pregnancy, his reaction, her talking of abortion, his wanting the child? His erratic moods, love and difficulties? Not turning up for the birthing lessons? His urging his colleague to look after Mila and the child?

9. Mila, age, experience, love for her husband, assessed for the life? Not wanting a child? Discovering she was pregnant, deciding about the abortion, the discussions, her changing her mind, looking forward to the child, the experience of pregnancy, going to the lesson with the colleague? Trying to deal with Javier, in surgery, outside, at home, his moods, her love, growing exasperation? His career?

10. His deciding to move out, his motivations?

11. The surrealism of the birth sequence? The realism and the Caesarean operation? The child? The contrast with the dream, the images, her hair being shaved, the material on her head, in the boat, her fears, reassurance?

12. Final images of Javier and their daughter, the future – real or in hope?