WILD BILL HICKOK RIDES

US, 1942, 82 minutes, Black-and-white.
Constance Bennett, Bruce Cabot, Warren William, Betty Brewer, Walter Catlett, Ward Bond, Howard Da Silva, Frank Wilcox, Faye Emerson, Julie Bishop, Russell Simpson.
Directed by Ray Enright.

Wild Bill Hickok is one of the celebrities of the wild West in the years when there was a great need of law and order. He has had many film and television incarnations, most significantly, Jeff Bridges in Wild Bill. This time he is played by Bruce Cabot, a character actor who came to prominence with King Kong. He is joined by Constance Bennett as a saloon girl with a mind of her own and Warren William, once again playing, as he did so well, a smooth-talking and sinister type. There are quite a number of character actors with Walter Catlett as the obsequious editor of the paper, Ward Bond as a corrupt sheriff and Howard Da Silva as a corrupt lawyer.

The film opens, with a touch of spectacle, and the Chicago Fire which gives rise to characters leaving for Powder River and becoming involved in cattle grazing and marketing. A syndicate wants to take over from the individual farmers, leading to murder and the framing of farmers, to invective articles in the papers criticising Bill, to employing the saloon manager to use her wiles to seduce Bill. There is also a feisty young girl, Janey, played by Betty Brewer.

Direction is by a regular in many genres at Warner Brothers, Ray Enright.

1. The well-known western character? Lawman, strong with the gun? A legend? Many incarnations in film and television?

2. Black-and-white photography, the western settings, musical score, songs, landscapes, atmosphere?

3. The opening with the fire in Chicago, the touch of spectacle?

4. Farrell, the men watching the fire, cattlemen, the group, their money, the plan? Taking over Powder River?

5. Farrell and his relationship with Belle, the girls, losing everything in the fire, inviting them to the town, setting up a gambling saloon? The success, the crowds, the songs?

6. The train journey, Bill Hickok the doll, the robberies, the shootouts, Bill and his saving Belle and the women, Farrell and his hiding in the toilet?

7. The town, Farrell and his power, having the sheriff in his control, the various supporters in the town, those claiming the land, tensions in the town? His suave and charming manner?

8. Bill, his reputation, the law, on the train, the good shot?

9. Janey Nolan, the story about saving her? The gift, owning the land, the cattle, having the water source, the threats?

10. Belle, being asked by Farrell to change Bill’s attitude? The scenes together? Her principles?

11. The plan, getting the editor on side, his kowtowing, the irony of Bill getting the haircut, the editor’s chatter, shooting the weather vane? The articles against Bill? The framing of Nolan?

12. The Court scenes, the judge and his fair stances, the range of witnesses, the lies, Janey on the stand, forthright, Bill trying to get the witness, track him down, rescuing him, arriving too late? The jewellery and their decision? The rousing up of the rabble, the lynching of Nolan?

13. Janey, her age, strong, the talk, control of Bill, after his being wounded, the confrontation with Belle, joining with her?

14. The editor, his idea about flooding the Valley, the owners rounding up their cattle, Belle giving information, evacuating the cattle from the flooded valley?

15. Farrell, setting up the explosives, the shootout, the role of the Sheriff, their deaths? The flooding?

16. The group going to Chicago, Janey for education, Bill and Belle together?

GOLD

Ireland, 2014, 88 minutes, Colour.
James Nesbitt, Maisie Williams, David Wilmot, Kerry Condon, Steven Mackintosh.
Directed by Niall Heery.

Gold is quite an Irish tale, set in Dublin in the present. It has a very strong character cast, especially David Wilmot playing a very difficult character, Ray.

The screenplay is well written in terms of plot as well as character development and characters speaking in a characteristically Irish way. The central focus is Ray, an offbeat character who is in Dublin because his father is dying, has spent 12 years away, leaving his daughter and her mother, returning because she had invited him 12 years earlier to call by. He is accident-prone, becomes part of the family, trying to relate to his daughter.

The daughter is also a central character, played by Maisie Williams, a teenager, rebelling against her step-father who is her athletics trainer. She is curious about sex with her boyfriend, tries to get some drugs – and later uses Ray to obtain some steroids to help her in her running. Also in the picture is the stepfather, Frank, played by James Nesbitt, a PE teacher with his own method of training, seen on several promotion videos shown throughout the film. He is doing his best with his wife who joined him after Ray left and dealing with Abby, her daughter.

The characters are interesting, especially Ray, his ups and downs, mental condition, emotions, dealing with his daughter, trying to help coach, with memories of his relationship with Alice and Frank being his teacher. There are some crises – but the film does have various glimmers of hope at the end and Ray and Abby settling down.

1. An Irish story, immersing the audience in the life in Ireland, Dublin? Sense of place, characters, lifestyle?

2. Dublin, homes and suburbs, the county, training, racing, the river, the falls? The local buildings, the gyms, hospital? The field, authentic? The musical score?

3. The title, gold as symbolising achievement, medals, the training for goals, commitment? Frank, the coach, his ideology? Abby, her ambitions? Gerald, training, his hopes?

4. The introduction to Abby and Devon, the focus on sex, in public, wanting drugs? The dealer, getting them to hide in the dumpster, her wanting steroids later, persuading Ray to get them for her? Naive, Devon giving the dealer his coat?

5. Ray, the introduction, getting the sofa from the yard, on the top of his car, a puzzling character, his father dying, stalking the family, the car following, Frank stopping, accosting him, recognising him? Alice’s letter inviting him, 12 years earlier? His calling by? His suicide attempt, the years in an institution, his low self-image, the therapist urging him to create a platform? Abby as his daughter? Memories of his past?

6. Frank, Physical Education at school, his theories, wanting to change the world? DVDs and their insertion in the film? Serious, comic? His love for Alice, taking her in? Abby as his daughter? Bringing her up? hard on her, her training? His reaction to Ray, not believing him? Finally accepting him? Ray knocking on the door in the night? Ray and Frank’s names in the past, wanker?

7. The scenes of training, Abby and her running? With Ray, the argument, Frank falling into the river, Ray unable to save him, the ambulance, Ray considered a hero? Frank in coma, the passing of time?

8. Ray and Alice, Frank’s absence, the effect, the sexual encounter, the teenagers seeing them? Abby and her reaction?

9. Ray, picking up Abby, wanting her to go to the hospital, the bargain, his diffidence in getting the steroids? Going to see his father, the announcement of his death? In the pub, the encounter with Rose, the bond, the barman and his remembering Ray? Ray as accident prone?

10. Abby, the steroids, running, Gerry and the training, her winning, the medals, the urine test? Her admitting the truth?

11. Gerry, talking about Frank’s presentation, Frank coming down, the display, the reaction of the officials, Frank and shock, Abby, her shame, previously asking Ray about committing suicide, her taking the pills, going to hospital?

12. Ray and his ups and downs, his leaving, the box from his father, Abby finding the letter, reading it, delivering it?

13. Ray, his new home, Rose present, the past, forgiveness, reconciliation and hope?

SABOTAGE

US, 2014, 109 minutes, Colour.
Arnold Schwarzenegger, Sam Worthington, Joe Manganiello, Josh Holloway, Terrence Howard, Max Martini, Kevin Vance, Mireille Enos, Martin Donovan.
Directed by David Ayer.

What is a governor of California do when he finishes his terms? Return to his original profession? Yes, and that is what Arnold Schwarzenegger has done after his time as Governor. He immediately started to make movies again including The Expendables, Escape Plan, Last Man Standing and Sabotage – and then moving back into Terminator territory.

This is a fairly grim film, very much in the vein of other films by the director, David Ayer, Harsh Times, Street Kings, End of Watch, Fury. Much of it is quite brutal and visually ugly, not afraid to present blood and gore and brutal killings. Arnold is Breacher.

At the beginning, we see a sting set-up on a cartel leader, one of Breacher’s picked squad of DEA agents, Lizzie (Mireille Enos) blowing the whistle in the middle of a sexual encounter. The squad has been waiting, in they come, looking for the stash of money, siphoning off $7 million down the toilet bowl into the drain, making their escape but finding that someone had taken the money. The powers-that-be interrogate each of the members of the squad about the money and what they did in the raid. There are no accusations of guilt and, finally, the squad is allowed to go back to work.

They are really hard-living, hard-drinking, some hard drug-taking and an extraordinarily macho attitude, even with Lizzie. She is married to Monster, played by Sam Worthington, a kind of second in charge to Arnold, Breach. She is emotionally entangled with Sugar, played by Terence Howard. Things become much more complicated when members of the group are murdered in spectacular ways – one killed in his caravan dragged onto an oncoming train, another nailed to the roof, another attacked at his farm, another killed by sniper shot. There is obviously sabotage and Lizzie and Sugar are after the money, which leads to one of those spectacular chases expected in this kind of film.

One of the main interests in the film is the arrival of the local police chief, played in a very tough way by British Olivia Williams, who asserts authority, tangles with Breacher, finds that she is used to get more information from clues brought in, that the initial assassins are holed-up in an apartment block have been killed – and that Breacher has a mind of his own about the use of the money, to be paid to informants who will give information about the abduction and torture and death of his wife and son (which is seen on a video at various times throughout the film).

A lot of audiences with some fine sensibilities might find the story, the characters and some of the violent action too much.


1. A tough thriller? Action drama? The work of the director and his action style and intensity?

2. Arnold Schwarzenegger, his image, his career, after his governorship? Law and deception? DEA?

3. Georgia, the squad, their bases, police officers, the cartels and their mansions and wealth? Musical score?

4. Action, groom, blood and guts, direct?

5. The title, the squad, the mystery within the squad?

6. The opening, the cartels and their decadence, Lizzie and her behaviour, drugs, the sexual encounter? Her earpiece, giving the word? The squad, waiting, the contact, the signal, the attack, the shootouts, the deaths? The title, finding the money? Removing the toilet bowl, putting the cash down? Burning the vast amount of money? The escape, finding the money gone?

7. The introduction with Bleacher and his watching the video, his wife, the torture, the explanation, watching it again and again, his revenge? The motivation, the deception in taking the money, and using it to buy information for vengeance for his wife?

8. The squad, as a team, their being interviewed by the authorities, their stories? Their personalities, nicknames, the lifestyle, hard, drinking, drugs, the capacity for violence? No real personal life? Monster and his friendship with John, his marriage to Lizzie, the betrayal by Sugar? Grinder and the others?

9. The authorities, investigations, the video of the interrogations and it being given to Caroline?

10. The deaths of the members of the squad? The man in his trailer, put on the train line, his death? The member nailed to the roof? The assassins coming to the man and his house in the woods? The shooting of Grinder through the window? The mystery?

11. Going back to work, their being reinstated, wanting the money? Lizzie and motives, drugs, with Sugar, the betrayal of Monster? Monster and his confidential talks with Bleacher?

12. The reactions to the deaths?

13. Caroline, tough, her appearance, business-like, her partner from the office, the murders happening on her watch? Her appearance, style? The train
death and putting down the markers? Interviewing John? The man nailed? Wanting information from the authorities, the resistance, urging her to write? Their concealing the information? Going to the mortuary, the surveillance, the fingerprints?

14. The relationship with John, the night with him, breaking her tough attitude? Her being used? To flush out the criminals?

15. The fingerprints, the identification, the group living in the apartment block? The police going for arrests, John and the squad, the attack, the deaths, sparing the children and women? Caroline and her disillusionment?

16. The shooting of the thugs who did the assassination, employed by the cartels?

17. Lizzie and Sugar, the escape, the chase throughout the city, the dangers, the shootings? The deaths?

18. John, taking the money, going to Mexico, going to informants, offering the money for information?

19. A harsh action film, the presentation of the hard agents and lives and pressures, government officials?

BAD COUNTRY

US, 2014, 95 minutes,. Colour.
Matt Dillon, Willem Dafoe, Neal Mc Donough, Amy Smart, Chris Marquette, Don Yesso, Christopher Denham, Frederick Weller, Bill Duke.
Directed by Chris Brinker.

Bad Country is set in the 1980s, in Louisiana, more in Baton Rouge than in New Orleans. It is a crime drama focusing on a brutal organisation, neo-Nazi in tone, presided over by a ruthless leader who uses hired killers to get rid of enemies as well as a respectable lawyer to represent him at court. The boss is played by Tom Berenger who does not appear a great deal in the film but whose face is seen in close-up at the very end of the film.

The initial focus is on Bud Carter, working undercover, unmasking a jewel-fencing racket and who himself is unmasked when the people he is dealing with have the television on and he appears in a court scene, which leads to a raid, imprisonment of the criminals and their interrogation. Bud is not scrupulous in applying torture to get some answers. He is played with intensity by Willem Dafoe.

Investigations lead to identification of one of the gangsters killers, Jesse, played by Matt Dillon, who is taken in and interrogated as well and is persuaded to become an informant. He is married, with a young child being born, and his wife and the baby are taken into witness protection. When they are killed, he goes rogue to get his own vengeance.

Washington gets involved, sending down one of its primary representatives, Bill Duke, who finds that he and Bud Carter are on the gangster’s hit list. Bud’s immediate superior, played by Don Yesso, supports him and his group of law enforcers. A young FBI agent is also sent down but he tends to get in the way.

The film builds up to a climax, the gangster leader going to a hotel, Jesse moving in to confront him, Carter relying on information from the interrogation of the lawyer who himself wants protection, has his group on alert outside the hotel, eventually doing a raid and shootout with deaths on both sides.

With its strong cast and atmosphere, this crime film has quite a bit going for it.

1. Crime? Investigation? Baton Rouge, Louisiana, the 1980s? True story?

2. The title, the city of Baton Rouge, a bad city? Apartments, police, crime scenes, homes, prisons, the mansion, hotel?

3. Action, stunt work, explicit violence, the law and justice, vengeance?

4. Neo-Nazi? groups, the boss, his henchmen, his lawyer? The assassins and assassinations? His list?

5. Bud Carter, Willem Dafoe, age, experience, the background of his father, his father’s will and mine, his cancer, wanting his son to inherit, the notice in the paper? Bud’s refusal? His work as a loner, with the squad, the links with his men? With the boss? Dedication?

6. The deal, the diamonds, the fence, his brother, the television, information and seeing Bud’s image? The brother seeing it? The police, the raid, the shootings? Interrogation of the 2 men, Bud and torture, wanting a name? Jesse and his brother?

7. Jesse, his role as an assassin, the orders of the boss? His brother, the arrest, interrogation, prison, his death? Jesse and the birth of the child? His discussions with the boss? Bud, the attack, Jesse being caught, interrogation, decision to give information, motives? Farewell to his wife and child, protection?

8. The authorities from Washington DC, from the Attorney General’s office, the meetings, the local police, the man in charge? Bud and his presence? Fitch, Age, young, inexperienced, the tension with Bud? Information from Jesse, the list, the names, DC authorising the resources?

9. The boss, his role, deals, wealth, murders, ideology? Discussions with his lawyer, advice?

10. Jesse, the help, the raids, the shootouts? Jesse being wounded in hand, in hospital? The visualising of the death of his wife and child? Bud telling him in hospital? His escape through the window? Wanting revenge?

11. Bud, the toll of the work, tough, his group, the building up to the surveillance of the hotel, his taking responsibility? Communicating with the officer in charge?

12. The confrontation with the lawyer, his giving himself up, wanting protection? The phone call and the reassurance that all was well?

13. Stakeout, Bud watching? The man sitting in the cafe? The shooters? The boss and his arrival, his men, the squad waiting? The boss and the girls, sex in his room?

14. Jesse, arrival, the shooting, searching for the boss, the confrontation, the fight with knives, Jesse dying?

15. The police, the attack, the deaths on both sides?

16. DC pleased, the success of the operation? Bud confronting the boss, close-up of the face of the boss?

A GIRL WALKS HOME ALONE AT NIGHT

US, 2014, 99 minutes, Black and white.
Sheila Vand, Arash Marandi, Marshall Manesh, Dominic Rains.
Directed by Anna Amirpour.

This is a very odd film, an independent film, and one that could have the potential for a cult following.

The film was made in the United States but the background of the director is Iranian and she has set her fantasy-drama in Iran although the settings look like downbeat American neighbourhoods.

The film was billed as the first Iranian vampire film. However, it takes some time, even in a shortish film, for the vampire to appear.

The central character is Arash, a young man who has an elderly father to look after at home, especially with the father being a drug addict. Arash also tangles with a friend who is a brutal man, a pimp, involved with drugs, especially violent in his casual relationships with women in the car and his ugly discarding of them. Once the vampire appears, he becomes an initial victim, frightening Arash.

The vampire herself seems an ordinary young woman, walking along the streets, encountering people who lead ugly lives and making a number of them victims, especially when they accost her. However, she makes friends with an older prostitute, going to her home, being looked after. At a club, she is seen by Arash and the two of them become acquaintances and even friends. Also in the scene is a young boy who initially begs money from Arash but becomes an observer of what is going on.

After the death of his father, he and the young woman find that they will have a future together. But what that future is is for the audience to anticipate rather than see.

Filmed in black and white, the film seems a throwback to the styles, especially of some Iranians films of the past, with their stark black-and-white photography, the setup of scenes, the dramatic interactions.

1. An Iranian filmmaker working in the United States? The cast? The language, Farsi?

2. The film’s awards, becoming something of a cult film?

3. The black and white photography, Bad City, allegedly Iran, looking more like the United States and Paul and dismal neighbourhoods? The musical score and atmosphere?

4. The iconic style of the film, the iconic characters, the female vampire, the pimp, the old prostitute, the old addict, the neighbourhood boy?

5. The title, the focus?

6. The vampire, Arash and his waiting, the effects, going inside, retrieving the cat? The boy asking for money, his refusal? His friend, indebtedness, the pimp taking the car, the clash? The pimp’s death and its effect on Arash? His father, his age, dependence on drugs, Arash and his exasperation? Going out, the dancing, seeing the vampire, helping? His reaction to his father? The cave, with the vampire, hiding, saving her?

7. The vampire, her attacks, seeming innocent, dressed in the Iranian fashion, black, well-covered, the death of the pimp, ordinary people, the innocent? The prostitute and her conversations? The jewellery? The prostitute’s advice?

8. The pimp, loud, with Arash, the car, with the girls, the brutal sex scenes, his despising of the girl, getting out of the car, the, the viciousness of his death?

9. The prostitute, 30, her life, the escape, the kindness to the vampire girl?

10. The father, his age, drugs, injecting the needle, sitting idle at home, a burden on his son, his reaction’s to his son?

11. The boy, in the neighbourhood, wanting money, observing the characters and what was going on?

12. The real and surreal, the glimpse of an alternative life and style?

BLUEBIRD

US, 2013, 90 minutes, Colour.
Amy Morton, John Slattery, Louisa Krause, Emily Meade, Margot Martindale, Adam Driver.
Directed by Lance Edmands.

Bluebird is a very interesting and challenging film, small-budget, filmed in Maine during the winter. The setting is a small town, interestingly re-created, homes, school, clubs, hospital and the logging site and the transporting of the wood.

The film won the Ecumenical Award in Karlovy Vary where the four women in the cast were awarded the best actress prize. Amy Morton is Leslie, a middle-aged bus driver for 12 years, married with a husband who has had an affair, is in financial difficulties with his logging company, prone to angry outbursts. Their daughter does not communicate with her parents, is seeing the boy for sex who then ignores her, and at the end has an outburst against her father. The other two female characters are a grandmother and mother, mostly seen at the hospital where a young boy has been admitted, frozen overnight in the bus.

Leslie’s life is changed, she is charged with criminal negligence and interrogated by the police. While the grandmother is more sympathetic, the mother, who is sexually promiscuous and drug-prone, is a highly aggressive, avoiding any blame, especially when her mobile phone was turned off when her mother contacted her about the news.

The film is comparatively brief but has many detailed scenes bringing to life all the characters and the terrible situation which changes all their lives.

1. A local film? The state of Maine? The universal values? The portrait of human nature?

2. A Swedish- American production? The similarities between Sweden and Main?

3. Maine, the town, the logging industry, transport of the logs, hard work? The school bus and travel? The diners, the karaoke? The hospital? The police stations? The countryside, in winter, the snow, the forests? An authentic feel? The musical score?

4. The title, Leslie and her seeing the Bluebird in the bus, the distraction? Seeing the bluebird around the house, hearing it? Symbolic?

5. Leslie as the focus, her age, experience, married life, taking her husband for granted, his taking her for granted, the details of home, housework, cooking, meals? The relationship with Paul, the difficult relationship? Driving for 12 years, the relationship with the children, the boy and his hat? The Bluebird, the negligence, called criminal negligence? At home, the meal, Paula not eating, going out? Going to work, the discovery of the boy, her response? The police, the interrogations, explanations, the effect, shock? Withdrawing? Trying to sleep? The police questioning her? The possible charges? Richard and his attention? Going to Paula’s concert? distracted, cutting her finger while fixing the vegetables? The decision to go to see Marla? Marla’s attack on her? Her trying to explain? The threat of litigation? The driver, her crash, sitting in the snow, phoning Richard? Coming to get her after searching for her?

6. Paula, her boyfriend, at school, the performance, at home, going out, the meals, her mother defending her, her strong attack on her father? The sexual encounter, her urgency? Seeing the boyfriend the next day, his casual manner and her being upset? Phoning her mother again, with her parents?

7. The boy, his mother, frozen in the bus? His mother and the karaoke, her boyfriend and sex in the car? Not having her phone on? Getting the news, upset, her mother at the hospital, talking with her, the intervention of the lawyer? Leslie’s visit, attack on Leslie, going to smoke, the visit, the boy recovering? Her comments about the difficulties in her mind?

8. Crystal, her past, grandmother, at the hospital, the phone call, rebuking her daughter, keeping vigil, the good news of a possible recovery?

9. Richard, his work, the companies and their folding, his angers, the accident and his attack on a fellow worker? His friend, the discussions? His prospects? At home, Leslie, relationship with Paula? At the recital, meeting his former girlfriend – the atmosphere, her coming on to him, Leslie’s reaction?

10. The boyfriend, the relationship with Paula, sex, casual, the next day?

11. The experience of the unexpected, blame and no blame, changing people’s lives, having to cope?

GRUDGE MATCH

US, 2014, 130 minutes, Colour.
Sylvester Stallone, Robert De Niro, Kim Basinger, Alan Arkin, Jon Bernthal, LL Cool J, Barry Primus, Paul Ben- Victor.
Directed by Peter Segal.


A grudge match is always a potentially good idea for a film. What about two major stars whose career span his at least 40 years? And so, somebody remembered Rocky and Raging Bull. And so, here is Sylvester Stallone versus Robert De Niro. And the images during the film from their two famous bouts, De Niro winning an Oscar for his portrayal of Jake La Motta in Raging Ball and Stallone being immortalised as Rocky.

Whether the person who thought up this idea is the same as the agent in the film, played with his usual frenetic energy (and potential for irritation, witness Alan Arkin and his responses in the film) by Kevin Hart, it was a persuasive idea. A back story was necessary, so there has been a 30 year rivalry between the two men, one going on to work in a factory (Stallone) and other opening a popular club (De Niro). The plot has to rely on a female lead and some rivalry in this regard, Kim Basinger playing the wife, stupidly unfaithful to Stallone and marrying, without love, De Niro, producing a son who himself has a son. Plenty of family themes.

The issue of the training and coach comes up, De Niro presuming on the son of an old friend but eventually relying on his own son. Stallone has kept in touch with his old coach, Alan Arkin, and has financed his care as he has grown older.

While Stallone’s character has some defects, especially the isolation which separated him from his girlfriend at the time, he is much more sympathetic than De Niro’s character.

We have scenes of rivalry, plenty of scenes of rekindling adult romance, plenty of scenes indicating what a louse De Niro really is, plenty of scenes of training. Which leads to some tension in the final fight, Stallone and injury, the son appealing to his father, De Niro, to act honourably.

Then there is a very amusing joke during the final credits with Kevin Hart as the agent trying to persuade Mike Tyson and Evander Holyfield (memories of the ear-biting situation) to have a grudge match.


1. An entertainment? The stars, theme of age, boxing, rivalry?

2. Pittsburgh, the city, homes, clubs, gyms, sporting venues? Ordinary life? The songs? Musical score?

3. The title, television footage introduction to the characters, history, boxing, rivalry, 1980s?

4. The flashbacks? The images of Rocky? Images of Raging Ball? The fights, the motivations, wins and losses, Sally, Lightning?

5. The idea for the return bout? The agent, his patter, the bad reputation of his father, the proposal, the appeal to each of the fighters, their negative reactions, cash, participation in the video game, meeting at the studio, their costumes, fighting, in jail? The promotion of the match? The agent, getting his new car, his clash with the girls, the phone calls, present at the advertising and press conference?

6. Razor and his story, Sylvester Stallone, age, his life, experience, the fights, his love for Sally, for Lightning, looking after him, paying for his accommodation? The separation from Sally, his feelings for 30 years? His work, the factory, creating the ironwork statues?

7. Kid, Robert De Niro, his age, the marriage to Sally, not a good father, his son and grandson, the club, his performances?

8. Lightning, his being a hard case, friendship with Razor, Razor’s care for him, his bad mouth, coaching, support? The final joke about the hearing aid?

9. The press conference, few attending, the wisecracks? The promotions, the advertising? The interviews, presence at the mixed fighting about and their criticisms of it, punching out the fighter?

10. Razor, the tough regime, the training, the phone call to Sally, the two of them talking, the explanations of what had happened, his opting out, her foolishness and going with Kid? Lacking sight in his left eye? Withdrawing from the bout? Lightning delivering the news to the agent – and his reaction?

11. Kid, his son, coaching him? The visitor with Frankie, memories of his father, knocking him out? The grandson, the bond, going out with Sally and the family? Taking the grandson to the club, dancing with the girl, sex in the back of the car, the brakes, the crash, the police, in jail, Bailed? the fight itself, the introductions, the many rounds, choreography of the fighting, Razor and his sight, Kid and his son urging him to do what was right? The win to Razor by a point and judges’ decision?

12. Themes of age, achievement, resolution of past conflicts?

HOW STELLA GOT HER GROOVE BACK

US, 1998, 124 minutes, Colour.
Angela Bassett, Taye Diggs, Whoopi Goldberg , Regina King, Suzzanne Douglas, Victor Garber.
Directed by Kevin Rodney Johnson.

The novels of Terry Mc Millan were very popular in the 1990s, especially among women readers, with a target of African- American women readers. At this time there was also a film version of her novel, Waiting to Exhale.

Terry Mc Millan wrote the screenplay for this film, focusing on an affluent world, a very competent businesswoman, Stella, Angela Bassett, divorced and with a son, using her skills in a Wall Street context, but feeling tired, looks at it advertisement on television for a holiday in Jamaica and sees herself. She decides to go.

Her best friend is played by Whoopi Goldberg who encourages her in a mindset for having an affair. When a 20-year-old, Winston, played with charm by Taye Digges, approaches her at breakfast, she allows herself to be smitten and begins the affair. He has been a medical student but wants to be a chef. With some misunderstandings, she goes back home, but he gets in touch again and she returns to Jamaica and the affair. He takes her to see his parents but his mother is very insulting to Stella.

With sudden news of Whoopi Goldberg’s terminal illness, she speaks at her funeral about her best friend and then sees Winston at the funeral. He makes good friends with her son, but she is fairly bossy and at times comments on how he reacts as a boy. The screenplay continually emphasises the age difference and, ultimately, this is too much for Winston. But this is a glossy story and there is a happy ending.

1. The popularity of the novels by Terry Mc Millan? An adaptation for the screen? Targeted for a women’s audience? African- American? Worldwide?

2. Glossy production, New York City, the stock exchange, lavish homes, hospital, streets of New York? Jamaica, the hotel, the sea, parties, the kitchen? The doctor’s mansion? The airport? Audiences identifying with the characters and settings?

3. The title, Stella as the focus, her original groove? Her husband and son, the divorce, the lavish homes, her son, the bond between them? At work, financial advice, Stella relied on, the issue of mergers? Delilah as her best friend? The relationship with her sisters, the ambulance sister, the pregnant sister? Working hard, the television, ad for Jamaica and seeing herself in the ad?

4. Her decision to go to Jamaica? Quincy with her sister? Arrival, with Delilah, chat, focus on sex, possibilities and the affair mentality, the luxury hotel?

5. Winston, his look, age, explanation of his name, his study in biology, the possibility for medical school? Inviting himself to breakfast with Stella? The talk, the attraction, swimming, communicating? Invitation to the party, the dressing up, dancing, the kiss, his room, the sexual encounter, the effect, talking with Delilah?

6. Winston, his wanting to be a chef, the phone calls, not answering, Stella return home?

7. Stella at home, going to the office, her boss, being fired? Her response? Quincy and his support? The background of her wanting to make furniture, the furniture in the garage? The influence of the parents on her career?

8. Winston’s call, her return? Their affair? His taking her to his parents, lack of preparation, the mother and her directness, the insult, being upset, leaving?

9. The phone call about Delilah, Delilah not telling her about her cancer, Delilah in hospital, the visit, the best friend, the deaths? The funeral and her speaking on behalf Delilah? Winston arriving?

10. The new offer to Stella for a job and her turning it down?

11. The connection with Winston, Quincy and his liking Winston, the constant focus on the age difference, Stella treating Winston as an adult, as a boy?
The party, meeting the family, the ex-husband saying how Stella was bossy? The meal, his wanting to pay like a man, Stella wanting to pay, his payment, urging her to leave the tip? His going into the garage, furniture and hope for Stella? His playing videogames, the outings with Quincy? The choice of videos and Stella’s criticism?

12. Angela, the talk, pregnant, birth? Stella clashing with her, Angela backing down? Vanessa and her curiosity?

13. Winston, his decision to leave, to start his medical studies, goodbye to consider, goodbye to Stella? The taxi to the airport, his arrival, Stella present, the love?

14. Themes of love, age differences and how important?

THE DEVIL MAKES THREE

US, 1952, 96 minutes, Black and white.
Gene Kelly, Pier Angeli, Richard Rober, Richard Egan, Claus Clausen.
Directed by Andrew Marton.

This is a small budget feature from MGM in 1952, the same year that can Kelly released Singin in the Rain. The stars who appeared in the big budget films, even the musicals, had to appear in these lesser films and this was Gene Kelly’s turn.

The setting is 1947, and the film was made in Europe, amongst the ruins of cities from the bombings of World War II, in this case, Munich. There is a contrast with Salzburg which preserved its old look and atmosphere.

There are memories of the war, bombings, with Kelly playing Jeff, a pilot who comes back to Munich to thank a family who took in him in and saved him. He finds that they have been killed but that their daughter, Pier Angeli in one of her earliest roles, works in a club and, with the help of an American officer, played by Richard Egan, he tracks her down. She is 18, has become hardened, and is involved in black market business, driving to Salzburg and delivering material, including gold in the tyres of cars, to a neo-Nazi movement.

Jeff accompanies her on a trip, unsuspecting, but is informed by the American authorities. He is upset but realises that what they say is true and goes on another trip.

Of interest, is a lounge singer, Claus Clausen, in the old German cabaret style, with the lyrics of his songs reflecting on The Third Reich. He is revealed as the leader of the neo-Nazis with a Hitler complex which leads to a melodramatic conclusion.

Not a particularly good film, but interesting for Gene Kelly to have a serious role, Pier Angeli at the beginning of her career, Richard Egan before he became a kind of beefcake hero of 20th Century Fox Cinemascope epics.

1. Post-war thriller? The consequences of World War II and the bombing of Germany? Post-war reconstruction? Crime and the black market? Neo- Nazis?

2. The location photography, the use of the city of Munich, Salzburg, German and Austrian countryside? The ruins after the bombings? American presence? Shops, nightclubs? The borders and the shops? The musical score?

3. The songs, cabaret style, memories of German cabaret, the piano player, the ironic lyrics to his songs about the Third Reich?

4. The title? Crime, romance?

5. The opening, the American officer and his explanation of the situation? His later appearance, investigations into smuggling, the neo-Nazis?

6. Jeff, memories of the war, landing in Innsbruck, being saved by the family, his sending the parcels, his coming to thank them, searching out the house, bombed, the occupying family, receiving his parcels and thanking him? His search for Willy?

7. Parker, his role in the military, sharing with Jeff? Helping him and the search, going to the variety of nightclubs? Jeff seeing Willy? His shock, talking with her, her response, his memories of her as a girl, now 18, as an escort in the club, the supervisor, the demands for money? Dancing? The time away, her lodgings, poor, surviving?

8. The plan for the day, the renting of the car, the trip through the countryside, the motorcyclists, the man offering cups of coffee at the border, the search of the car, the discovery of the camera lenses and needles, allowed to go on their way? In Salzburg, the friendly family? Enjoying the day, shopping? The sudden return?

9. Willy telling the truth, Jeff’s reaction? His saying she would not continue with the trips? His being interrogated by the American officials? Her change of heart, his telling Parker that he was correct?

10. The second trip, the cyclists, pretending that he had a flat tyre? The border, the examination, the fine? Back in Salzburg? Jeff going to examine the car, with Willy following him, the explanations, the dealer and his gun, the fight, the escape? Jeff seeing the shot on the wheel – made of gold, for the neo-Nazis?

11. Their being abducted, going to the neo-Nazis’ centre, the cyclists, the new force? The crowd?

12. The piano player, his ironic songs, his getting the information, that he was a neo-Nazi leader, arriving as a new Hitler, the parade? The fire, Jeff and Willy, her being shot? The military arriving, the collaboration with the Munich police? The chase of the leader, his wanting a glorious death, his being arrested?

13. The resolution of the issue? Neo- Nazis and indication of things to come? The reflection on this situation of 1947, and the Americans and their role in the reconstruction of Germany?

BEFORE SNOWFALL

Norway, 2013, 96 minutes, Colour.
Abdullah Taher, Suzan Ilir.
Directed by Hisham Zaman.

Before Snowfall is a Norwegian film with a Norwegian director who emigrated from Kurdistan when the young.

This is a Kurdistan story, a story of a young man who escapes from his home country concealed in an oil tanker, travels to Turkey and Istanbul, and then on to Greece, Berlin and, finally, to Norway. This makes the film an interesting look at refugees from the Middle East and how they moved from Asia to Europe.

It is the mission that the young man has which is also of great interest. His sister has fallen in love and, to escape her arranged marriage, flees to Istanbul. Her brother is commissioned by a wealthy leader in the village to track her down and kill her, an honour-killing. The young man is quite relentless, knowing no better, absorbing the traditions of the village.

However, some things change in Istanbul, especially when he meets a young girl who wants to go to Germany to track down her father. Transported by people smugglers, they find themselves in Greece with the police asking for the names of the smugglers – which the young man offers in order to escape. After finding the girl’s father who has married again, they travel to Norway where the news is that the boy’s sister has fled.

There is a dramatic finale in the snow – but a grim ending, the boy confronted by the agents of the people smugglers who want revenge on him.

1. A story of the Middle East, arranged marriages, and the vendettas, illegal migrants, people smugglers, entry into Europe and the European Union?

2. The locations, the Kurdish mountains, the village, the snow, the seasons, the Turkish countryside, the detail of Istanbul, into Greece, Germany, Norway? The musical score?

3. The title, Siyar and his mission, travel, the confrontation with his sister? In the snow?

4. Audiences understanding village life in Kurdistan? Families, clans, arranged marriages, moral norms, Siyar, loves, the consequences, murder? The scenes with the families and their discussions, making excuses for the behaviour of the daughter, the leader of the village and his commissioning the execution of the daughter? Phone contact, supplying money, contact with people in Istanbul, with people smugglers?

5. Siyar, his age, his understanding the ethos of the village? His condemnation of his sister? His being commissioned to seek her out? His mother, his sister, their wanting the girl back home?

6. The opening, wrapping Siyar, his travelling in the oil tank, not being detected, on the roof, on the road, the encounter with the Turkish man in the countryside, going to Istanbul, the hotel, wanting contacts, the room with the other Kurds, his money, his being robbed in the street?

7. Tracking down his sister’s lover, meeting him, finding the truth that he had assisted the couple to escape? His place in the village, not welcome to return?

8. Meeting Evin, disguised as a boy, her story, her father, singer, Germany, her wanting to go? Friendship with Siyar, their discussions, his wanting to help her?

9. The contact, the people smugglers, the truck, waiting for Evin, her joining the group, Siyar crossing into Greece? The police rounding up the group, promising freedom if the people smugglers were named, Siyar doing this?

10. In Berlin, Evin, going to see her father, his new family, his former wife in prison, the meal, his wanting to move on?

11. Travelling to Norway, the local Kurdish contacts, the information about Siyar’s sister, his drinking, the confrontation in the snow, his not being willing to
kill her, her freedom?

12. The irony of Siyar, the contact in the snow, killing Siyar because of his betrayal of the people smugglers?

13. A grim contemporary story, the Kurdish origins of the director, his life and filmmaking in Norway, his perceptions on a story of Eastern -Europe?