VAN DIEMEN’S LAND

Australia, 2009, 108 minutes, Colour.
Oscar Redding, Arthur Angel, Paul Ashcroft, Mark Leonard Winter, Torquil Nielsen.
Directed by Jonathan auf der Heide.

Van Diemen’s Land is a reconstruction of an escape by a group of conflicts convicts and their travel through the Tasmanian forests and mountains, enduring all kinds of hardships in the seasons, having no food available, either plant or animal. History recounts how the men killed each other, using the bodies of the dead for food. The main name associated with this is Alexander Pearce. He was the sole survivor of this escape, was captured, escaped again but was finally taken by the British military and executed in 1824.

This is a very harsh story, its presentation of human nature, the hardships of the convict settlement in Van Diemen’s Land, the plight of convicts, the behaviour of the British soldiers, as well as the struggles for survival in such unfriendly territories.

The film has a lot of voice-over comments, some in English and others in Gaelic.

There was a focus on Pearce himself in the television film at the same time as this one, the last The Last Confession of Alexander Pearce.

Not easy viewing but informative about conditions at the time. a harsh piece of Australian history.

1. A 19th-century story? Australia? Tasmania? Convicts, prison, escape, endurance and survival?

2. The Tasmanian locations, rugged beauty, the seasons, mountains and rivers, forests? The landscape as a character?

3. The title, the feel? The prison, the soldiers, the workplaces, the escape?

4. Dialogue, in English and Gaelic?

5. Alexander Pearce and his history, reputation? Character, his story, the escapes, endurance, the need for food, killing his companions, cannibal activity, his being caught, further escape, his execution?

6. The group, the different characters, at work, with the soldiers, engineering the escape, the boat? Wandering in the forests, on the mountains? The violence? Leadership? The decisions?

7. The difficulties, no food, no animals, trying to survive, walking, their clothes, in the rain and snow? Losing their strength, deaths?

8. The need for food, survival, Pearce and the others, killings?

9. The survivors, their wariness of the others, their fear, brutality, food?

10. The last two, each wary of the other? Pearce and his ultimate survival?

11. The information about Pearce in the aftermath?

12. The film immersing audiences in an Australian story and environment?

THE SCARLET COAT


US, 1955, 102 minutes, Colour.
Cornell Wilde, Michael Wilding, George Sanders, Anne Francis, Robert Douglas, John Mc Intyre, Rhys Williams, John Dehner, Paul Kavanagh, Bobby Driscoll.
Directed by John Sturges.

In the mid-1950s, MGM decided to follow the example of 20th Century Fox in making action adventures in Cinemascope: Moonfleet, The Kings Thief. The Scarlet Coat is another example.

The setting is 1771, five years after the Declaration of Independence and the leadership of George Washington. However, the battles between the Americans and the British continued, fighting in the fields as well as espionage. In the background of this film is the treachery of Benedict Arnold and his betrayal of the American forces to the British. He appears briefly and is played by Robert Douglas.

The main focus is on Cornell Wilde as John Boulton, a loyal American, skilled in fighting but also in infiltration undercover work. His commission is to infiltrate the British, appearing as a businessman. This puts him in contact with the British commander, John Andre, played with urbane charm by Michael Wilding. it also puts in contact with a British-sympathising doctor, played by George Sanders. Also in the picture is Anne Francis, who attracts John Andre, is suspicious of John Boulton but eventually falls in love and helps him.

Cornell Wilde is always a charming hero, sympathetic to everyone, able to cover his tracks and deliver information to the Americans who can then act on it. But he truly befriends John Andre and finds it difficult to hand him over to the authorities.

Andre is captured, tried and executed.

The film was directed by John Sturges who made a number of dramas at this time but came to prominence with Bad Day at Black Rock. He moved into bigger budget action films like The Gunfight at The OK Corral, The Magnificent Seven, The Great Escape and The Eagle Has Landed.

1. An MGM historical spectacle of the 1950s? The War of Independence? Audience knowledge and interest?

2. Re-creation of the period, costumes, decor, sets, design? The musical score?

3. The title, the British and their coats? The war of independence, American versus British? The declaration of Independence? George Washington? The years following the Declaration, the fighting, the absence of peace?

4. The heroics, the fights, individuals, squads? Undercover work, infiltration, spying devices, pretences and deep cover? Survival? Skills and the need to be clever?

5. John Boulton, hero, his activity, lone action, relationship with the military? The issue of Benedict Arnold? The spy and his code name? Adventures, being caught, the hotel, the encounter with Sally? Hostility? His sense of mission? Suspicions and his facade?

6. The military authorities, the commander, the role of Benedict Arnold, with the troops, the risks, the need for communication? Young Ben at the hotel, his eagerness to serve, friendship with John Boulton, his involvement?

7. The doctor, his ideology, his friendship with John Andre, with Sally? His waiting rooms? His involvement, suspicions of O’ Dell, Boulton, communicating with them? The doctor proven wrong? Right?

8. John Andre, his role in the command, a gentleman, his love for Sally, espionage? The advice of Dr O’ Dell? His having to trust?

9. Infiltration by Boulton, his cover, his name, his story? Friendship with Andre? The encounters with Sally, the attraction, the revelation of the truth? His being present at crucial moments, the information, his business, sending the information back?

10. Ben, work at the hotel, and helping, becoming involved, his contribution?

11. The attacks, the sieges, the home of the sympathiser, fire? The troops? Realising the truth? Information about Arnold?

12. Going into action, Andre and distrust, his being taken? In prison, condemnation, the discussions with Boulton, the mutual? His execution?

13. American history and the War of Independence?

SONS OF THE SEA/ ATLANTIC FERRY

UK, 1941, minutes, Black-and-white.
Michael Redgrave, Valerie Hobson, Griffith Jones,Hartley Power, Margaretta Scott, Frederick Leister, Henry Oscar, Felix Aylmer.
Directed by Walter Forde.

This is a little-known British film of the early war years. As might be expected, it has a patriotic tone, tracing the history of the development of steamships and the abandoning of sail, especially in the voyages between Britain and America, emphasising the allied friendship of the past and of the times.

The film is quite lavishly produced, re-creating the 1840s, in Liverpool and Glasgow, the boat building industry, the development of steam as well as the dangers and perils of voyages to America.

The main protagonist is Michael Redgrave as Charles Mc Iver, with Griffith Jones as his brother, David, shown initially failing with the big steamships they had built, David Mc Iver making alliances with the shipbuilders of Glasgow, which his brother denounced. In fact, Charles Mc Iver, under a disguised identity, sails to America and experiences the hardships at sea, the crowds below deck, sickness and the exploitation by the crew as well as the avaricious owner. This gives him motivation, as does his friendship with a Scottish daughter of a builder, Valerie Hobson, who is engaged to his brother.

The American connection is further emphasised by the character of Cunard, the American entrepreneur who joins with the Mc Ivers to build the steamships.

An interesting look at British filmmaking of the period as well as its looking back to a proud past.

1. British production, in the early years of World War II, stories of the 19th century, British naval history? The style of filmmaking?

2. The 19th century, Liverpool, Glasgow, sets, costumes, decor, design? The re-creation of the cities? The walls, the streets, the buildings, homes? Black-and-white photography? musical score?

3. The background of the sea, sailing ships, the advent of steam? The picture of the boats, sailing, the storms?

4. The title, Charles and David? Their place in history? Steamships? In the transition to steam? The attitude of the authorities, bankers, stances against progress? The brothers and their promises?

5. The initial launching of the boat, the ceremony, the failure? The businessman and his reaction? His fleet of sailing ships, his cargoes, exploiting passengers? The route to the United States? The brothers and their disappointment? Faithful to Liverpool, anti-Glasgow and deals? The need to finance the building of the ships?

6. The visit from Glasgow, Mary Anne, her message, her uncle, her father, the financial background? attracted to the two brothers? Her charm? Her appearances in Glasgow, at home, her contribution and advice? David and his interest in her?

7. Charles, strong man, the decision to go to sea, organising his passage, covering up his identity, on board, the crew and the treatment of the passengers, the hardships for the passengers, below decks, the storms, hunger, the death of the young girl? The will to survive? Charles and his achievement?

8. The United States, Cunard, the meeting, the building of the boats, the contrast with working with the Americans and Glasgow? Charles going to Glasgow, his shock about Charles’s behaviour? The difficulties? Going into business, the building of the ship? Sailing to the United States, the difficulties, facing them on board, arriving safely? The mail? The success of the trial?

9. The portrait of the business people of the time, confidence in sail, wary of steam, not interested in progress? Exploiters of people? The bankers, the board meetings and their turning Charles down?

10. David and Mary Anne, Charles and Mary Anne, the support?

11. A patriotic historical film for British audiences in the early years of World War II?

WHEN HARVEY MET BOB

UK, 2010, 90 minutes, Colour.
Domhnall Gleeson, Ian Hart, Antonia Campbell- Hughes, Paul Rhys.
Directed by Nicholas Renton.

In many ways, this is an impressive film television. It focuses on the famine in Ethiopia in 1984 – 1985 and the response of Bob Geldof.

The Bob of the title is Bob Geldof while the Harvey of the title is Harvey Goldsmith, a businessman, entrepreneur. Domhnall Gleeson gives very interesting interpretation and impersonation of Bob Geldof. Ian Hart is Goldsmith.

The film opens with Geldof dismayed at the famine in Ethiopia, organising his friends to make a Christmas record and harassing his boss. The record is a success and raises a great deal of money. When Geldof goes to Ethiopia himself, followed by the press, and experiences the situation firsthand, he then decides to organise a huge concert, drawing on the celebrity talent of the period. He harangues Goldsmith who finally gives in, working with staff and having to put up with the constant changes in Geldof’s mind as well as his unwritten contracts and continued promises which are, in fact, lies.

The film shows in detail the preparation for the concert in the UK, negotiations for a second concert, ultimately in Philadelphia, changing the dates to suit Bruce Springsteen, going in person to persuade Paul Mc Cartney to perform.

He is helped by the new secretary of the record company whom he imposes on but who becomes loyal to him, humanising him in many ways, intervening with ideas.

The film has glimpses only of Paula Yates – but, on this evidence, it is quite understandable why she left Bob Geldof.

People who do significant things, people who are crusaders, can be very difficult to live with especially as they impose their own idealism on offers.

1. A true story, embellished and developed? The initial disclaimers? Strong dialogue, situations?

2. Ethiopia in the 1980s, Live Aid? Band Aid? Work for the starving? The aftermath of the 1985 concert?

3. 1984 – 1985, Ethiopia, the visuals of the starvation, the masses of people, the need for aid? Bob Geldof watching the television, the effect on him? Geldof as a singer, his decision to produce the record, the artists, waiving their fees? Playing the record on radio, his urging people to buy the record, the results?

4. The effect of the news of Ethiopia on Geldof, on others? The need to do something?

5. Bob Geldof and his history, the Boomtown Rats, his career, his calling on all his friends?

6. His reluctance to go to Ethiopia, his visit, the interviews, the cameras, the visuals, the effect? His conscience?

7. His promoting the cause of Ethiopia? The meeting with Mrs Thatcher, the discussion, his confronting her, the issue of butter and her refusal, her moving on? Different opinions?

8. Geldof and his work, the record company, exasperating the boss, the arguments? Marcia and arrival, his using her desk for the phone calls? Her asserting herself? his getting home, asking her to pick him up, asking the donation? Marcia, working with him, humanising him? Domhnall Gleeson’s performance, his look, accent, appearance, style, clothes, obsessions?

9. The idea for the concert, the expanding idea, a concert, on television, Channel 4 refusal, the negotiations with the personnel at the BBC, the range of artists, not having written contracts, word-of-mouth, his inventing what he wanted? The issue of $3 million from the American network? The transfer to Philadelphia? The people involved?

10. Bob Geldof’s home life, marriage to Paula Yates, the glimpses of her and the child? His age, his being away from home, and on his nerves, meeting Goldsmith, challenging, the demand? Persuading him to work? The demands, the lies, the contracts? Months of exasperation?

11. Half, the promoter, his style, at the airport, the pressures on him? The idea, issue of fees, the demands, the ambitions, the contracts, the business sense? The issue of Paul Mc Cartney? Of Bruce Springsteen? The phone calls, Springsteen and the change of date?

12. The discussions, the lies, promotion, television and radio, the weeks of tension?

13. Bob, intense, the demands for the money from the US? The idea of two concerts? The initial press conference, the questions, the lack of enthusiasm from the journalists? The change of tone? More support? His being invited to his school, his speech, urging kids, swearing, their applauding?

14. The visit to Paul Mc Cartney, in the garden, not wanting to perform live, agreeing to It?

15. The contact for food and supplies in Ethiopia? His meeting with the agent? The phone calls, the issues of money, the trucks and ships and the demands?

16. The days, getting closer, the effect on each, health, nerves, Bob Geldof and his back? Marcia and continued support and interventions? Goldsmith, his speech to the staff, the rehearsals, the timing and needs, clocks and the clock around his neck?

17. The start of the concert, Charles and Diana? The crowds arriving? The effect, the lack of donations despite the enjoyment of the concert? Bob persuaded to speak on television and make the appeal? Bob swearing, urging people to give the money? The build-up of the donations?

18. Paul Mc Cartney, Let it Be, the lack of a microphone, people singing, joining him at the end?

19. The aftereffect, on Bob Geldof, his subsequent life, various appeals, concerts?

20. Audiences, worldwide? The fulfilment of a dream? Support for charity?

21. The final information about the characters and the concert?

PETALS ON THE WIND

US, 2014, 85 minutes, Colour.
Rose Mc Iver, Wyatt Nash, Bailey de Young, Heather Graham, Ellen Bursteyn, Will Kemp, Dylan Bruce.
Directed by Karen Moncrieff.

Petals on the Wind is the sequel to V.C.Andrews’ novel, Flowers in the Attic. Flowers was filmed in 1987 with Louise Fletcher and Victoria Tennant as the mother and daughter. It was re-made in 2014 with Ellen Burstyn and Heather Graham as mother and daughter.

The story takes up 10 years after the escape of the children from the attic.They have been found by a kindly black servant at the bus stop and taking into the care of a doctor with them them up and educated them well. The film opens at his funeral

Chris is the trainee doctor. Cathy is a ballet student. Carrie is at school, where she is bullied and mocked, especially about her doll. In the meantime, the medical instructor’s daughter is infatuated with Chris and eventually they become engaged. The one of the ballet instructor is attracted to Cathy and offers the opportunity to train in New York. However, he is jealous and also takes advantage of Carrie when she comes to stay.

Their mother has married and is very rich, remodelling the old house. She also clashes with her mother, who is old, ill and still religiously condemning her daughter’s not marrying, the children as the spawn of the devil.

Cathy decides to get revenge on her mother who has caused the suicide of Carrie and seduces her mother’s husband. All is revealed at the opening of the re-modeled house, disaster for all, especially as the daughter sets fire to the house and her mother is burnt to death. She is seen finally in an institution, looking for the children. Surprisingly, Chris and Cathy California where they have their own family.

1. Continuation of Flowers In the Attic? Presupposing knowledge of characters, situations? Corinne and marriage, the death of her husband, their not being married? The three children, to their grandmother’s, confined to the attic, the two years in the attic, the alienation of the mother, and neglect, the death of the twin, the relationship between Cathy and Christopher, incestuous? Their suffering, their escape?

2. The information about their being taken in by the kindly woman at the bus stop, the doctor adopting them, bringing them up, educating them? His death, funeral, Cathy and her speech? Tribute to him? His providing security for them?

3. The South and its atmosphere, Christopher and his medical studies, Cathy and ballet studies, Carrie at school and being bullied?

4. The mother, neglect, refusing to answer letters, hanging up on phone calls? Corinne, her father’s death, wealth, the decision to re-do the house? Her husband’s consent? Her mother, ageing, confined to the bed, the threat of nursing, the nursing staff, her daughter’s cruelty?

5. Christopher, impassive, medical studies, intelligence, impressing the doctor, the admiration of Sarah, agreeing to the date, attracted by her, the engagement, Sarah’s excitement, asking Cathy to be maid of honour, his passion for his sister, the memories of the past, in love only with her, the sexual encounter, Carrie listening at the door? His career, welcomed into the family, Sarah finding brother and sister together? The move to California? Marrying his sister? The family?

6. Cathy, ballet lessons, the meeting with Julian, is bringing her home, Christopher’s jealousy, the decision to go to New York, moving in with Julian, the ballet lessons, his jealousy, flirting, possessiveness over Cathy, injuring her? Romeo and Juliet, dancing with Julian? The influence of the director? Returning for Christopher’s graduation? Carrie coming to New York and asking to stay, Julian, sexual approach, Cathy’s reaction, at the debut? In the car, telling Julian about the baby, his distraction, the crash, his death? The birth of the boy? Cathy’s return, training children, love for her son? Carrie’s death after the hope of the engagement? Cathy asking Christopher for revenge on their mother, Cathy’s decision, seducing Corinne’s husband, the affair, pregnancy? The buildup to the opening of the redecorated house, the speech, Cathy revealing the truth, the consequences? The burning house, their grandmother dying, their mother confined to an institution?

7. Carrie, her age, being bullied at school, the doll? Hanging, locked in the room? Coming to New York, the encounter with Julian, liking it? The return, singing and the choir, friendship with the minister, talking, his proposal, acceptance? Going to meet her mother, the correspondence, invitation, her mother disowning, her killing herself?

8. Corinne, disowning her children, influence of another, the spawn of the devil? Ignoring? Renewing the house, love for her husband, the clashes with her mother, threatening her with an institution? The argument about religion, the devil, the curse? The function, Cathy’s announcement, the consequences for Corinne, setting the house on fire, the death of her mother? Seeing her in an institution, calling for her children?

9. The scenes with her mother, at the opening, later, the arguments? Cathy’s visit and challenging her? Done up for the function, acknowledging the consequences, not supporting her daughter? Her death?

10. Sarah, her father, the dates, happiness, the engagement, the preparations? The scene with brother and sister together?

11. Julian, his mother, her demands, the ballet, the director in love with him, his infatuation with Cathy, bringing her to New York, giving the opportunity, his petulance, accusing her of flirting, his relationships? His drinking, the insults? Romeo and Juliet, the opening, his molestation of Carrie? In the car, the distraction about the baby, the crash and his death?

12. The young minister, saying that he was square, liking the music, attracted to Carrie, seeing the goodness in her, the proposal, acceptance? The death?

13. Bart, relationship with Corinne, wanting children, busy at his work, allowing himself to be seduced, the function, his speech toast, hearing of Cathy’s pregnancy? Cathy trying to apologise, his being overcome?

14. Heightened melodrama – with touches and dialogue of soap opera?

FLOWERS IN THE ATTIC

US, 2013, 89 minutes, Colour.
Heather Graham, Ellen Burstyn, Kiernan Shipka, Mason Dye, Ava Telek, Maxwell Kovach, Dylan Bruce.
Directed by Deborah Chow.

Flowers in the Attic is the second version of The V. C. Andrews’ popular novel. It was made in 1987 with Louise Fletcher as the mother and Victoria Tennant as the daughter. It was a very dark film. This time the mother is played by Ellen Burstyn and the daughter is played by Heather Graham.

While the original is dark and sinister, television has a lot of light and colour.

Heather Graham is Corinne, mother of four children, happy with her partner, unmarried. When he dies in an accident, Corinne has to go back to her haughty and religious mother and ask for help. Her father is bedridden, loves his daughter, and is very wealthy. Corinne neglects children, when they are confined to an upper room and an attic by her mother.

The film shows the four children trying to cope, severe visits from their grandmother, gradual neglect by the mother who socialises and eventually marries. One of the children dies of illness. The older children, Cathy and Chris, become attracted to each other and there is incestuous relationship.

Eventually the children are able to escape, go to a bus stop and to different future which is visualised in the film sequel, Petals on the Wind.

1. The popularity of Virginia Andrew’s novels? The original film in the 1980s? This television remake?

2. Brighter colours than the original? The initial sequences with the family, home, the mansion, interiors? Exteriors? The attic?

3. The title, application, the children, imprisoned, the role of flowers? The image of the children as flowers?

4. The initial sequences of the family, happy, the parents, play, work, death of the father?

5. The new situation, options, Corinne and her mother, the decision to move? The poor reception, the grandmother, her lack of generosity, lack of emotion, hostility, relegating the children to the upper room in the attic? The secrets of the house?

6. The children, the rules, in the upper room, the space, the confinement? The meals brought up? View from the window, playing within, the effect on them?

7. Cathy, Christopher, the twins, the different ages, playing? The risk of illness? Corey and his death? The effect on them? Their mutual love, Christopher and his infatuation with Cathy, her response, wariness, the incestuous relationship and its consequences?

8. Corinne, with her mother, her father and his wealth, the background of marriage, the fact that it was not a marriage, the condemnation of Corinne, the naming of the devil’s spawn?

9. Corinne and her visits to the children, getting rarer, dependent on her mother, the other men, her extravagance, the build-up to her marriage, wealth, jewellery?

10. The character of Corinne’s mother, as a person, strict, religion, disliking the children, knowing their secrets, the condemnation of their father and his behaviour?

11. Cathy, Christopher, the determination to go outside, searching, watching the function, seeing their grandfather?

12. The cumulative effect of the two years? The determination to get away? The plans? The success, $30, going to the bus stop? Locking their grandmother, afraid, in the attic?

13. The end of the story – as a prequel to Petals on the Wind?

HUNTING ELEPHANTS

Israel, 2013, 107 minutes, Colour.

Gil Blank, Sasson Gabai, Moni Moshonov, Patrick Stewart, Yael Abercassis. Moshe Igvy.
Directed by Reshef Levi.

Hunting Elephants is an Israeli comedy, focusing on two friends in a home for the elderly. In the past the friends had been acting together before Independence, freedom fighters, even to robbing banks managed by the British.

They are often visited by the grandson of the friends. When the boy’s father dies of a heart attack on the job, the manager of the bank refuses to give the compensation, focusing on aspects of the small print. His widow then goes out with the bank manager – audiences not sure to what purpose.

Also in the picture is a British actor, played by Patrick Stewart (when John Cleese was unable to do the role). He is one of those who build a false reputation on a miniscule career, hoping to get some inheritance from his Israeli cousin. in an emergency this money has been used to pay for the widow of one of them in a coma, he becomes part of the plot.

The first attempt is a failure, with one of the men, supposed to be a hostage, taking hostages but escaping imprisonment because of dementia. The second attempt is success…


1. The blend of comedy drama? Bank robbery genre and conventions? The old men and the young boy – plausible or not?

2. The Israeli setting, homes, the bank and security, the old people's home, the streets, the robbery? The musical score?

3. The old men, in old age, celebrated Israeli actors? Comic and serious? The memories of the past, the bank robberies against the British before Independence? Their knowledge and experience? The prospects of a new bank robbery?

4. Jonathan, 12, life at home, relationship with his mother and father, his being bullied at school, his father at the bank, the good job, security, his heart attack and death? His mother, reaction, the compensation not paid, the small print? The mother going out with the bank manager? Her motivation?

5. Jonathan, his visits to the old people, his being upset, wanting to vindicate his father? The old men in their various financial problems? The plan to rob the bank, knowledge of the defence systems?

6. The robbery, the diversions, the alarm systems, not functioning? Going to the safe? Things going wrong, Nick, his role as a hostage, taking the gun, having his own hostages – the police taking him, possibility of prison, but his dementia?

7. Eliyahu, his robbing the bank, using Jonathan as a victim, maintaining innocence, burning some of the money, the police watching, and his getting away with the rest of the money?

8. Eliyahu and Nick and their backgrounds, the issue of Daniel and Dorit, not having an abortion? His opinion that this ruined Daniel's future and his career? His wife, Roda, in a coma?

9. The entrance of Michael, his relationship with Roda, his background as an actor, pomposity, self-importance, performance, the British background and the Israeli reaction? His imposing himself, the discussions with the old men, his wanting to get his inheritance – but it had been sold to pay for roaders being hospitalised? His decision to be part of the robbery? His role?

10. The comic aspects? The serious aspects of old veterans in Israeli life? Problems of the young boy and his being bullied? The harshness of banks and payments?

11. All combined – and the meaning of the title?

ABOUT LAST NIGHT

US, 2014, 100 minutes, Colour.
Kevin Hart, Michael Ealy, Regina Hall, Joy Bryant, Christopher Mc Donald, Paula Patton.
Directed by Steve Pink.

About Last Night is based on David Mamet play, Sexual Perversity in Chicago. It was first performed in 1986 with Rob Lowe, Demi Moore, Elizabeth Perkins and James Belushi. It was quite an effective portrait of young adults, their sexual encounters, friendships, finding their way, clashes and ultimate commitment.

This film is based on the play and the 1986 screenplay. It has been modernised and brought into the 21st century, frankness and language included. However, there is a difference since it is now a vehicle for an African- American cast. Michael Ealy and Joy Bryant have the Rob Lowe and Demi Moore roles, the more serious of the couples. Kevin Hart and Regina Hall are in the James Belushi – Elizabeth Perkins roles.

While the characters, situations and interactions are close to the original, there is a vast difference in an atmosphere with African- American settings and styles. Michael Ealy is very serious in his meeting with executive, Joy Bryant, engaging in a sexual relationship at their first meeting, but getting to know each other, falling in love, experiencing difficulties after she moves in, her moving out, the loneliness and the fact that they have to adjust if they want to relate well to each other. There is a final commitment.

The comic style of Kevin Hart is an acquired taste, his raucous manner in the style of Chris Tucker in films like Ride Along and The Wedding Ringer.


1. The impact of the original? The 1980s? The work of David Mamet?

2. The African American adaptation? For the 21st century? The contrast with the style for white characters, with black characters? Language, music? Personalities?

3. Chicago, the settings, the clubs, apartments, workplaces? Musical score and style?

4. The cast and their impact?

5. The title, the talk, especially between the men?

6. Men’s talk, especially about sexuality, relationships, themselves? The contrast with women’s talk, sexuality, themselves? All of them and discussions about their professions?

7. The focus on each character, the attitudes, styles?

8. The two men, the banter, sexual experiences, Bernie being more explicit, confronting? The effect? Danny, being more reticent? Each influencing the other?

9. Debbie and Joan, their work, together, friendships, Joan and the relationship with Bernie, the affair, raucous, explicit, the discussions, influence? The contrast with Debbie and Danny, moving in, work styles,
Debbie and her control, the effect on Danny, breaking up? Their not wanting to break up, confiding in their friends?

10. The film and its showing mutual influences, the men together, the women together, learning – and finally moving to some kind of commitment and the future?

THREE GUYS NAMED MIKE

US, 1951, 90 minutes, Black and white.
Jane Wyman, Van Johnson, Howard Keel, Barry Sullivan, Phyllis Kirk, Jeff Donnell, Barbara Billingsley.
Directed by Charles Walters.

Three Guys Named Mike is one of those light MGM comedies, sometimes as supports to their major features, during the 1950s. it gave continued employment to stars and directors between their big-budget main features. Van Johnson had been at MGM for quite some years and was one of the top stars (hence getting the girl, perhaps). Howard Keel had appeared in Annie Get Your Gun and was about to appear in many top MGM musicals. Barry Sullivan was a regular character actor at MGM. Jane Wyman had worked for Warner Brothers but freelanced during the 1950s – and was to appear with Van Johnson in Miracle in the Rain.

Charles Walters was a choreographer who went on to direct many of the musicals at MGM and then a number of the light comedies.

1. A light MGM comedy, romance of the early 1950s? Story, stars, the director and his career in comedies and musicals?

2. Indiana, Los Angeles, the American cities, the musical score?

3. Marci, Jane Wyman and her comic touch, an achiever, her parents, had being full of ideas, at home, packing, her wanting to be in aviation? advised by her father to say “yes, sir”, her father’s injunction, almost not getting the job, expanding and impressing the interviewer?

4. Stewardesses, assembling, the training, the dawn, friendships? And the touch of superiority of men, pilots, as the women did the more domestic jobs?

5. The status of aviation in 1951, half a century of flight, American Airlines, the planes, interiors, the pilots and control, air control? American Airlines?

6. Marci, enthusiasm, her first flight, the breakdown, Mike picking up, her incessant talk, pilots as chauffeurs, going to the plane, greeting people, the fiasco of forgetting the food, the return, the passengers like an Marci and effusively thanking her, Mike and his initial dislike, intervening with the boss, Marci not being fired?

7. In LA, the other girls, sharing, talking?

8. The flight with Mike, his reading, not noticing Marci, the little girl, her dog, his talk about astronomy and the stars? Finding him in the bar, his explanation? Marci’s interest, attraction? Mike as a research student, at the lab, with his professor, the experiment and the luminescence? His prospects of scholarship, teaching?

9. The breakdown, Mike and pushing, inviting Marci to dinner, full of ideas, his not wanting her to talk about business, suggesting writing the letter? Marci and her writing, the success of her idea, the discussions with the advertising department, with the boss, airlines and soap? The advertising campaign, photos of the various flight attendants? Marci as the first?

10. The house, moving, the three Mikes helping, having to go to the airport, their reactions, leaving, Mike the student, returning, helping, going out with her?

11. The party, Marci and the invitation of the photographer, his setting her up, the three Mikes coming, the brawl, each of them being fired? Marci in the sarong? Her going to each of the employers, her speech for their not being fired? Success?

12. Mike the pilot, sharing his vision, wanting to share his life, painting a future so well? Mike the advertiser, his sharing a vision of the future?

13. Mike the student, awkward, winning Marci over, and happy future?

CHEYENNE/THE WYOMING KID

US, 1947, 99 minutes, Black and white.
Dennis Morgan, Jane Wyman, Janis Page, Bruce Bennett, Barton Mac Laine, Arthur Kennedy, Alan Hale.
Directed by Raoul Walsh.

Cheyenne is a little-known Western from 1947, directed by the prolific Raoul Walsh. Since he has such a strong reputation, it is surprising that this film is not more prominent. It has the disadvantage, when screened TCM, that it is called The Wyoming Kid which does not describe it or the central character in the least.

The setting is Wyoming, the expansion to the west, the outlaws like Sundance and his Gang, as well as the Stagecoach service by Wells Fargo, the transport of the mail and money. The Poet is the name of an unknown robber of stagecoaches, taking the money and leaving only a poem. Dennis Morgan plays a gentleman gambler who was commissioned by Wells Fargo to track down The Poet. On the Stagecoach, he meets a saloon singer, played effectively by Janis Page, and a rather prim Jane Wyman with whom he has had conflict about the proprietorship of a bath.

They are robbed by Sundance and Jim’s money stolen. When he sees some of the gang in town, he follows in, is taken to the headquarters, is told that The Poets wife is present – and it is Ann, Jane Wyman. For safety’s sake, they pass themselves off as husband and wife. Ann is actually the wife of The Poet, played by Bruce Bennett, the inspector for Wells Fargo. In the ensuing complications, Sundance and his gang are killed, The Poet is two-timing his wife with the saloon singer, he plans to abscond with the money, but, of course, is plot is foiled.

Later opinion about the film considers it a step above many of the routine westerns, with its characters and plots.

1. Warner Brothers Western, the late 1940s, Western traditions, the development of westerns during this period?

2. The title, the focus on Wyoming, with Cheyenne, and the substitute title – inappropriate?

3. Black-and-white photography, the country, Wyoming Territory, the towns of Laramie and Cheyenne, the streets, the solutions, the offices of Wells Fargo? The musical score? The songs?

4. The focus on Jim Wylie, a gentleman gambler, problems with the gun, the chief of Wells Fargo and the confrontation, offering him the job to find out about The Poet, the reward? His hesitation, decision to take it up?

5. The incident with the bath, Ann and her bath, confrontation, his mistaking Emily for Ann, the interchanges? On the Stagecoach, Emily flirtatious, Ann very serious? The hold-up, the shots, Sundance and his gang, the empty box, the poem? Sundance and his leadership, the gang taking Jim’s money?

6. In town, the saloon, Emily and her gentleman friend, the singing at the saloon? Jim noticing the gang, following them, the draw on them, his being taken to Sundance, Sundance saying he had The Poet’s wife, Ann emerging, pretending that Jim was The Poet, letting them go, watching them at the boarding house, the keeping up the pretence, the comic touches?

7. Ann going to see Ed, his role with Wells Fargo, the irony that he was The Poet, stealing the money, putting empty boxes on the Stagecoach, with the poems? His covering himself? His relationship with the sheriff? Ann coming to visit, the plans, the continued support of him? Emily and her revelation, Ed
two-timing Ann? Smooth talk to each?

8. Jim and Ann, going to see Sundance, the discussions, the plan, the shootout, deaths?

9. The sheriff, the touch of a coward, deputy, going to retrieve Sundance, finding Ann? Suspicions of Jim, talking to Ed? Jim and advising no horses to be rented? The discovery of the foal, his buying it, taking it to its mother, to identify The Poet?

10. Ann, Emily hiding, discussions about perfumet, her coming out, Ed and his covering himself? The plans of the money, for the Stagecoachs?

11. The two women on the stage, joining them, the sheriff stopping them, Jim eluding them, on the horse, the pursuit of Ed, at gunpoint? Emily and her disappointment? Ann and her cutting Ed off but not wanting him dead?

12. The pretence that Jim and Ann were husband and wife, pregnant, the chats with the landlady, the number of children – and going off, Jim pursuing her, the happy ending?

13. The popular ingredients of the Western but given a different tone?