DIRECTOR’S STATEMENT

It was in early 2006 when my wife Sanaz Fotouhi and I embarked on a journey to make a film in Afghanistan. I was an Honours student at the Australian National University then and determined to make a documentary in Iran or Afghanistan. As a migrant, I was going through a stage where I wanted to understand my background and represent different aspects of it to the world where I was living. Filming in Iran was not as easy as I imagined. To get permission to film there meant months of paper work, which I did not have. As luck would have it, my father-in-law had recently been appointed to establish a bank in Kabul. This made my choice a lot easier.

I began researching for a topic online and by contacting different NGO organisations. One of the issues that continuously came up was the increase in women’s self-immolation as a form of suicide. I was intrigued and horrified by records showing a massive increase of cases of self-immolation since the fall of the Taliban in 2004.

This formed the central question for my film and after travelling to Kabul twice that year I managed to make a 15-minute documentary on the reasons behind this issue. The film was screened in Australia and internationally, and won a few awards. It was generally received well by audiences. I was happy about this, since after meeting and filming a lot of the young girls in the burn units that have attempted suicide, I had a great sense of responsibility to tell the world their stories.

However, after one of my screening in Australia, I overheard a conversation between two audience members. “It’s Afghanistan, this sort of shit happens there!” This was like a knockout punch to my face. I was hoping that after watching the film people would to identify with the situation of these young girls. But instead it seemed that like many other outsiders, I had only added to the existing stereotypes of the western world.
Concerned by this idea, I felt compelled to make another film in Afghanistan. It was around this time that I was introduced to Mahboba Rawi. She was a strong-willed, enthusiastic Afghan-Australian? woman who, through her charity organisation, Mahboba’s Promise, has been raising money to provide support and education to more than two thousands orphans and widows in Afghanistan.

I was greatly curious about her work and her huge ambitions. Her own life story I found incredible. She was a woman who had to escaped Kabul at the age of fourteen, lived in refugee camps of Pakistan, and eventually married and came to Australia. But her life was turned upside down when she lost her small son in a drowning accident. However, instead of letting all these struggles consume her, she had made a promise with her God to save all orphans of Afghanistan. Through her charity organization called Mahboba’s Promise she has been able to help thousands of orphans and widows in Afghanistan. If her presence and quirky attitude did not capture me, her story and what she was doing most certainly had me hooked in.

It was during our first meetings that Mahboba asked me to make a film about her. I soon realised that she would ask this pretty much of anyone who has ever held a camera. She knew the importance of media and wanted to spread the word about her work. I felt that making a film about this courageous Afghan women, was my chance to repay my debt to Afghanistan.



Of course this was not easy, I wanted to find a story that was not merely showcasing a charity worker or a welfare corporate video to help Mahboba’s Promise. I wanted to tell a human story that shows the great ripple effect Mahboba’s work is having in Afghanistan. I kept in touch with her and looked for ideas for over two years. It was in early 2009 that Mahboba told me that she was going back to Afghanistan to attend to her projects, one of which was about a marriage between one of the orphans and a girl who lived next to the orphanage. After many months of search, this seemed to be it.
This was the story I wanted to tell. The fact that it was potentially a love story with a happy ending meant that the western audience could relate to it, but it could also showcase how Mahboba’s work for these orphans does not finish with providing food and shelter. Her engagement with these kids was an ongoing investment in changing the future of a country.

To make this story, we self-funded the trip with our own savings as a two member team and headed to Kabul with Mahboba. I would do the camera work and Sanaz, the sound.



Having been to Afghanistan previously, I was very familiar with the challenges of shooting a film there. I had been arrested and put in prison, slapped at the border crossing by security guards and generally been under constant surveillance by the secret police there. Added to this was being worried about my wife Sanaz who, to be honest, seemed a lot more courageous than me. With all this in mind we embarked on our journey.

On the plane on our way there, I remember the only thing I was asking the universe for was more DRAMA and good God, didn’t the universe just deliver!

FAILSAFE

US, 2000, minutes, black and white.
Richard Dreyfus, Brian Dennehy, George Clooney, Hank Asazria, Don Cheadle, John Diehl, James Cromwell, Noah Wyle, Sam Elliot, Norman Lloyd, Bill Smitrovich, Grant Heslov.
Directed by Stephen Frears.

Failsafe was a popular novel of the 1960s, written by Eugene Burdick and Harvey Wheeler. It was made into a very successful film during the nuclear fear years of the early 1960s, stirring Henry Fonda as the American President faced with a potentially catastrophic situation with a plane with a nuclear warhead travelling towards Moscow. There are issues of mutual trust and distrust in the Cold War atmosphere, the influence of hawks and doves, the variety of experts, the military advisers, the translators between the two presidents – and the American President having to promise that he will drop a nuclear bomb on New York City to show that the attack on Moscow was unintentional.

At the same time, similar themes were explored seriously in Seven Days in May and satirically in Dr Strangelove.
Almost 50 years later, it still makes for suspenseful drama. This time the President is played by Richard Dreyfus, pilots by George Clooney and Don Cheadle, military advisers by John Diehl and James Cromwell with Brian Dennehy in charge of operations.

What makes this film distinctive is that it was filmed in the studio, in continuity, and in real time. Some lighting and equipment from earlier times was used.

The film, looking like Playhouse 90 and other television dramas of the 1950s, was directed by the British Stephen Frears, an expert at many types of genres.

1. The impact of the novel in the 1960s? The nuclear fears and episodes of the early 1960s? The missiles of October? The impact of the film in the 1960s?

2. The style of production, and live performance, the actors, the sets, photography, the various angles, television editing? The musical score?

3. The strong cast, the career of the director?

4. The impact for 2000, 21st century, nuclear issues? Strong drama?

5. The recreation of the realities of the 1960s, nuclear capacities of the US and the double SR, the role of the president’s? Books and doves? Advisers?

6. The nuclear silos, underground, the plants, the offices, the control centres? The initial tool, the questions and secrecy, members of industry and
supplying parts for the nuclear arsenal? The technical aspects? The politician on the two? The political questions and answers?

7. The explanations for the visitors, as explanations for the audiences about the nuclear situation and capacity? The role of Russia? Surveillance? Spying?

8. The technical aspects, the small mishaps, the ability to correct, the possibilities for technical mishaps not to be detected and have strong consequences?

9. Brian Dennehy, his role, in charge, genial personality, the guide, his explanations, his growing interest and concern? John Diehl as his support officer, strong member of the staff, the importance of loyalty? His of patriotism, obeying orders even when not understood? The testing of loyalties?

10. The care squad ready, the pilots, their personalities, interactions, the ordinary lives, an ordinary day? Being on the ready, the role of orders, the top security? Even two overriding phone calls from the President? The exercise of leadership, in the air, the puzzle, suppressing questions of authority? The shooting down of the planes, their persevering?

11. The Pentagon, the meetings, the members at the meetings, the discussions, the possibilities?

12. Harvey Keitel, the opening with him, ordinary life, at home, his wife and family, going to work, at the meetings, his contributions, more dove-like and critical of the right-wing views? The president relying on him? Contributions to the developments, being ordered into action?

13. The academic expert, hawkish approach, presumptions, about the role of the United States, taking advantage of this, economic and political, anti-Russia? His speech, advice, caught up in the crisis, listening, his addressing the group?

14. The malfunction, the effect, the inability to correct it, the evidence of the malfunction, the watching of the screens, the disbelief at the plans and their mission?

15. The role of the president, his character, the translator helping him, the president confiding in him? The difficulties of the phone calls, the diplomatic style, talking to the Russians, to the President, being patched through to the Pentagon and the other groups? His seeking advice? The responsibility totally on him? Trust? The Russian President, wary, the same situation in Russia? Checking out whether the information was correct, testing, the President withdrawing from Moscow?

16. Brian Dennehy, in his official role, his having to obey orders, the shooting down of the American planes, deal and his inability to issue the command? His being relieved? The next officer and his obeying?

17. The planes flying to Moscow, the attacks on the plans, the Russians trying to shoot them down, the Americans’ offer to shoot the American planes down? John Diehl and his fear of it being a trick, mistrusting the Russians? Watching on the screens and the dots going further towards Moscow?

18. The order for the bombing of New York, Keitel and his mission, the scenes of his wife and child at Radio City Music Hall, the number of people, millions, to be destroyed?

19. The screenplay providing aspect on all the issues, nuclear buildup, spying, secrecy, sharing secrets, distrust, the role of authorities? The final with the ambassador and the Consul in New York and Moscow, staying at their posts, the phone calls and their deaths?

20. The film and its message, possibilities for destruction, human error, machines and the consequences? The need for peace, diplomacy and trust?

THE FINAL CUT

US, 2004, 97 minutes, Colour.
Robin Williams, Mira Sorvino, Jim Caviezel, Mimi Kuzik.
Directed by Omar Naim.

The Final Cut is a vehicle for Robin Williams at a time when he was experimenting with more serious roles, even roles as a killer – Insomnia, One Power Photo, The Night Listener.

In this film, he is a cutter, an expert who is able to work on recorded human memories, editing them as people contracted, with the possibility of interfering in the memories. We see a number of his clients and explore the desire for people to have this kind of artificial memory of loved ones.

There is a group hostile to this kind of experimentation. The group is led by Jim Caviezel, just after his portrayal of Jesus in The Passion of the Christ.

The film is very complicated in its portrayal of characters, the alternate world, the realm of recorded memories and their editing. In some ways it is reminiscent of the 1980s film, Brainstorm.

1. A futuristic film? Science-fiction? Technology-fiction?

2. The complexity of the plot, its development, audience comprehension, difficulties?

3. The presentation of the future, looking ordinarily like the present? The issue of Zoe implants? Their nature, the files in the cabinets, photographing the memories, the editing and creating of a new life story? The role of the Cutter, the editing, the presentation of the film, the launch? Reality/unreality? The issue of the ownership of the memories? Truth and falsehood?

4. The American city, the homes and streets, wealthy citizens, ordinary citizens, the laboratories and stores? The atmospheric score?

5. Robin Williams as Hackman? His life, as a boy, playing marbles, Louis coming along, their plan, going to the warehouse, the plank upon the open space, Hackman going across, Louis and his fall, the blood? Hackman walking in it? The death haunting him, whether he should have helped or not?

6. Hackman in the present, seeing him with his client, the client watching the implant, Hackman and his satisfaction, his skill in editing? His friend and later using him to raid the store of memories? The former partner, Thelma, who supported him, her assistant and his being bashed by the protesters? His wanting to work with Hackman? The campaigners, the protests? The rich client, the discussions with her? Jim and the past relationship, his motivations the change, disappearing, re-appearing, wanting the footage of the wealthy man, the motivations, the violence?

7. Hackman seeing the image of Louis at the party, interviewing the daughter, (and the girl eavesdropping on his talk with her mother, her own memories, the suggestions of some kind of sexual abuse/or not)? Her identifying Louis as a teacher, his death?

8. Hackman, his personality and lack of personality, his meeting with Delila, at the bookshop, her going home, the sexual encounter, helping him?

9. Fletcher, his approach, wanting the file, the contact with the hitman?

10. Going to Louis’ grave? Wanting to find the files? His helper? Going into the archives? his decision about the tattoo, undergoing the treatment, ending his work as a Cutter? Looking at the footage, his life, his parents and their death, the little girl, the episode with Louis, finding out the truth, that Louis had not died, that the sticky stuff on the ground was paint?

11. The clash with Delila, her looking at the footage, feeling an invasion of privacy, destroying the machines?

12. Fletcher, the pursuit, the hitman, Fletcher not shooting, the hitman killing Hackman?

13. After his death, his own implants, their value, Fletcher searching them? And then the sudden ending of the film?

TO GILLIAN ON HER 37th BIRTHDAY

US, 1996, 97 minutes, Colour.
Peter Gallagher, Claire Danes, Michelle Pfeiffer, Kathy Baker, Bruce Altman, Wendy Crewson, Freddie Prinze Jr.
Directed by Michael Pressman.

This is a romantic ghost story. Peter Gallagher plays a husband and father, wife played by Michelle Pfeiffer, daughter by Claire Danes. It is the film debut of Freddy Prinze Jr. Kathy Baker appears as Michelle Pfeiffer’s sister.

Gillian, Michelle Pfeiffer, has died and this would have been her 37th birthday. Her husband is still grieving, unable to get over the loss, seeing his wife and conversing and dialoguing with her about himself, their daughter, his relationship – and, ultimately, his having to let her go.

The screenplay was written by Michelle Pfeiffer's husband, the prolific and well-awarded writer, David E.Kelley.

Audiences with a fondness for sentiment, even sentimentality, will identify with the husband and will also respond well to the ghostly wife, while appreciating the difficulties of the daughter who feels neglected.

1. A variation on a romantic story, a romantic comedy? The preoccupation with death and grief? Family? Coping or not coping?

2. The title, the focus on Gillian, age, character, place in the family, her husband’s love, her daughter’s love, death, the accident, the anniversary?

3. The blend of reality and fantasy, the ghost experience?

4. Massachusetts, the island, the sea and the beaches, the sand, the homes? The musical score and songs? (Karaoke)?

5. The situation, the yacht, Gillian climbing, the reactions, the swerving of the yacht, her fall, death?

6. Two years passing, David and Rachel and their relationship, his driving to the ferry, the speeding, Rachel and her anxiety? Cindy and her friendship,
passenger? The clash with Joe? The setting up of the situation? Arriving at the peer, the ferry arriving, meeting the friends?

7. The character of Paul? Their long relationship? Esther as Gillian’s sister? They’re trying to fix up David? The invitation to Kevin? Persuading her, her hesitation, on the ferry, the arrival, the embarrassment? David handling the situation?

8. The nature of the weekend, the dinner and dressing up, the Karaoke and the songs, on the beach, building the castles?

9. David, his age, professor at the University, the impact of Gillian’s death, his attempt at suicide with an overdose? Living as a recluse, allegedly writing a book, going to the beach every day, talking to Gillian, a real presence, her ghostly presence? His admitting this? But saying that he had a handle on reality? Esther and her intervention at the table, his refusal to hear, going for a walk? Paul and his humour? Kevin and her observing David? The importance of the sand castle, the blueprints, wanting to defeat the nine-year-old, the elaborate castle, his sitting in it, winning the competition? Seeing the girls and their thongs, his getting the towel? Thinking he saw Gillian, calling out, collapsing? Paul telling him about Esther going to the court? His reaction, Esther and her straight talking? His encountering Rachel, her being drunk and sick? Not coping? The clash with Joe? The possibilities of the court decision? His having to let go, the last appearance of Gillian, her walking away, freeing him? The encounter on the wharf with Rachel, his decision to go back, on the ferry, renewed life?

10. Gillian, her verve, life, age, the yacht? Their putting Rachel first? Appearances, talking, a sounding board, advising, acknowledging the real situation and her ghostly presence? Her leaving?

11. Rachel, her age, the effect of the death of her mother, her sadness? Staying with Esther and Paul? Coming back to the island, the tensions, David and his behaviour, Esther and her concern? The meeting with Joe, David’s disapproval, the date, drinking, being sick? Joe at the peer? Future meetings?

12. Esther, Gillian’s sister, her stern attitude, her plan, looking after Rachel, Paul and the clashes, writing down his insults? Her straight talk to David, the plan to the court, is reactions? A response to David and saying he did not know her? With Paul, the discussions about the relationship, sexuality? Paul, joking, watching Cindy, her tantalising him, the Karaoke and singing, having Kevin come to the island? Not succumbing to temptation? Telling the truth to Esther?

13. Kevin, her own story, persuaded by Esther and Paul, reluctance, observing, the embarrassing meal, walking on the beach, sensible talk to David?

14. Joe, his appearance and hair, the first encounter with the car, the date, the drinking, the future meetings with Rachel?

15. Cindy, the girl next door, provocative, urging Rachel to wear the thong? Her provocative behaviour with Paul?

16. Serious themes but a popularised treatment

BAGGAGE CLAIM

US, 2013, 96 minutes, Colour.
Paula Patton, Derek Luke, Taye Diggs, Jill Scott, Djimon Hounsou, Adam Brody, Jenifer Lewis, Ned Beatty.
Directed by David E.Talbert.

Baggage Claim is a slight, very slight, romantic comedy. Paula Patton plays Montana, an older sister who wants to get married, be a lady, have children and be a woman. She has discovered this from her mother who has gone through five husbands. Her younger sister is getting married and she is going to be a bridesmaid again.

She is a flight attendant and has two friends, Gail, Jill Scott, and Sam, Adam Brody. They plot and scheme so that she will be on flights with men who have interested her in the past. One of these is played by Taye Diggs, a controller who is running for Congress. Another is a wealthy man played by djimon Hounsou who is not in favour of marriage but wants to install Montana as his companion and manager of hotels. At her sister’s reception, she announces that she is not accepting proposals, and challenges her sister and her fiance whether they really love each other – and they realise that they have been influenced by their mother.

And, all the while, there was William, her closest friend from high school, her confidante – and finally each realises that they love each other.

The film was directed by David E.Talbert, screenwriter, novelist and director.

1. Slight romantic comedy? American-style? African American focus?

2. American cities, landscapes, significant images? Flights all over America?

3. Montana, because I has of her mother’s five weddings, her story, older sister, her sister’s wedding and preparations, always a bridesmaid or maid of honour? Her relationship with her mother? Demanding? Her relationship with William, from school, the neighbour, good friends, talking and confiding, trust? Trying on the gown and William been persuaded to put on the tuxedo?

4. Montana as a flight attendant, the various flights, passengers, duties? Gail and her sexy style, gossip, matchmaking? Sam, flight attendant, gossip, gay? The connections at terminals for getting information about passengers? Their arranging for past contacts to be given to Montana, her busy schedule, the flights?

5. Graham, the invitation for Thanksgiving, the glamour, the hotel, Gail urging Montana to visit his house, the discovery of his pregnant wife?

6. Various men on the planes, talk, discussions?

7. Langston, charm, running for Congress, accompanying him to dinner, the clothes, the financial backer and his wife, the dinner, Langston in control, of her ordering a drink, Montana making the joke, getting more money for the campaign? Langston, back home, wanting to be in control, Montana and her reaction? His later coming to propose at her sister’s dinner, and her mother’s eagerness, her turning him down?

8. Her talk with her mother and her mother’s frankness? Challenging her sister about whether she really wanted to marry – and the couple feeling freer and not going ahead with the wedding?

9. Quinton, the meetings, his owning the hotel, wining and dining, his proposition, no marriage? His coming to the apartment, giving back the jewellery, turning him down?

10. The discussions with William, his girlfriend, her control of him, Montana seeing her on the plane with another man, phoning him, her control, leaving William?

11. The dinner, her speech, William thinking she was going to accept the proposal, his leaving, her gift, the ticket, with Gail and Sam, realising the truth, hurrying to the airport, the happy ending?

WINTER SLEEP

Turkey, 2014, 196 minutes, Colour.
Haluk Bilginer, Melisa Sozen.
Directed by Nuri Bilge Ceylan.

Wintersleep is the latest film from the distinguished Turkish director, Nuri Bilge Ceylan. It is fair to say that his films are only for a specialised audience, not for the multiplex audience.

His earlier film was Once Upon a Time in Anatolia, immersing the audience in the mountainous countryside, the lives, happy and unhappy, of the inhabitants. This description is true of Wintersleep (although the screenplay is based on some stories by Anton Chekhov). As the winter season moves in, we are almost trapped in a snow-covered town, sharing lives with a few of the inhabitants, listening to their interactions, liking and disliking some of them, spending a great deal of time listening to their conversations.

Ayden, a former actor now writing the history of Turkish theatre, lives in retirement with his young wife, Nihal, managing a hotel for visitors – there are rather few. He is sometimes reclusive, is rather commanding of his wife who begins to resent this, having long discussions with his somewhat acerbic sister. One of the main conversations with his sister must go for about half an hour, very interesting if you have become involved, tedious and off-putting if you have stopped listening. There is a later conversation with his wife which does not go on for so long but has the same effect.

There is some drama when Ayden is driving with his manager and a young boy throws a stone which shatters the glass of the car window. This leads to some conflict, the father of the boy who has spent time in prison reprimanding him but resentful of the situation. His younger brother, a local imam, is a good man of peace who tries reconciliation. Just when we might have forgotten about this subplot, it is reintroduced towards the end of the film, a visit from Nihal, a gift for the family, the reaction of the boy, of the cantankerous brother, of the genial imam.

Ayden has some friends with whom he goes hunting, spends a lot of time drinking and talking with them. In between the conversations there are some visitors at the hotel, especially an Asian couple who have cheerfully enjoyed their stay.

The screenplay is intelligently written, well worth listening to. The design of the film and the photography are exemplary. The director’s pacing, with more than three hours at his disposal, means that this is a beautifully directed film, destined to be something of a cult classic, confirming the reputation of the director who had already won the Best Director award in Cannes 2008 for Three Monkeys, and The Grand Prize of the Jury in 2003 for Uzak and for Once Upon a Time in Anatolia in 2012. Wintersleep is something of a culmination for the director, winning him the Palme d’Or at Cannes 2014.

1. Acclaim and awards for the film? The reputation of the director? His style, insights and technique?

2. The setting of Anatolia, the mountains and fields, the town on the outskirts, the caves and buildings of Cappadocia? The winter season? The snow, the ice? The musical score?

3. The title, real, symbolic? Characters and situations in winter? The origins in Chekhov stories?

4. The beauty of the photography, the musical score, the pace and editing, the emphasis on dialogue, dramatic situations?

5. The focus on Aydin? His screen presence? The former actor, the theatre, writing his history of the theatre, owning the hotel, managing it, the few guests and the service? His wife, relationship with her, tensions? His divorced sister, her presence, his discussions with her? His manager? In the truck, the boy breaking the window? The interview with the father, with the email? Audiences understanding his personality better, his self-assurance, his arrogance? How sensitive, insensitive? The clash with his wife and the decision to go to Istanbul, to the station, his decision not to go, with the manager, visiting the hunters, the talk, the drink, the effect? his return? Writing the history?

6. His wife, young, the past relationship, the tensions in the present, her work in the hotel, their discussions, his love for her or not, the effect on her? Her taking the money, going to the house, the discussions with the imam, seeing the boy, for his education? The father coming in, his hostility, destroying the money? Her dismay, return to the hotel?

7. The boy, breaking the window, the recent? His mother? The house? The father, his present background, harshness? Discipline of his son? The imam, generous man? Aydin’s wife and her visit, the father’s anger, the imam and, the consequences of the burning?

8. The manager, his role in the house, driving Aydin, telling his wife about Aydin’s decision not to go to Istanbul? Her work around the hotel?

9. The portrait of Aydin’s sister, her situation, the long sequence of their discussion, the issues, antagonism, each revealing their character to the other?

10. The emphasis on dialogue, the long dramatic situations, audience attention? The editing and keeping audience interest?

11. The overall impact of the story and the treatment, a Turkish perspective?

THE NUMBER 23

US, 2007,
Jim Carrey, Virginia Madsen, Logan Lerman, Danny Huston, Rhona Mitra, Lynn Collins, Mark Pellegrino, Bud Cort.
Directed by Joel Schumacher.

This is a very bizarre thriller which has a certain amount of intrigue value but which stretches credibility by the end. It is a brave attempt by Jim Carrey to do something different (which he did to good effect in The Truman Show, Man on the Moon and Eternal Sunshine of the Spotless Mind), to be in a serious role. Perhaps the fans will be supportive but they might be convinced that he stay with comedy.

While he uses a number of characteristics of his funny roles, he gives a sustained performance as a man who is haunted by puzzling and horrifying dreams and who becomes desperate to know the truth about himself.

Who would have thought that the number 23 could be linked to so many strange phenomena – some of it does seem fanciful with combinations of 9 and 14, 19 and 5 etc. But, there is always the 23rd Psalm. There is a reference to Numbers 32:23 (now there’s a mysterious, mystic palindrome) which in fact, notes that our sins will find us out

Carrey is a happily married father of a young son, an animal catcher. On his birthday, one dog bites him and leads him to a cemetery and on a chase which upsets his equilibrium. Then his wife (Virginia Madsen) buys him a book, The Number 23, which he begins to read. The book, chapter by chapter, invades his life as well as providing something of a déjà vu experience. But, the book has no final chapter…

If it had stayed in the realm of the terror/horror genre, its over the top dreams and hauntings, paranoia and fears might have been satisfyingly mysterious, but the finale leads to a rational explanation (even though it seems also somewhat over the top).

Director Joel Schumacher is a set designer who moved into direction in the 1980s and has often ventured into these realms (The Lost Boys, Flatliners) while also directing some John Grisham adaptations (The Client and A Time for Killing) as well as two garish Batman films. His previous film was The Phantom of the Opera.

1. A psychological thriller? The story of obsession, madness, guilt and atonement?

2. The title, the number 23 and the variety of possibilities, combinations, reverses? The Book of Numbers 23: 32 and sin finding us out? Agatha and her commonsense perceptions of the numbers and relating to human experiences controlling the meaning of the numbers?

3. Jim Carrey and his career, audiences not responding well to this film? The work of Joel Schumacher and his direction and career?

4. The ordinary setting, animal catcher, the truck, Walter doing his rounds? The confrontation with the dog, the bite, going to the doctor? His birthday, going to Agatha’s shop, cake, the bookstore, buying the book for his birthday, going, home situation, love his son? The atmospheric score?

5. The photography styles, bright for ordinary life, colourful? Dark and surreal for the dreams, memories, fantasies?

6. Water, his character, ordinary work, the dog – and later driving tortured towards it and stopping just in time? Agatha, son, ordinary?

7. The gift of the book, Agatha having read it? Walter reading it, the doctor giving him the day off, his going to read the book, identifying with it? The story coming of life? Agatha as Fabrizia? Her role with Fingerling? The blonde woman, the dead woman on the bed, betrayal and her seductive character, interactions, death?

8. Agatha, talking plainly to Walter, allaying his fears? Robin, his interest in the number 23, wanting to assist his father?

9. Danny Huston as Isaac French and Dr Miles Phoenix, his role, advice and friendship – and sinister touches?

10. Water and his return to his childhood, the role of his father, death of his mother, the story books, Fingerling as the Detective, his finding the old book? His identifying with the Detective? Finding the box, the images? His father’s bequest and the Number 23?

11. Walter, the memories of Laura Tollins, love, her relationship with Kyle Flinch, going mad, cemetery and the issue of the skeleton and its removal by Agatha, the doctor and his death, the nightmares?

12. The book, his having written the book, his disbelief, uncovering the final chapter, the gradual surfacing of memories, his being in the institution, treated, coming out, meeting Agatha after his rehabilitation?

13. The discussions with Agatha, conscience, his having killed Laura, sense of guilt, confessing, going to prison, the support of the family, atoning?

14. The film, psychological, thriller, nightmare?

KILL THE MESSENGER

US, 2014, 112 minutes, Colour.
Jeremy Renner, Mary Elizabeth Winstead, Rosemarie de Witt, Oliver Platt, Robert Patrick, Tim Blake Nelson, Michael Kenneth Williams, Andy Garcia, Michael Sheen, Richard Schiff, Ray Liotta.
Directed by Michael Cuesta.

Everybody loves a conspiracy theory. How many people killed President John F.Kennedy? Was Pope John Paul I murdered? Was the moon landing in 1969 faked? In Kill the Messenger, the question is raised as to the CIA importing drugs into the United States, especially to Los Angeles South Central, to make money to buy arms for the Contras in Nicaragua during the 1980s, during the Reagan administration?

This is a film about journalism, about investigative journalism. We remember All the Presidents Men and Deep Throat revealing information about the Watergate scandal to Woodward and Bernstein. This film is not in that league but it is very interesting nonetheless. It is based on the research by San Jose journalist, Gary Webb.

The film opens with a visual collage of American presidents from Nixon on proclaiming a war against drugs. Gary Webb is working at a small newspaper but is asked by a young woman, Paz Vega, to take some court documents that have been released by accident. He follows through, going to the court, raising suspicions in some of the lawyers when a key state witness is giving evidence about his being an agent for the government, bringing large supplies of drugs into the United States.

Mary Elizabeth Winstead plays Webb’s editor, and Oliver Platt plays his boss. They are wary because this is a huge story and they don’t have the resources or the reputation. Nevertheless, Webb goes to Nicaragua following up some leads and interviews an imprisoned drug boss, played by Andy Garcia, who gives him even more information, including a source in Washington DC, played by Michael Sheen, who is wary and later phones Webb to urge caution.

When his article is published, there is an extraordinary response, especially from television stations asking for interviews and he is named journalist of the year in Sacramento. What follows is the drama of conspiracy to cover up, especially from suited agents who even raid his home in the middle of the night. Then there is the campaign to discredit him, criticising his sources, criticising his reliability and his personal life.

The screenplay gives a lot of attention to Webb’s home life, his moving from Cleveland to California in the aftermath of an affair with a fellow journalist. He has an ever-loving and ever-patient wife, played by Rosemarie de Witt, three children, especially a 16-year-old who has had him on a pedestal. Webb is assigned a post in the quiet town of Cupertino, California, in the hope that the case will go away.

There is a dramatic scene at the making of the award for journalist of the year, his family supporting him, journalists tending to shun him. There is final information about what happened to Webb and some late 1990s television footage of John Kerry, amongst others, indicating that there was truth to the story and the CIA involvement in drug dealing, along with a lot of footage of politicians from Los Angeles Central, calling the CIA to task for targeting African- Americans as potential for drug customers and so ruining many lives.

The film is interesting, at times exciting, a lot of the time focusing on the domestic life of Gary Webb as well as his work at the local paper, not a masterpiece of movie communication but offering a lot to think about in terms of government, cover-ups, and, especially, investigative journalism.

1. Based on a true story? The story of a journalist? His investigation? CIA? Government? Conspiracy? The opening and the collage of quotations from the American presidents about the war against drugs?

2. The title, Gary Webb as victim, his message, his investigative work, the revelations? The consequences for him? His work?

3. The Californian settings, San Jose, homes, the paper and offices? San Francisco and the courts? Washington DC and the official departments? The newspaper offices? Nicaragua, the city, the prison? The authentic feel? The musical score?

4. The introduction, the, collage of information, the various presidents and the war against drugs? The issue of Nicaragua, the 1980s, the Contras, the need for cash, the drugs imported into the United States, sold in LA South- Central, the money for weapons for the Contras? The role of the politicians? The politicians in LA South-Central? and their challenge to the CIA? The newsreel footage? John Kerry in 1997 and his statements?

5. The papers, editors, the boards, in the different cities, the influence, the pressures?

6. Webb at work, the approach from the Hispanic woman, their talk, her offering the documents, his examining them? Her motivations? Going to the court, the lawyer and accosting him, the lawyer’s suspicions, Webb and his interviews? In court, feeding the lawyer with information, the response of the judge, the hostility of the lawyer?

7. The court case, the dealer, in the pay of the Americans, the truth, the expose?

8. Webb going to Nicaragua, the situation there, meeting the boss in jail, his lording it over others in the prison, his information, his advice?

9. Going to Washington, the Washington connection and his position, their discussions, the information, the caution – his later warning phone call?

10. Writing the story, the editor and the assistant and her response? Her sympathy for Webb?

11. The beginning of the attacks, denials, alternate facts, criticism of the sources, authorities denials? The personal attack on Webb, the dredging up of his affair, the story of the affair, the woman’s suicide, the move from Cleveland to California? The son and his response?

12. The family, the son and his ideals, Webb’s wife, moving out, her loving him? The son’s reaction?

13. The favourable television interviews, Webb attending to intending to prove his story? The award nomination? The changes, his being dropped, under suspicion, his reputation lost? The response of the editor and the assistant? The pressures on them?

14. His going to Cupertino, the boring work, his continuing his investigations?

15. The effect on Webb, and his wife? Their meetings and discussions?

16. The process of discrediting Webb, the authorities, the FBI, the CIA, the visits to the house, the ransacking of the house? The visit of John Cullen, secret of, his conscience?

17. The award night, the family getting ready to go, the dinner, standing by his story, his speech, going out – into the loneliness?

18. The film showing the work of journalists, vocation, dedication of life, dedication to stories in the truth, story making or breaking?

19. The final credits, the Internet information about Webb, his death?

THE TWILIGHT OF THE GODS

UK, 1993, 100 minutes, Colour.
John Thaw, Kevin Wakley, Robert Hardy, Sheila Gish, John Gielgud, John Bluthal, Rachel Weisz, Alan Corduner.
Directed by Herbert Wise.

The Twilight of the Gods is one of the last of the Inspector Morse series. It has a strong Oxford atmosphere, especially with the academic world, John Gielgud at age 89 portraying the Chancellor of the University. Robert Hardy has a meaty role as a benefactor of the University, an alleged victim of the concentration camps but revealed as one of the guards and torturers. He becomes the target of a Nazi hunter, played by John Bluthal, who attempts to shoot Hardy during the academic procession but accidentally wounds a Welsh opera singer, played with vigour and some venom by Sheila Gish. there is also an early appearance by Rachel Weisz.

1. The popularity of the long-running series? Television movies? With style? The popularity of Morse and his personality, enigmatic and mannered style? The personality of Lewis? Their relationship? The solving of the crimes? Intricacy of the plot? The psychological dimensions, the mystery and clues? Police work and solving the mysteries with their own abilities? The work of Colin Dexter?

2. The Oxford settings, the city and landscapes, the cityscapes, the buildings? Comments about Oxford and Oxford society? The ironies about Oxford and the dons? The university city? Ordinary people? Their interconnections? So much beauty – and so much crime?

3. The quality of the mystery, character-driven? Sufficient information, sufficient clues? The exploration of character and clues?

4. John Thaw as Morse, his personality, the changes over the years, yet remaining the same? The mystery of his name? His crusty manner, the bachelor (but romantic at times)? His own authority – exercised over Lewis – and his reaction to authorities? Promotion or not? The changing of his attitudes towards Lewis, bossing him, patronising him about education and culture? The issue of music? Drinking ale? His car? Quietly at home, at work? With Lewis, understanding the situations and characters, the deductions? His being a good listener – but critical?

5. The contrast with Lewis, the family man, the ordinary policeman, education and lack of education, his being put down by Morse – but enjoying his comeuppance now and again? Music and his ignorance? The first reactions, Lewis being patient? His admiration for Morse, having to do so much leg work, to formulate hypotheses? Working under pressure? Collaborator and partner of Morse?

6. The police authorities in Oxford? The medical examiners – and Morse and his attitude towards the female authorities? Sexist and patronising? Changing?

7. The quality of the film as a crime thriller, a thriller with intelligence and demands on the audience?

8. The introduction to the crime, the credits, the background in Oxford, beyond?

9. The range of personalities, motives? Truth and concealment? Jealousies? Deceits and angers? The academic and religious backgrounds?

10. The introduction to Andrew Bent? The design for the college, Indian influence? The disdain of academics? His getting an honorary doctrine? His character, his being impatient, insulting people? His attitude towards his secretary? His daughter and her flat, the missing document, or attitude towards her father? Her mother, a strained relationship with her husband? The missing son, in South America, his father’s view that he was being denounced, but the son working for environmental issues? The using contacts tracking down?

11. Morse, the concert, lesson, his being rapt, in a playful, joyful mood for the rest of the film? Lewis’ reaction? The banter between the two?

12. The body and the river, identified as a journalist, freelance, critical of Baydon, Baydon and his henchman, dressed as a clergyman, ransacking the daughter’s flat, running away when a masked as the killer?

13. The diva, her performance, a critical attitude towards the singers? From Wales, travelling with her sister, the clashes and tantrums, the revelation about the singer and liking for younger men, not marrying, career, entourage, the diverse personalities, length of time with the singer, stylist, costumes, voice coach, assistants?

14. The disappearance of the sister, suspicions, going off with her boyfriend, the return?

15. The Chancellor, his wife and suggestions for his speech, his dislike of Baydon, his Welsh assistant, his sarcasm? The procession, pomposity, not hearing the shot? Being held for questioning? Wanting lunch? Talking with Morse? The afternoon tea and his speech? The Welsh assistant, his comments, translating the note?

16. The investigator, in the library, shooting, hiding the gun, hitting the singer, missing Baydon? His confession, wanting to proclaim Baydon’s guilt in the court, protected by privilege?

17. Baydon, his secretary, his appointments, interviews with Morse, wearing his academic gown, the issue of the doctorate, travelling by helicopter, his secretary with Morse and giving the information his being unmasked, his venomous response?

18. The effect on the family, the daughter, the wife?

19. Morse, the discovery of truth about the singer, his admiration, sending the flowers, but his distaste for her behaviour?

20. Lewis, the interview with the entourage?

21. A satisfactory murder mystery, the concentration camp overtones, the focus on music and opera?

MRS O’MALLEY AND MR MALONE

US, 1950, 70 minutes, Black and white.
Marjorie Main, James Whitmore, Fred Clark, Phyllis Kirk, Dorothy Malone, Clinton Sundberg.
Directed by Norman Taurog.

Mrs O’ Malley and Mr Malone is a brief entertaining supporting feature, intended to be a series but, unfortunately, this was not to be, perhaps Marjorie Main being committed to all the Ma and Pa Kettle films.

Marjorie Main is very enjoyable as the hard-talking, wisecracking Mrs O’ Malley from Montana who wins a radio competition and travels to New York City to receive her prize. She is a fan of murder mysteries and comes across the writer, Mr Malone, played by James Whitmore, and becomes involved in a murder mystery, the moving of bodies through the train, pursued by a detective, played by Fred Clark, and ultimately being arrested and handcuffed with Malone when she arrives in New York City.

Marjorie Main is a kind of toned-down Ma Kettle. James Whitmore is gambler, irresponsible, putting a spin on everything and with an unnecessarily roving eye throughout the film.

The murder mystery is enjoyable, a lot of slapstick, and some funny lines, including Mrs O’ Malley remarking about monotony where she lived “monotony would be exciting and that town”.

Direction is by Norman Taurog, who won an Oscar for Skippy, who directed a whole range of films and was about to direct several Martin and Lewis comedies as well as Elvis Presley musicals.

1. An entertaining supporting feature of the time? The cast? Murder literary? Sleuthing?

2. Brevity, production values, MGM style, the career of the director, Oscar-winner, comedies and musicals?

3. Mrs O’ Malley, in Montana, answering the phone, naming the song, winning the competition, the men in the boarding house, congratulations, her reminiscing, remembering her no-good husband, and the song when he was drunk, tried to fly and fell? Going to New York, the farewell, on the train, reading Malone’s murder mysteries?

4. Mr Malone, gambling, losing his money, the exasperation of the secretary, on the phone, her control of everything? His flirtation? His losing money, the phone calls to friends, refusing to lend money? His persuading Donald, the bookie, to help him?

5. The issue of Kapplar getting out of jail, the $10,000 owing to him, the visit of Marino, the discussions? The prisoner getting out of jail, the press conference, his ex-wife and the divorce, his partner? The problems of the party at the restaurant? Malone going, his ogling the girls, Mrs O’ Malley’s niece, sitting at the table?

6. The band leader, Mrs O’ Malley to the microphone, her banter, her singing of the song? Her paying the bill for Malone?

7. The station, looking Kapplar, Malone mistaking the niece as a passenger, the room next to Mrs O’ Malley? His persuading the man occupying, re-meeting during the trip?

8. Connie, gold-digger, the divorce, on the train, helping Malone, tracking down the money?

9. The girlfriend, talking with Malone, with Kapplar, disguised as a sailor, with the money, her being murdered, the body being moved?

10. Mrs O’ Malley, generous with money, interested in detective stories, investigating with Malone, moving the body, the threats to discovery?

11. Marino, suspicious, with Malone, searching the rooms, finding the body, handcuffing Malone with Mrs O’ Malley? Malone incessantly talking, arriving in Chicago?

12. Working out what happened, Kepler and his being murdered, going off with the murderer’s girlfriend, the sailor disguise, the chase at the Chicago station, the many sailors?

13. Marino and his frustration? Connie the truth? The finding of the bodies, the fan and the money blowing about?

14. The welcome to Mrs O’ Malley at the station, the radio personality and the pursuit, finally settled? The murderer, wanting Mr Malone as his lawyer, and Malone spinning a defence?

15. The intention of making a series – pity that there wasn’t?