THE CARRIBOO TRAIL

US, 1950, 81 minutes, Colour.
Randolph Scott, George 'Gabby' Hayes, Bill Williams, Karin, Victor Jory, Jim Davis, Dale Robertson, Lee Tung Foo.
Directed by Edward L.Marin.

From 1946 to 1962, Randolph Scott made around 40 Westerns – and only two non-Westerns plus guest spot in Starlift. This is not one of his best Westerns, it is a very average one.

The setting is the north-west of the United States and moving into British Columbia, a trek into the local goldfields. Randolph Scott agrees to prospect with his associate but also drives his cattle along mountain paths. This angers his friend who is wounded in an ambush and stampede, losing his arm, becoming very bitter towards Scott and not wanting to see him again. On the way, they meet an old prospector, George ‘Gabby’ Hayes in his last film. They refuse to pay an imposed toll on a small creek bridge, stampede the cattle across, defy the local power man, Frank Walsh, played with a rather icy calm and ruthlessness by a bespectacled Victor Jory.

There are scenes of cattle drives, of course, rides across mountains to see the open grass plains suitable for cattle, skirmishes with Indians (rather simplistic for 1950, the year of Broken Arrow, with Hayes wanting an Indian who talked English, finding that the chief did, and instead of negotiation, relies on a bucking his mule, scattering the Indians who pursue Scott who escapes on horse, shooting at them. Not a high moment of Native American- White relations in the movies.

Scott finds gold, but has to pay for the destroying the bridge. There are quite a number of fistfights, especially with Frank Walsh’s henchmen and a confrontation with his now one-armed hostile friend.

The local saloon is owned by Francie, who built it up by her own efforts and is resisting Walsh’s demands that she sell it to him. Obviously, there are traces of love interest with Scott.

All turns out well at the end, with Walsh’s overthrow, Scott settling down, Hayes finding his sister-in-law who supports the cattle drive. And some romance.

HAPPY FAMILIES

UK, 1992, 100 minutes, Colour.
John Thaw, Kevin Whately, Martin Clunes, Anna Massey, Alun Armstrong.
Directed by Adrian Shergold.

Happy Families is, as always, an interesting Inspector Morse story. While the setting is Oxford, there is nothing particularly Oxford about the plot.

Morse is his usual self, although he becomes increasingly crusty as the film goes on, with the Deputy Chief in Oxford, his frustrations with solving the murders, having to attend the press conferences, the taunts from the journalists, the photos and the articles. Lewis is a long-suffering.

The solution of the mystery seems to be part of the business interests of the allegedly happy family. In fact, it is not, quite another facet of the family concerning the mother, Emily (Anna Massey) and her affair long since. Also involved is Emily’s close friend, a psychiatrist,

In the supporting cast are actors who became much more famous afterwards including Alun Armstrong, Rupert Graves as well as Martin Clunes.

This episode was written by Danny Boyle, later to be a distinguished director with such films as Train spotting and an Oscar for Slumdog Millionaire.

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 mysteries, 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?

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?

10. The title? I have an ease? At the meal, the disputes, business interests, Emily and her lack of business interest, the relationships, harshness, deaths?

11. The death of the father, in the kitchen, the made binding him, Harry? Reactions? Harry and his walk, his death? James, the spade, his death? The suspects and motives?

12. Morse as usual, but will crusty, and with Lewis, with the suspects, with the new commander, with the journalists, the press conferences, his reaction to the articles? The interviews? Is not knowing until he read the book?

13. Lewis is rather long-suffering, his work, the footwork?

14. The temporary chief, his reputation, the press conferences, wanting to be there, yet ousting Morse, then giving him the credit?

15. The coroner and the detailed information? The maid, information?

16. Emily’s friend, bringing Jessica, with Emily, talking with Morse, the care, helping Jessica, her work as a psychologist, writing the book, the machine for detecting things in the ground? The irony of the evidence of the pen and her buying it in Montréal?

17. The lawyer, the type, the information, the complexities of the business interests, his love for Emily?

18. The expert from Eastern Europe and his opinions? James and his double deals, against the rules of the company?

19. The journalist and the photographer, critical of Morse, getting his photo at home, the articles?

20. Harry, the fall, the insertion of the screw? James, the spade? Morse and his wanting to dig up the area, finding the weapon, the link to masonry work?

21. Emily, with the young girl, thinking it was her daughter, even though the daughter had died at birth, her being killed by the girl? Morse and the others too late to stop the deaths? The background of Emily’s affair, with the stonemason, the family murdering and burying him?

THE BOXTROLLS

US, 2014, 97 minutes, Colour.
Voices of: Ben Kingsley, Jared Harris, Nick Frost, Richard Auoade, Tracy Morgan, Steve Blumt, Isaac Hempstead Wright, Elle Fanning, Toni Collette, Simon Pegg.
Directed by Graham Annable, Anthony Stacchi.

Usually animation films, especially from Hollywood, and in the Disney tradition, are usually bright and colourful, even if they have sinister aspects, especially evil witches. But there is another tradition, dark and sinister stories with monstrous characters, thinking of Frankenweenie. There was also Coraline and Paranorman. These were definitely dark and relied on more sinister traditions, especially from monsters and horror films. And these two were made by an Oregon-based animation company, Laika.

Boxtrolls is a Laika film. With the word Trolls in the title, and memories of Nordic monsters, we might expect a very dark animation story – and that is what we get.

The film is based on a children’s novel, Here be Monsters. With the film’s title, we know who the monsters are – or are they?

Who are these trolls? They are small, human-enough-looking characters who are clad in cardboard boxes. Hence the name. They come out at night, scour the garbage tins and scavenge for anything that they can find and bring it back to their home, in a basement, underground. There are in process of making a giant machine – but we’re not sure of the purpose.

And where do they operate? In a lavishly drawn town which may be English but certainly looks as if it comes from the continent. In fact, everyone has a British accent so that gives it a particular tone and flavour, rather than American. The trolls are not particularly in favour in the town and there is a squad set up to find them and destroy them, led by rather gross looking character appropriately called Snatcher. He has a couple of assistants, also caricature-looking but two of them will make good towards the end, the other not and, definitely, Snatcher not. Scratcher and co are the monsters.

The townspeople are very afraid of the trolls, not understanding them at all, and made even more fearful because of the story of the abduction of a little boy, the Trubshaw boy. This story is circulated and even re-enacted in the marketplace by a bizarre singer.

A little boy was taken. We see him as a baby with the trolls. Then he grows up, is curious about the world outside, removes a manhole in the street and emerges but is pushed and shoved by all the citizens. He sees the re-enactment of the taking of the Trubshaw boy and realises that it is he.

The rather wilful daughter of the Lord and Lady of the town volunteers to act in the story, sees the boy, whose name is Eggs, because of the box which he uses for his clothes, something the other trolls do. Eggs goes back to the trolls but realises that Snatcher is getting closer. Snatcher is being driven by jealous motivation, that he will be able to wear the tall White Hat that the Lord wears can be a power in the town. He almost gets there, but the ceremony is interrupted by the trolls who had been hidden in a dungeon (where we discover Mr Trubshaw hanging from his heels and rather demented). Snatcher thinks he has crushed all the boxes and got rid of the trolls – but they are still a step ahead of him.

One of the important products of the town is cheese and the Lord is very upset with the stealing of his cheese. There is a finale, Snatcher doing a cheese-tasting with explosive results!

The animation is very distinctive for the elaborate layouts of the town, the underground basement, the machines as well as a lot of effort going into the very detailed design of the trolls and the humans. The voice cast is considerable with Isaac Hempstead Wright as Eggs, a sinister Ben Kingsley as Snatcher, and quite a number of British comedians, Nick Frost, Richard Ayoade, Simon Pegg, as well as Toni Collette bringing good quality to the voice performances.

Having said all this, I wonder who the film is really for. Enterprising and energetic youngsters who have a taste for monsters? Surely? Impressionable children, probably not. For adults? Yes and “intriguing”. So one of those animation stories which parents need to check out because of the themes and the scares.

1. An interesting animation film? Entertaining? The audience and the impact?

2. The title? The original book and its title, Here Be Monsters?

3. The vigour and distinctive animation style? The elaborate layouts, the town, the early 20th century, a British or continental look? The buildings in the streets? The interiors, the vast basement, the machines? The musical score and variety?

4. The action sequences, Snatcher and his henchmen, the box trolls themselves, the stealing? Chases through the town? The build-up to the finale, Snatcher as a monster, and his downfall?

5. The visualising of the creatures, trolls and their shape, faces, in themselves? The boxes and the labels? The trolls and the touch of the monstrous? The monstrous humans, Snatcher? The haughty Lord and Lady? Eggs and the ordinary little boy? Winifred? Frou Frou and her song? Mr Trrubshaw trouble Shaw, hanging upside down, changed?

6. The strong voice cast? The British tone?

7. The city, Snatcher and his company, active, the importance of cheese? The Trubshaw boy and his being taken? The belief for 10 years, the citizens in fear, Snatcher and his job, his envy of the rich, wanting the White Hat? The Lord and his looking down on Snatcher? His commission to root out the boxtrolls?

8. The introduction to the trolls, their stealing, the garbage, the comic manner, returning home, their activities underground? The boxes and their capacity to expand, form ladders? Making the machines and the humorous aspects?

9. The emergence of Eggs, the little baby, yet behaving like a troll, tearing off the head of the bear? His growing up, curiosity, his bonding with the trolls?

10. His going out, overwhelmed by the crowds, underfoot? The bad treatment? Hearing Frou-frou and her song, his being the Trubshaw boy? Winifred, her haughtiness, her parents, volunteering for the show, performing, the encounter with Eggs, friendship? The talk, the truth, his identity, going back and climbing down the drain?

11. Snatcher, the attack, the huge machine, vacuum and drawing things up? The dungeon, Trubshaw and his hanging upside down, demented? The capture of the trolls, their allegedly being crushed? The later images of them escaping at the back? Eggs and his puzzle?

12. Snatcher, his demanding the White Hat? Eggs and his intervention, Winifred? The two assistants and their having a change of heart, helping? Trubshaw and his being freed? The arrival of the trolls? The story?

13. Snatcher, his being supported, the Lord spurning him?

14. Snatcher, everybody trying to get the White Hat, Snatcher at the table, the cheese, the tasting – and the explosion?

15. The happy ending, order restored?

BF’S DAUGHTER

US, 1948, 108 minutes, Black-and-white.
Barbara Stanwyck, Van Heflin, Charles Coburn, Richard Hart, Margaret Lindsay, Keenan Wynn Marshall Thompson, Barbara Laage, Spring Byington.
Directed by Robert Z. Leonard.

Over many decades, from starring roles in the early 1930s to her matriarch in The Big Valley in the 1970s and 80s, Barbara Stanwyck has been a forceful presence on screen – not a blushing violet.

In this adaptation of popular novelist, J.P.Marquand’s postwar novel, she is the daughter of a self-made industrialist, BF, played with his usual strong presence by Charles Coburn, more serious and dominating the usual. The story opens in 1932, with BF succeeding during the Depression as others have not. His money is for his beloved daughter, Pauline, popularly called Polly, and he hopes that she will marry a lawyer whom he admires, Richard Hart.

However, one day, by chance, she is chatting with her friend Apple, Margaret Lindsay, and their over using the word “divine”. A lecturer, Tom, is in the bar, overhears, invites them to eat with him – and Polly is fascinated by him. This is a leading role for Van Heflin. They impulsively marry and she bankrolls, with her father’s money, a lecture tour that he could not do by himself – and he does not know what she has done.

Years pass, World War II has begun, Tom gets a job in Washington DC while Polly builds a huge mansion in Connecticut, something which repels Tom. There is an estrangement, Poly-seeing her husband once a month, suspicious of his behaviour, especially with news of a house in Georgetown where a woman has been set up. It is not what she or the audience think, rather Tom is a do-gooder and the woman dependent on him after his bringing her from Europe to America.

And just as the war gets going, the picture ends romantically.

The director is Robert Z. Leonard, director of a wide range of films, especially at MGM in the 1940s including the Garson- Olivier Pride and Prejudice.

1. The picture of the US in the 1930s and 1940s? The Depression, World War II? Topical in its time? In retrospect?

2. MGM production values, lavish, black-and-white photography, the cast, the director? Locations? Connecticut and mansions? The backwoods? Washington DC? Guam? The musical score?

3. The title, the focus, Polly’s impact? Personality and style, determination?

4. BF, the self-made man, industrialist, humble origins, family relationship, his wife, love for his daughter? His age, experience, managing the Depression? Board meetings, dividends? Hopes for prosperity? Is the Polly Bob? An example of the American dream?

5. Politics, stances, right-wing? Republican? Martin, the radio broadcasts, the attacks on BF, BF listening to the broadcasts?

6. Polly, her age, engagement to Bob, love for her father? Friendship with Apple? Meeting at the bar, Tom listening in, the criticism of the use of the word “divine”? Having a meal with them, Polly and interest, falling in love, staying, talking, fascination? The decision to go to the theatre, to see Hamlet, knowing that Tom would be there, encounter, going home with him?

7. Polly and Bob, decision not to marry, going to see her father, the explanation, his reaction, BF meeting Tom, the tension, the marriage?

8. The honeymoon, the remote cabin, Polly buying things, Tom writing, the agents saying there were no lectures, Polly going to Apple’s wedding, to Bob, going to the agent, doing the deal, Martin witnessing, the financial backing, the tour, Tom’s nervousness, Polly singing and calming him, success, the reports
in the papers?

9. The years passing, Tom and his government job, responsible, going to Washington DC, the war and his being busy?

10. Polly, building the house, Tom coming with Martin, the gatehouse and the caretaker, Tom and his reaction to the house, the tensions, the meal, BF and his questions to Tom, Tom’s harshness? The message to go to Washington? Martin telling Polly the truth about BF’s money for the tour? Tom talking with Polly about it, going back to Washington, never wanting to come back to the house? The phone call, BF and his collapse, Polly going and their talk, his encouraging her to be courageous, his death?

11. Tom, the issue of the funeral, the orders to go to Lisbon, to meet the Dutch girl and bring her to America?

12. Polly, estrangement from Tom, seeing him every month, her suspicions?

13. Martin, his broadcasts, his cynical attitudes? On active service, meetings in Guam, meeting Bob, his disdain for him? The broadcasts, the criticisms of him being a desk person, affluent? Bob and his receiving the dangerous commission, his accepting? Martin and his criticism of Martin flying off, learning the truth, his apology, Polly and Tom listening to the broadcast?

14. Polly, friendship with Apple, staying in her apartment, Apple going to visit her mother, not knowing about Bob, Bob ringing from San Francisco and all being well?

15. Tom, his jobs, his secretaries at the office? The girl in Georgetown? Polly going to see her, discovering she was blind, her story, her admiration for Tom, loving him, and needing him?

16. Tom searching for Polly, Apple’s apartment, Bob being safe, their talking, the truth about the Dutch girl? Polly relieved, Tom and his apology, the final image of kissing and reconciliation?

IF I STAY

US, 2014, 107 minutes, Colour.
Chloe Grace Moretz, Mireille Enos, Jamie Blackley, Joshua Leonard, Liana Liberato, Stacy Keech, Gabrielle Rose, Lauren Lee Smith.
Directed by R.J.Cutler.

What is it about physical and mental illness that has attracted a number of up-and-coming actresses for their starring roles, Dakota Fanning dying in Now is Good , Shailene Woodley having to carry around her oxygen cylinder in The Fault in our Stars, Jennifer Lawrence mentally disturbed in her Oscar-winning role in Silver Linings Playbook, and now Chloe Grace Moretz in a car accident in If I Stay. Come to think of it, they have all been attracted by the heroics of comic-book worlds, Chloe Grace Moretz in the two Kick Ass films, Dakota Fanning as a vampire in the Breaking Dawn series, Shailene in Woodley so physically fit in Divergent, let alone Jennifer Lawrence in the Hunger Games series. Perhaps that means they are comfortable in vigorous life as well as in sadness, illness and death.

This film is based on a popular Young Adult novel. Chloe Grace Moretz is Mia, a teenager with loving parents and with a younger brother. She is a cello player, devoting hours to her practice, playing with a professional group and ambitions for the future at Juilliard. It is as snow day and so no school. Her parents suggest an outing for the whole family, but suddenly there is a deadly accident on the road…

It is not giving anything away, one only has to look at the title, to appreciate that while it seems that Mia is fatally injured, but up she gets from lying on the highway, wanders around taking stock of the situation, grief at her parents’ deaths, concerned about her brother’s injuries, and watching herself being put on the stretcher, into the ambulance and taken to hospital. So, this is a very extended near-death experience for her. She can see and hear everything. No one can see or hear her.

Into this scenario of Mia watching at the hospital, are inserted quite a number of flashbacks, rather randomly in fact, which fill out her story, final review of life, as a little girl, as a teenager, her seeming shyness and being pushed by a cousin, Kim, (Liana Liberato), encountering a musician, leader of the band, Adam (Jamie Blackly), who takes notice of her, and the two become an item, even a couple. But there has been a clash before the accident, Adam going on tour with his band and their great success and possibility for records, Mia and her application for the scholarship in music at Juilliard in New York.

Her grandparents, extended family and friends visit the hospital urging her to live. At first, Adam is not permitted into her room, but later does come and sings to her. The moment of truth will come and whether she opts to leave die or to come back to life is the dramatic dynamic of the plot.

Chloe Grace Marantz has shown great versatility in performances, not only in Kick Ass, but in the remake of Carrie and in the remake of the Swedish vampire film, Let Me In. She clearly has a strong future before her.

This is a film for the young adult audience, especially for young females, but with the romantic subplot and the pleasing performance, young males may not be unhappy to see it as well. Parents might take something of a benign attitude towards the story, and Mia’s very close relationship with Adam, but, on the whole, it is not their kind of film.

1. A film adaptation of a Young Adult novel?

2. Sadness and happiness, an emotional response to the film?

3. The locations in British Columbia for North Western US? Homes, hospital, the road, the snow, the accident?

4. The musical score, the range of music, pop music, punk, rock? Ballads? The cello music and the classics?

5. The title, death and near death experiences? The opportunity for a review of life? The choice to breathe and live?

6. Mia’s story, telling it? The day of the accident, waiting for the letter from Juilliard, the snow, the family going out together, the accident, hospital, near on site, the watching the treatment of the injured and dead? And her parents, to Teddy? Her urgency, not being seen or heard? Watching, the visitors, watching herself? The nurse urging her to live? The various visits from her grandparents, talking to her? Cousins visiting? Kim? Adam arriving with the cello music? With a letter from Juilliard? Reasons to live? Being together with Adam and going to Juilliard?

7. The flashbacks and the filling in of Mia’s life? The parents, the band, their hippie look? Mia being a little groupie? Mia and the cello, her reaction? The father sacrificing his guitar and buying the cello for her? Her parents listening to her and her very long practice? At school, the family, with Kim, meals? Talking, Adam approaching her, Kim’s advice, the photo? His further talk, everybody knowing who he was, the balcony, in Mia’s group, taken her to the concert? His visits, the meal, the parents? Love, the sexual encounter? The issue of Juilliard, and not telling Adam, his anger, his going away on the tour, calling her a liar? Her talk about the audition? Playing the cello, her father recording her, Teddy and his support, the mother and the enthusiasm?

8. Adam, his music, famous, the band, composing, attracted to Mia, climbing up the balcony, their going out, together, being together, being perfect, the sexual encounter? The fans, the autographs? The Juilliard issue, the quarrel? His coming to the hospital, not being let in, finally coming with the cello music and the Juilliard letter?

9. The parents, the characters, the past, the rapport with each other, the family, with their children, welcoming Adam? Her father teaching, her mother and her travel agency work? The snow day, the graphic accident?

10. The family, the grandparents, the grandfather sitting by Mia’s bed? Willow and Henry? The relations? Kim?

11. The hospital staff, their care, the nurse and her encouraging me to live?

12. Mia opening her eyes, hope? Emotions, sentiment?

PLANES: FIRE & RESCUE

US, 2014, 84 minutes, Colour.
Voices of: Dane Cook, Ed Harris, Julie Bowen, Curtis Armstrong, John Michael Higgins, Hal Holbrook, Wes Studi, Brad Garrett, Teri Hatcher, Stacy Keech, Cedric the Entertainer, Barry Corbin, Regina King, Anne Meara, Jerry Stiller. Fred Willard, Erik Estrada, Patrick Warburton, Rene Auberjonois.
Directed by Roberts Gannaway.

A film for parents and children who enjoyed the two Cars films as well as the original Planes. This will be an enjoyable outing, possibly better than the other three films.

But, for one thing, it depends on audience ability to accept cars and planes and other vehicles as the equivalent of human beings, talking in the same way, doing the same things, particularly idiosyncrasies, and, of course, the heroism of winning.

Actually, the anthropomorphism is a strange experience. Here are obvious-looking cars and planes, and vehicles old and new (perhaps that should be ‘younger’) who substitute for human beings, not in the was animals do when they can talk and laugh and cry, but here are machines who are human! Most of this is done, quite effectively, with eye movements and some brow movements. Then there are the slits or other openings in the planes and vehicles which can be the equivalent of mouths. And, off they go, tearing along the highway, sweeping through the air amidst forests and mountains, having parties and refuelling with gasoline, off to a tourist resort for holidays, and even doing line-dancing.

Dusty Cropduster was the hero of the first film, a little plane, coming from behind to win races, eventually becoming the champion of the world, doing a complete circling of the world. Now he is back home, the champion and well-liked, revelling in his fame, but what is Dusty to do in his old backwater town, despite all the encouragement of his old friends, The Skipper, Mayday and that whizz at fixing machines, Dottie.

Something has to happen to keep the film going, so what does happen is that Dusty finds that his bearings have gone. If he goes too fast and energetically, he will crash. Unfortunately, his type of engine is now out of date and so there is little hope for replacement.

In the meantime, with Dusty unable to do his flying, his hometown will be unable to cope with security and repairs at the annual Corn Festival. Will Dusty save the day and the Festival? (Obviously that is a completely superfluous question!).

What Dusty does is to go off to another town to join the firefighting force. He is more than a little arrogant, relying on his reputation (which they all admire) but too ashamed to tell anyone that his bearings have gone. He undergoes the training, with the demanding Blade Ranger as well as the Native American plane, Windlifter. It certainly is not as easy as Dusty had thought and he doesn’t do too well with his training, being too presumptuous, and being careful with his engine bearings.

While the film is in the air, it is quite exhilarating, wonderful flying sequences, through mountains, over rivers and, eventually, in the firefighting sequences. Once again, Dusty is too presumptuous and does not work effectively as a team member, even crashing into a river and having to be pulled out by Blade Ranger.

In the meantime, a very vain and fussy bureaucrat car has arranged a meeting at a resort, full of cars, and in the presence of the Secretary of the Interior. The bureaucrat will take no advice, ignoring the advancing fires so that he can finish his speech, only to find that the danger is real and there has to be a huge evacuation, even cars on a railway station getting into a train to take them to safety, others going by road and stranded on the highway. Small vehicles have to be parachuted into the danger area to clear the roads and the lines.

By this stage we are so identifying with the planes and cars that we are in danger of forgetting that they are not human beings! Needless to say, but saying it nonetheless, Dusty comes good, does a heroic rescue of a romantic couple who are on a bridge reminiscing about when they met and then stranded needing action while the bridge collapses under them. And they are rescued.

The animation is bright and colourful, the flying sequences and the fire sequences very effective, and there is a very good voice cast led by Dane Cook as Dusty, Ed Harris as Blade Ranger, Stacy Keach as The Skipper, Wes Studi as Windlifter.

Not the greatest of animation films, but very enjoyable in its own way.

1. The popularity of the Cars films? Of Planes? An enjoyable sequel?

2. The brightly coloured animation? The forest location photography? The old town? The fires and the action? The flight sequences? The views of the forests by the planes? The firefighting, the targets in the forest, the buildings, the bridge, the rescues?

3. The visualising of the planes, the reliance on their eyes and brows, the various slits and spaces for mouths? The different personalities of the planes? The voice cast?

4. The anthropomorphic aspects of the planes? No humans to be seen? The plains and the vehicles being so humanised that audiences accept this, the look and personalities, their interactions, their activities, at home, getting old, needing fixing, the picnics and the fuel, the line-dancing, the audiences for the Festival, the guests at the tourist resort, filling the train, the escape of the cars, being held up on the highways by the fires…? Musical score?

5. The further adventures of Dusty Crophopper? His past achievements? The town proud of him? His friendship with the crew? Dotty and her ability to fix things? The old-timer, Mayday, and the need for upgrading? The Skipper and his experience and advice?

6. Dusty and his flying, the bearings, effect on his intention, his having to land dangerously, Dotty and her verdict, the difficulty of getting the new part? Dusty and his initial inability to accept this?

7. The town, needing proper vehicles for the Festival? Dusty and his decision to help with the firefighting?

8. The training for firefighting, Blade Ranger and his demands, speeches? Dusty and his not really responding well? Windlifter and his Native American personality, accident and advice? The other members of the team, Lil dipper doting on Dusty, the repair vehicles? The requirements for firefighting? Dusty and his unwillingness to tell people the truth about his bearings?

9. The obsequious official, the resort, his speech, ignoring the planes’ advice, ignoring the fire, the Secretary of the Interior? The tourist vehicles? The parallel with humans on holidays?

10. The range of fires, the material to suppress them, the flying boat apparatus, the ability to draw in the water? The teamwork for dousing the fires?

11. Blade Ranger and his puzzles about Dusty? Giving orders? Going under the bridge? Working as a team for conquering the fires? Blade Ranger wanting to forbid Dusty from working?

12. Dusty, his determination, his seeing all the planes in action, the parachuting of the repair vehicles, their work with the stranded cars, the train with all the cars within, fixing the line so that the train could go through?

13. The couple, on the bridge, remembering their meeting? The rescue, their being winched to safety with the bridge collapsing?

14. The dangers of the fires, Dusty and his fall, in the river, the waterfall, rescued by Blade Ranger?

15. Dusty, his final heroism, its being recognised? The good news about the new engine and its being installed? The town able to have the Corn Festival?

16. A colourful and cheerful entertainment for the whole family?

27 DRESSES

US, 2007, 111 minutes, Colour.
Katherine Heigl, Edward Burns, James Marsden, Malin Akerman, Brian Kerwin, Judy Greer.
Directed by Anne Fletcher.

Good advice is what I need.

I am still not sure whether the term ‘chickflick’ is sexist and/or stereotypical. In the past there was ‘a woman’s picture’ but that now sounds discriminating. On the other hand, it seems all right to refer to a ‘man’s picture’, especially if it is full of gung-ho action. That one could also be called ‘one for the boys’ or ‘one for the boyos’. But there is still a problem about how to refer to 27 Dresses (screenplay by the writer of The Devil Wears Prada – what else? – and directed by choreographer, Anne Fletcher).

Let me venture my reaction. I have a good friend who passes on police thrillers to me. Sometimes she hesitates and tells me that a book is probably too ‘girly’ for my taste: it is probably filled with ‘women’s business’, secret or otherwise. Anyway, ‘girly’ was the word that came to mind within a few minutes of the film starting. A predeliction for bridal wear is fairly necessary for this film. The title’s 27 dresses are in the wardrobe of the main character, bridesmaid’s dresses. A habit and tolerance for fashion magazines would not go astray either.

Since I have started the review with very personal responses to the film, I will take the liberty of adding a further distraction. As I watched the charming Katherine Heigl’s absolute dedication to wedding planning, wedding attendance and wedding obsessions, the number two came to mind. For those who are involved in the Enneagram, she is an extreme example of a 2! – and for Myers Briggs devotees, she is a living ESFJ.

What more can one say? Katherine Heigl (who was so good in the funny, Knocked Up) has fine comic timing, can seem an ugly duckling only because the screenplay says she is, gets entangled with multiple weddings on the one evening (taxiing back and forth between them), is silently in love with her boss (Edward Burns), finds her sister engaged to him and is pestered by a cynical reporter that she can’t stand and who is the likeliest contender (despite their screwball comedy spats) for her walking down the aisle to wed. He is played with toothy and smiling charm by James Marsden from the X Men movies (and the grinning MC from Hairspray and the humorously two-dimensional Prince Charming from Enchanted).

The reviewer who sat next to me is definitely into realism and plausibility. She also definitely dislikes films which initially criticise some issue and finally indulge in it. She was not amused. I think I was, but, beyond that, I leave it to the connoisseurs of 27 or more dresses.


1. A different romantic comedy? The perpetual bridesmaid and the challenge to her life and outlook?

2. New York City, offices, apartments, city locations? The countryside? The musical score?

3. The focus of the title, on the dresses, Jane as bridesmaid, the 27 weddings? The visuals of the dresses? Jane wearing them? Flashbacks to the various weddings and Jane’s participation? The photos, Kevin and his article and the display?

4. Jane and her voiceover, her own story, of herself and Tess, the death of their mother, the place of their father? Jane and her bringing up Tess, her heightened sense of responsibility?

5. The frantic nature of her going from wedding to wedding, continually changing dresses, the taxi driver and his help, participating in each wedding? Vote of thanks?

6. Jane and her work, devotion to George, the comments from Casey? Her inability to express herself to George, doing his menial work? Including the dry-cleaning?

7. Casey, tough style, friendship with Jane, out together, the comments? Her reaction to Jane’s slideshow, taking her to task? Her reaction to being invited to be Tess’ bridesmaid?

8. George, pleasant, his hobbies, hiking, vegetarian, the environment? Working with Jane? Suddenly seeing Tess, his fascination, believing all her stories, the proposal – Jane walking in at the wrong time? The build-up to the wedding, Tess playing up to him? Jane and her sense of frustration, the preparations for the wedding, George’s involvement? The preparation of the slide program, the exposé of Tess and her beliefs, her lies? George walking out, the wedding off? Jane coming to the office for the printing, her talking about loving him, the kiss – and the lack of dynamic? George and his work with the Big Brother organisation, the young boy, taking him to baseball, supporting him? A good man?

9. Kevin, the touch of the cynic, his articles, his noticing Jane and the many weddings? His own job, his boss and her demands, his writing the article? The encounters with Jane, frank talking, at her home, seeing the 27 dresses, her trying them on, his photographs, wanting delay the article, his tough boss and her decisions, his being out with Jane, the rain, going into the bar, the drinks, the talk, the singing of Benny and the Jets, the night together? The aftermath, the article, her reaction? Casey reassuring her? George and his concern and reassuring her? Tess and her outburst against Jane, her jealousy? Jane wanting to be just like Tess, and Tess wanting to be just like Jane?

10. The frank talk between Jane and Tess, memories of the past, Tess and Jane’s help, then wanting to be on her own, travelling, men friends, the truth about losing her job, the lies to George? The vulgarity of the slides of Tess compared with the decorum of those of George?

11. Jane, her relationship with her father, his standing back? The people challenging her to think about herself, Kevin urging her to say no and practising, her outburst with the slides, unleashing the repression?

12. The wedding, her leaping on to the boat, the microphone, seeing Kevin, her declarations to him?

13. One year later, Tess and her being the wedding arranger? Jane and her wedding, the look on Kevin’s face (just the kind of expression she had wanted those)? George and the boy present? Jane’s father? At the very happy ending?

BEST OF THE BADMEN

US, 1951, 84 minutes, Colour.
Robert Ryan, Claire Trevor, Jack Beutel, Robert Preston, Walter Brennan, Bruce Cabot, John Archer, Lawrence Tierney, Barton Mac Lane.
Directed by William D.Russell.

The Best of the Badmen is an entertaining Western with historical figures, seeing that most of it is fiction. It is a sequel of sorts to Last of the Badmen, 1948.

The film shows a group of Confederate soldiers surrendering to the Union in order to be free and begin their lives. In the group are Bob and Cole Younger as well as Jesse and Frank James. The oath of allegiance is given to Jeff Clanton, who offers them the opportunity for a different life but is confronted by Matthew Fowler, carpetbagger and director of the Detective agency who wants to control this part of the West.

In a shootout, Clinton kills one of Fowler’s men and is arrested and condemned to hanging. But he is given a gun in his cell by Lily, Fowler’s wife, and there is a long pursuit until he is rescued by Doc and Bob Younger. Clanton is intent on vengeance while the group have been made outlaws by Fowler’s pursuit.

The film has a very strong cast with Robert Ryan solidly as Clanton, Claire Trevor as Fowler’s wife Robert Preston as Fowler, Walter Brennan doing his usual as Doc. A group of impressive character actors take on the roles – with Jack Beutel, making his first film in nine years after The Outlaw, with only a few films and television programs to follow.

The film was directed by William K.Russell, director of only a few films like Dear Ruth and Bride for Sale and then over 15 years directing television until his untimely death.


1. A sequel to Last of the Badman?

2. A post-civil war Western? The continuing enmities? The focus on the James brothers and the Youngers and the group and their loyalty to the Confederacy? What was to happen to them after the war?

3. Clanton, the North, the military, his soldiers coming, the Younger group in the hills, Clanton and his deal? Their accepting? Laying down arms? Going into the town, the administration of the oath? The checking of the documents? Their being free to leave the town?

4. Clanton, the challenge by Matthew Fowler, Clanton and standing up to him, the carpetbaggers and the Detective Agency, wanting to control the region? The men pushing against the soldiers, the shooting, Clanton killing the man? His going on leave, shooting while not in the army, his arrest, the kangaroo trial, the judge and jury bought by Fowler? Clanton condemned to hang? In the jail, Lily coming, the pretence of being a good time girl, giving him the gun, his escape, the shooting, his getting the horse, the posse in pursuit, Clanton under the bridge, his being wounded, travelling through the countryside? Going to the shop, buying clothes, the prospect of the reward money? His escaping with a horse? Fowler’s men catching up, Doc and Bob, rescuing Clanton and taking him to Quinto?

5. Matthew Fowler, power, money, the Agency, protecting banks? His wanting to take the Younger and Confederate group to court? Clanton standing up to him? His continued pursuit? Clanton and the court case, the escape, Lily helping him?

6. The Younger brothers and their history, the surrender, being freed, Fowler and his men against them, their becoming outlaws – with the touch of the ruthless, willing innocent people to be blown up in the tree? Cole and his leadership, Bob and his being younger, and his attraction to Lilly, buying the gift? The James brothers and their prospects, unable to go back to the farm? Curley Ringo and his place in the group? His antagonism, against Bob, listening in to Clanton and Lilly’s conversation, learning the truth, using it against Bob, the group, their ousting him, his betrayal of them to Fowler, the train robbery, Fowler and his men prepared, the pursuit?

7. Doc, the narrative, the Walter Brennan style? In the group, older? Not a horse thief but a souvenir of bridles – which happened to have horses in tow? His rescuing Clanton? His words of advice? Helping Lilly?

8. Lily, the clash with Fowler, her pretence, in the jail, passing the gun? Her leaving, going to Quiinto, singing? Bob’s attraction? Love for Clanton? The revelation of the truth? Her accompanying the group to the train, her being shot, her being tended, on the wagon, the pursuit, Clanton carrying her, Doc and Bob stealing the stagecoach and her being transported to the town, the doctor praising the tending of her wound? The confrontation with Fowler?

9. Fowler, using Lilly as bait, Curley Ringo with him, wanting the money? Clanton and the clever plan, the dynamite, the coach coming into town, Doc waiting, the use of dynamite, Clanton and the fight with Fowler, holding Fowler so that his own men shot him? The final escape?

10. Doc and Bob going to join the gang? Clanton and Lilly going off together?

THE GRAND SEDUCTION

Canada, 2013, 113 minutes, Colour.
Brendan Gleeson, Taylor Kitsch, Liane Balaban, Gordon Pinsent.
Directed by Don Mc Kellar.

What's in a name? Seducing has all kinds of sexual overtone and leads us to expect some medical sex story. It isn't.

This film is located on a tight little bay off the Canadian coast. The central character, Murray (Brendan Gleeson at his best), remembers his childhood days when fishing was the livelihood and everybody was content. Now, the population of 125 is in the doldrums, the waters are fished out, cashing their dole cheques with little hope of renewal - except, maybe, if they can land a contract for a factory. The catches: they have to pay a hefty bribe to the company, they need to have over 200 inhabitants, they need to have a resident doctor.

And that is where Doctor Lewis comes in - and the seduction. Can they convince the city doctor who has been sent to Tickle Bay because of cocaine in his luggage for a month to look over the place. Can the inhabitants, under Murray’s leadership, persuade him tostay? They also have to raise the money with the help of the rather unimaginative bank manager who fears being replaced by a machine. They also have to convince the company boss that they have the correct population (which eventually leads to logistics problems as they have to race along back streets to get to the next venue to create a crowded impression!).

It is all very genial (except the issue of the bribe which seems to be taken for granted as business management). The doctor is a nice man but is very upset when his engagement breaks down. Everybody is so friendly, pretending to play cricket which Dr Lewis loves, helping him fish. He is attracted to the post mistress – she is not - and she reveals that everyone is deceiving him. Well, we know what happens. The important thing is watching how it happens.

Needless to say, there are a lot of characters on the island and there are lots of amusing situations (the listening in to all the doctor's phone calls and wanting to intervene when he is critical, a snorkeller putting a frozen fish on the eager angler's hook...).

The screenplay of the original, La Grande Seduction/ Seducing Dr Lewis, was written by Ken Scott and adapted for the English language version. He did the same with Starbuck which became Delivery Man.

While the setting is Canadian, the film travels well and has a universal humour and appeal.

1.A comedy with old-style charm, old-style issues?

2.The Canadian settings, the bay, the coast and cliffs? Spirit, style, sense of humour, irony? Universal appeal?

3.The coastal settings, an island anywhere in Canada? The irony of its title – Tickle Bay? The small population (and inflating it for the sake of the doctor and for the building company)? The buildings, the old, the modern style, technology, the fishing industry, the possibility of factory and production?

4.The title, its meaning – not the obvious meaning but getting Dr Lewis to stay on the island for five years?

5.The prologue, Murray and his memories, as a boy, the people, the stories told, the fishing, his energetic father? Life having a purpose? The satisfaction for everyone concerned, the night, sex, the smoke from the chimneys? And this being brought back again at the end?

6.The queue for social benefits, Murray and his two claims, Henry’s strict reaction? Murray at home, no future with the fishing, his wife wanting to leave for work in the city? The mayor, his wife, the change with the mayor and family leaving and Murray becoming mayor?

7.The possibility of a factory, the bribes asked for by the officials, the officials and their characters, the condition of having the doctor, the plan to get the doctor, Murray and his phone calls, the other company bidding more? The visit of the official, the tricks played on him, the population moving to and fro? The factory at the end, and the satisfaction of having some work, happy to have jobs, comfortable homes?

8.Christopher Lewis, his life and style, relationship with Brigitte, friendship with Paul, drugs, money? The advertisement, Murray and the contact, his agreeing to come for a month?

9.Paul at the airport, hurry, smug, trophies, love of cricket, the cocaine, sentenced to Tickle Bay for a month? Paul’s arrival, seasick, seeing the cricket, the welcome, expectations? His meeting Kathleen and her nonchalant response? Checking on the restaurants, the comedy about his liking lamb, his phone calls to Helen? The islanders thinking that he liked feet – and the women trying to be sexy with their feet…?

10.The possibility of a loan, the bank manager, his prim attitudes, people playing jokes, his fearing that he would be replaced by a machine? At home, his daughter, her dating – and alleged pregnancy? His attempts to get the money, calling on favours, the friendship with the woman at the bank, her turning him down? The finale and his taking the benefit money to pay the bribe to the factory owners?

11.The comedy of Paul’s phone calls being tapped, hearing truth about themselves, the bank manager stopping the phone call, the comments on the house, on the people? The two ladies listening in, taking notes, spreading the gossip around the town? Stopping the call when they felt insulted?

12. The ideas for improving the town, studying cricket, making the whites, Googling? Painting houses? Henry’s house for Paul?

13.Paul and the long line of patients, the foot and leg disease, Murray wanting to control the queue? The musician and his having to pretend to like jazz?

14.Murray taking Paul fishing, his failures, Simon diving with the frozen fish and Paul’s delight?

15. Simon, age, advice, never having been to town? His wife? The town meetings – few there, but Murray rounding them up? The further meetings? Murray coming to the house and being in bed?

16.Helen, the discussions on the phone, his love for her, her affair, his grief, speaking with Kathleen, hearing the truth – his getting drunk, his dismay about his being deceived by his girlfriend and his best friend? The effect on Murray and the population?

17.The visit of the manager, everyone in the bar, running the back ways and getting to the bingo hall? The skill at pretence? The various meetings in the church – and Murray’s control, everybody agreeing and participating in the pretences?

16.The pretend doctor, the rivalry for Paul, his being abandoned, going fishing by himself? Their admitting the truth to him, the effect on him?

17.His change of heart, his connections loosed, his liking everyone, his being able to stay?

18.The building of the factory – the satisfaction of having work, honest work, some prosperity? The satire on small populations, islands, changes of livelihood, difficulties, social benefits, the possibility of building a better life, a new life?

QUIET BLISS/IN GRAZIA DI DIO

Italy, 2014, 127 minutes, Colour.
Celeste Casciaro, Laura Lichetti, Anna Boccadamo.
Directed by Edoardo Winspeare.


Financial difficulties are the subject of this film set in the Apulia region, east of Rome, Quiet Bliss (the Italian title is more religious, In Grazia di Dio), where a family business founders because of hard times and is declared bankrupt.

The sister of the owner, a somewhat embittered and harsh woman, decides to go back to her mother’s country property to raise fruit and vegetables, eggs and other produce in order to survive. Her mother is a kindly woman, her daughter is a lazy and ignorant girl, defiant of her mother, and who finds herself pregnant. The other woman in the house is the mother’s sister, wanting to be an actress and participating in plays in the Parish Centre.
The film looks beautiful in its countryside setting, and there is some humanity in it even though a lot of the experience is harsh.


1. An Italian story? About financial crisis? Work, struggles?

2. Apulia, the city, homes, factories? The contrast with the farm, the countryside, the small town? The musical score?

3. The original title, the grace of God? The meaning of quiet bliss?

4. The three generations of women, the interconnections and interactions?

5. The factory situation, bankruptcy, interest on loans, hopes for the new orders? Vito and Adele, brother and sister, Vito and his decision to carry on, going
to Switzerland? Adele and her going to the farm?

6. The farm, Adele’s mother, her companion, Ina and her slovenly attitudes towards life?

7. The work on the farm, fruit and vegetables, eggs, the sales in the town, butter, deals, surviving on the farm?

8. Adele, her personality, abrasive, the hard life, tough? Her former husband and his place in the town? In prison? Going fishing, the deal with Vito, drugs? Failure? Ina and her visits to him? Adele and her relationship with her mother? Waking Ina, harsh on her? Managing the farm?

9. The grandmother, nice, 65, her companion, companionship, the proposal, the wedding dress, the marriage – and the young perspective with Ina talking about disgust at such a marriage?

10. Ina, her age, going to visit her father, his being in prison? The gift of the cat? Laziness? Sexual relationships, petting with the boy, her pregnancy, decision to keep the baby, the injuries, the baby being saved? All the clashes with her mother? Her lack of self-worth? The arrival of Stefano, tutoring, the lessons, the bond with him?

11. Stefano, nice, his work, knowing Adele’s situation, living with his mother, the meals for her? The visit to Adele, the memories from school, keeping her company, tutoring Ina – even to speculation about philosophy and Kierkegaard? Adele and her harsh treatment, neglecting him, his staying away?

12. The sister, her conditions, the play in the church, the Annunciation, rehearsing, her lines? The clashes with her sister, her sister’s taunts about her not being pretty, weight, not having a chance for performance? The opportunity for the audition, Adele offering the lift, not turning up? Stefano offering the left?

13. The celebration of the wedding, the hopes with the birth of the child? Some possibilities in peace and hope for a future?