HYSTERIA

UK, 2012, 100 minutes, Colour.
Hugh Dancy, Maggie Gyllenhaal, Jonathan Pryce, Rupert Everett, Felicity Jones, Sheridan Smith, Gemma Jones.
Directed by Tanya Wexler

Basically, this is a Victorian romp, with consideration both to the Dickensian realities of medicine and hospital treatment in the 1880s (a lot of attention to period detail, costumes, décor, settings, both lavish and squalid) as well as a sense of naughtiness in showing the unwitting discovery of the vibrator.

One of the problems of watching the film these days (maybe this is more of a problem for men than for women, many of whom have found Hysteria quite a feminist entertainment) is that doctors behaving in the way that these doctors do in their treatment of women’s ‘hysteria’ would now land them in the courts and, possibly, in jail.

But, in its serious vein, it reminds audiences of how dominant men were in medical practice up to that period and into the 20th century. And it shows that men had their own presuppositions about women’s issues, emotions, psychology and health issues. Anything that ‘upset’ them was, until not all that long ago simply, simplistically, labeled ‘hysteria’. It was, at least with the doctors shown here, to be treated physiologically (while they underestimated, or did not understand, the sexual intimacy). Jonathan Pryce is very good as the opinionated doctor who has a very successful practice with a large clientele who come for his treatment and leave more than satisfied.

Hugh Dancy is also very good as the sincere and earnest doctor who talks germs with uncomprehending medical authorities and advocates, to their disdain, washing of hands. No wonder, he loses all his positions. But, treating hysteria, he is a success.

Two things happen to him. It is expected that he will court the intellectually enterprising daughter of his employer (Felicity Jones) while being highly suspect of the other daughter, the feminist (Maggie Gyllenhall, British accent and all) who puts her theories into practice in working in poor houses and campaigning for rites. Not hard to work out what will eventuate here (including an interesting court case).

Yes, the film is about the discovery of the vibrator (and the final credits show images of developments for the next hundred and more years), the young doctor working with his inventor friend (Rupert Everett) and realising the effect of an electric feather duster.

The screenplay is often witty, often incisive, critical of past medical practices, an amusing issue-raiser.

Having said that, Hysteria has many funny moments.

1. A comic film, with serious themes and issues? Women’s issues? Men’s issues with women? The transition from the 19th century into the 20th century?

2. The London settings, 1880, 19th century, doctors and the squalid hospitals? The wealthy doctors and their reception rooms? Wealthy style? The poor houses and the need for financial support, education, medicine, protection against men’s brutality? Protests? The doctors and their clientele in the hospitals, leaving them, not interested in hygiene? The contrast with the treatment of the fashionable women with hysteria?

3. The title, the definition of hysteria at the time, a women’s issue, sexual issue, psychological and physiological issue? The doctors, the definitions, the studies? Their treatment of hysteria, physiological, sexual – but their not realising what was happening or else considering it medical treatment? Charlotte and her blunt naming what was happening?

4. Mortimer as the hero, his background, orphan, being taken in by the wealthy family, his education, friendship with Edmund? His work in the hospitals, his concern about hygiene and germs, his reading medical articles, wanting sanitary conditions, his reaction to the pompous doctors and their wanting bleeding, suspicious of anything new? His being sacked, argument with doctors, working in many hospitals? His searching for a job, the news about Dalrymple, the interview, his earnestness, his being given the job? The possibilities, moving into the house, meeting Emily, her intellectual approach, phrenology and his head, his wariness of women, the touch of the chauvinist? Charlotte and her arriving, her upsetting behaviour, the clash with Dr Dalrymple, only later discovering that she was Dalrymple’s daughter?

5. The collage of women coming in for treatment, wealthy, their self-diagnoses, discussions with Dalrymple, the treatment, the emphasis with the camera on the sexual satisfaction? The repeat visits? The crowd in the waiting room?

6. Jonathan, instructing Mortimer, the first treatment, Mortimer and his caution, adjusting? The constant work, the effect on his hand muscles? The effect on Mortimer?

7. Kimberley, imitating her father, her intellectual pursuits, reading, piano? The expected attention from Mortimer? Their walks in the park, their discussions? Mortimer and his falling in love? The proposal? The plans for the party for the engagement?

8. The contrast with Charlotte, arriving at the dinner, her attitude towards her father, taunts, her sister, the discussions with Mortimer? Her raising issues and their talking about the meal and the fish? Her exasperation?

9. Her work at the centre, giving her time, attention? The various people, the children needing education? The woman being brutalised? Her wanting her treated for her injuries? Mortimer and his willingness? The treatment, the response? His later coming to the centre, helping the woman? Admiring Charlotte but disapproving of her? Cup of tea, talking?

10. Charlotte, the appeal for money, the wealthy couple, her father buying the bond, not fulfilling it? The preparing for the dinner, her dress transformation? At the meal, discussions with Mortimer, with her father, with the couple? The intrusion of the woman, her leaving and going to the centre?

11. Her outspokenness, her attack on the police, the arrest, in prison? The days?

12. The maid, the former prostitute, working in the house? Her willingness to be a subject of experiments, the effect on her, sexual?

13. Edmund, the dilettante, his wealth, his experiments, the phone and the calls, to the Queen? The duster, the feathers, the batteries? Mortimer and his friendship, the discussions, testing out the duster, its massaging effect? Edmund and his pursuits, the patents, the money and Mortimer’s share, a secure future?

14. The engagement, the party, his talking with Charlotte, his foster parents and their interest? Emily working the room with the guests? The interruption, Charlotte and her tantrum, the issue of the money, her walking out, the engagement party spoilt? Mortimer’s support?

15. Mortimer losing his job? The prospects? His taking the machine to Dalrymple, the test, the opera singer and the treatment, the machine’s effect, her singing?

16. Mortimer and his money, Charlotte, his support?

17. The court case, her father stating that she had hysteria, if this was found, her confinement to an institution? Her plea to Mortimer? His walk in the park, his return to the court? The judge, the questions to Charlotte, her answers, the women in the gallery, Molly, Mortimer’s foster mother? The reaction of the crowd?

18. Mortimer the stand, his being questioned, his admiration for Charlotte?

19. His joining Charlotte at the centre, her wanting to buy the adjacent building and land, his investing the money – and the happy ending for all?

20. The catalogue of vibrators (and Queen Victoria) and the historical development during the final credits?

WHAT MAISIE KNEW

US, 2013, 99 minutes, Colour.
Julianne Moore, Steve Coogan, , Onata Aprile, Alexander Skarsgaard, Johanna Vanderham.
Directed by Scott Mc Gehee and David Siegel.

Looking at What Maisie Knew, it seems very much a 21st century story of marriage and divorce, court decisions about custody of a child and the repercussions for the life of the child and bonding with parents and adults. In fact, it is quite an interesting and emotionally-testing picture of these issues.

However, it may come as a surprise to find that this film is based on a novel by American author Henry James. And that it was written in 1897. In the 1980s and 1990s there was a spate of rather elegant films based on Henry James novels: The Europeans, The Bostonians, Portrait of a Lady, The Golden Bowl. This adaptation, however, brings it into the present and reminds us that the issues have been significant for a long time.

The setting is New York City with quite some attention to detail of the locations. The Maisie of the title is a six year old girl, played with intelligence and screen presence by Onata Aprile. She has had a career in film and television before this, but What Maisie Knew should ensure her being signed for many more films.

Her parents are played by Julianne Moore and Steve Coogan. They are alienated, not shielding their hostility at all from their little daughter. They go to court and are allowed to have their daughter for custody, ten days at a time. Maisie is loving to both her parents. However, the audience can see very quickly that they are not particularly lovable, that they use their daughter as an anchor in the chaos of their own lives, and, when the chips are down, they will choose their own life rather than that of their daughter. Julianne Moore is an ageing singer who does recordings and goes on tour. Steve Coogan is a businessman whose work takes him around the world, ensuring substantial absences. Then, whether for love or for convenience or a mixture of both, each of the parents gets married again. The father marries the nanny. The mother picks up a roadie who works as a barman.

The irony of the film is that Maisie is quite astute in picking up the vibes from her parents while still having the attitudes and behaviour of a six year old.

Initially, the audience may be critical of the nanny who has looked after Maisie and then marries her father. The audience may also be less than interested in the barman who seems just a convenient adjunct for his new wife.

The charm of the film, and relief and counterbalance to the behaviour of the parents, is the way that both nanny and barman care for Maisie and become her substitute parents. Joanna Olderham shows the nanny to be somewhat young and inexperienced, disillusioned by her marriage, but with a loving devotion to Maisie even in very difficult and complicated situations. Alexander Skarsgaard looks young and rather callow initially and audiences would naturally be suspicious of him. However, he is a man of charm, of integrity, of care for Maisie with an instinctive way of knowing how to relate to her. Maisie is very lucky in having these two care for her and show adult and parental love for her.

The film was written and directed by the team of Scott Mc Gehee and David Siegel who have made several interesting and emotionally complex films like The Deep End, The Bee Season and Uncertainty.

In an age where child protection is of paramount concern and where alienated parents can go their own way and neglect their children, this is a film which shows the power of the presence of a mother figure and a father figure in a child’s life.

1. The film based on a story by Henry James, What Maisie Saw? The adaptation from the 1890s to the 21st century? How much the same? How much changed?

2. The contemporary feel of the film, New York City, the world of singers, theatre, their entourage, travelling, performances? Of businessman and their travels?

3. A story of family, bickering husband and wife, the going to court, issues of custody, remarriage, neglecting the child while professing love for the child?

4. The characters seen by the young Maisie? Not the whole story, not the details of the life of husband and wife, but the glimpses that she saw? Putting things together? Her being left with Margo and Lincoln? Getting to know them, love them, depend on them? And deciding against her parents, especially her mother?

5. The city, homes, the affluent world, the world of singers, business? The score?

6. Maisie as the centre, the title and her perspective on her parents? Age, limited experience, with her mother, her mother’s carelessness while professing love, the father, the separations, leaving her on the sidewalk and going in the taxi, his travels? The deceits? New relationships, new marriages?

7. Maisie’s life, at home, being left with Margo, going to the school, the issue of picking her up? Lincoln, taking her to the bar, to the house at the sea? Maisie and her reaction to her father marrying Margo? Her mother’s absence, taking up with Lincoln? Catching them?

8. Susanna, the reason for her marrying, clashes with her husband, her tantrums, her career, the quality of her singing, her entourage, style, the separation, the custody issues, her not being able to fulfil her roles? Lincoln, her moods, her going on tour, the absences and their effect, her sudden returns, the declarations, not following them through? Her being pained and Maisie’s rejection?

9. Maisie’s father, love for his daughter, but self-centred, his absences, in the court, issues of custody, marrying Margo, relying on her to take care of Maisie? Ignoring his responsibilities?

10. Margo, the initial situation, pleasant, with Maisie, loving and trusting? The separation? Her relationship with Belial, going with him, the new home, the new responsibilities, Belial over-relying on her, her having to cope? Her responsibilities for Maisie? Especially at school? Accommodation and her mother as unreliable? The meeting with Lincoln, at the school, the getting to know each other, sharing the responsibilities?

11. Lincoln, his role with the band, waiting in the bar? With Susanna, the relationship, the marriage, her tiring of him? His being with Maisie, picking her up, with Margo having to cope with the parents’ unreliability?

12. The house at the sea, Lincoln and Margo having to combine, the life with Maisie, gifts, toys, playing? Her happiness with them? Seeing them happily together and loving? The arrival of her mother, her plea, Maisie refusing?

13. Maisie’s future, relationship with her parents? The house by the sea? Her substitute parents?

14. Images of selfishness, self-centredness, the effect on a child?

THE SAVAGE GUNS

US/Spain, 1962, 83 minutes, Colour.
Richard Basehart, Don Taylor, Alex Nicholl, Paquito Rico, Fernando Rey, Jose Nieta.
Directed by Michael Carreras.

The Savage Guns is considered to be one of the earliest of the spaghetti westerns, produced by British film makers, directed by Michael Carreras, son of Jimmy Carreras, one of the major producers at the Hammer Studios. This was an attempt to branch out, using Spanish locations (Almeria, the site of the filming of How I One the War) and a Spanish cast.

However, there are three American stars who had worked with Carreras. Richard Basehart, a Hollywood star of the 1940s and 1950s, as well as appearing in La Strada, is the gunslinger. Don Taylor, actor turned director, who was to make his own spaghetti Western, Five Man Army, in 1969 and Alex Nicholl, usually a villain, also star. Veteran actor and star of many Bunuel films, Fernando Rey has a cameo role.

The film has many of the usual ingredients – the difference being that Don Taylor plays the Confederate soldier who has seen too much blood shed, as he explains in long speech, and has decided to never use his gun again.

1. An early spaghetti Western? The Spanish locations for the West? The desert, the towns, suggestions of Mexico and the Aztecs? Musical score and atmosphere?

2. The total, the literal savage guns, Michael and he is pacifism after the Civil War?

3. The basic plot, the greedy upstart, taking over the land from the owners, shooting the tenants, coveting other land? His henchmen and their brutality? The lone gunmen, arrival, helping the owner of the ranch, the fights with the second-in-charge, the final shootout? And the final subsequent confrontation with the henchmen, and the pacifist shooting?

4. The opening, the land, the family, the gang, shooting the landowner? Reporting to Ortega?

5. The background of his taking the land of Signor Fernan, Frechea going to see him, his promising to hold the meeting, his death?

6. Steve Fallon, in the desert, the collapse of his horse, the riders seeing him, Ortega ignoring him? His walking, arriving at the homestead, his gun, asking for food and water, Michael and his suspicions, fracture and her welcome, the young girl and the attraction? His staying, helping? In town, the confrontation with Danny, overcoming him, shaming him? The friendship with Michael, with Frechea? His staying for the shootout, Ortega wounding his hands? Reported dead? Ready for the final confrontation, ready to die, Michael saving his life and shooting Danny?

7. Danny, working for Ortega, his brutality? The fight with Steve, the humiliation? Thinking Steve was dead, confronting Ortega, wanting all his possessions, shooting him? Living in luxury, discovering Fallon was still alive, writing to the ranch, the confrontation with Fallon, Michael shooting him?

8. Ortega, the Baron, upstart, greed, living in luxury, wanting power, all the land, the shootings? Trying to buy the land from Michael? Sending Danny? Danny and his greed, shooting Ortega?

9. Michael, the Civil War, Confederate soldier, marrying Frechea, his ranch? Not wanting to take up a gun again? Frechea trying to persuade him? Suspicion of Fallon? Going into town, supplies, seeing Fallon defeat Danny? The buildup to the final fight after refusing to sell to Ortega? His taking up the gun, shooting Danny? Saying it was against his principles, that someone does something wrong and lives to regret it, throwing down his rifle?

10. The women in the West, Michael’s wife, her concern? Juana, in the house, attracted to Fallon, his being old enough to be her father?

11. Standard material which was to become core to the spaghetti westerns?

THE FIRST TRAVELLING SALESLADY

US, 1956, 93 minutes, Colour.
Ginger Rogers, Carol Channing, Barry Nelson, James Arness, David Brian, Clint Eastwood.
Directed by Arthur Lubin.

The First Travelling Saleslady is a very light and pleasant comedy. The stars are all older than they should be for this kind of story – Ginger Rogers being 45 at the time of making the film (and talking about having a family), Barry Nelson a star of the 1940s, David Brian a star of the 1940s and 50s, and James Arness about to make an impact on the small screen with Gunsmoke. Each of the three men is quite genial even when clashing with Rose, the saleslady.

There are two big surprises in the film. The first is the presence of Carol Channing who had only made one film, Paid in Full in 1950, and who was to have a career on stage rather than on screen, though getting Oscar-nominated for Thoroughly Modern Millie in 1967. She is very tall, resembling Gwyneth Paltrow considerably, a good comedienne, singing with both deep voice and in the voice that audiences remember. The second surprise is the presence of Clint Eastwood, in an awe-shucks kind of performance, aged 25. While had appeared in a number of films, he had made no particular mark, was soon to appear in Rawhide but his breakthrough in A Fistful of Dollars came eight years later – but, then, no looking back.

The film was directed by Arthur Lubin, director of six of the Francis films and other films with a light touch, like Lady Godiva of Coventry.

1. Pleasantly colourful story, the role of women in the US, in the West? 1897? Foreseeing the emancipist movement, feminism?

2. Colour photography, light and bright, New Jersey, the cities? The contrast with Texas, the desert, the towns? The musical score? Carol Channing and the song about corsets?

3. The title, the emphasis? The introduction about salesman? The challenge of the women?

4. Rose, her personality, her work with corsets, design, hopes of sales, the promotions, the song for the salesman – his interest but his reluctance because of the times? Her plans, her horse and cart, the crash with Charles, his horseless machine, giving her a lift? Her annoyance, the attraction? His continually turning up, his wisecracks, in the hotel, her ousting him from the room, his car, her using it, getting lifts, participation in the final cattle run, the happy ending – in the car?

5. Molly, Carol Channing and her screen presence, her vocal range, deep and her characteristic screech, the song? Her friendship, modelling, supporting Rose? The hotel, the encounter with John Rice, the attraction, his response to her, going to camp, the later encounters, present in the court, happily going off with him? (The surprise of seeing Clint Eastwood in this role?).

6. The salesman with the barbed wire, his being persuasive with Rose, her agreeing to sell barbed wire, the transport in the corset boxes? His love for her, arrival in Texas, the clash with Joel Kingdom, the proposal? Accepting his fate?

7. Texas, the hotel, being full, the suite for the Prince of Wales, Rose and Molly pretending to be working for him, going to the room with Joel Kingdom, the tall Texan, attracted to Rose, her guile, his giving up his room? The later presence of the real Prince of Wales?

8. Joel discovering the truth, his turning out the women, their finding a place to stay? Trying to sell the corsets, the Indian women not responding, the men wearing them…?

9. Going to Joel’s house, the party, his proposal? Consoling himself with the barbed wire salesman?

10. The court sequences, Rose arguing her case? The questions? The men not wanting barbed wire, assuming it would injure the cattle? Rose and her planning the meeting, going to meet the women, the men dominating them and their not coming? The women’s presence in court?

11. Putting up the barbed wire, running the cattle through the town, Charles and his horseless machine, urging them on, the cattle not being injured?

12. The success of barbed wire? The changing of the West and the control of cattle?

13. The comments about the suffragettes, women’s emancipation, in the hindsight of the 1950s?

JACK TAYLOR: THE MAGDALEN MARTYRS

Ireland, 2010, 100 minutes, Colour.
Iain Glen, Killian Scott, Frank O’ Sullivan, Nora- Jane Noone.
Directed by Stuart Orme.


Jack Taylor: the Guards is the first of a series of six telemovies focusing on the exploits of a member of the Garda, Jack Taylor. It was followed by Jack Taylor: The Pikemen.

The setting is the city of Galway, the photography giving audiences the atmosphere of the city, it streets, homes, police precincts, factories, as well as views of the water and Galway Bay. This is a great advantage for the authentic feel of the films.

The film shows the work of the Garda, the police work, diligent, with some corrupt officials. In the first film Taylor confronts a corrupt minister of the government and is dismissed from the Garda, although he keeps the overcoat against the wishes of the authorities – who finally allowed him to keep it at the end of The Pikemen.

In the first film, there are mysterious deaths of young women, their bodies found on the docks. A woman comes to ask Taylor to investigate her missing daughter. As it turns out, she is lying and is really trying to find an artist, a close friend of Taylor whose portrait he had painted, but he was involved in shady deals, especially in Kosovo where the woman worked. This leads to a businessman in the city and the number of deaths. In the final confrontation, the woman shoots the artist dead but the chief inspector pushes his body into the bay and everyone goes away with the case considered closed.

Taylor then goes to Dublin for a year but returns when he receives a letter from a close friend whose son has been murdered. The audience sees the killing, a group of masked men hounding the victim to his death. This opens up a group of vigilantes in the town, the chief forcing his young son to become a member of the group, the boy having been responsible for the disappearance of his sister sometime earlier. The pikemen choose targets who have exploited their victims. With the murder, things become more complicated, especially with Taylor’s arrival, and his being framed for the murder of a businessman. The addition to this film is the arrival of a young man, devoted to Taylor, wanting to be an investigator, much to Taylor’s initial annoyance, but finding that he saved his life.

There is a great deal of pathos in this story.

The third film in the series, The Magdalen Sisters martyrs, Maters Maters is much more personal than the previous two films. You chose Jack Taylor who is far more vulnerable than we had thought. When he becomes involved in tracking down a severe sister from the 1960s, nicknamed Lucifer by the women in the laundry is, he discovers his mother was also a Magdalen. he is given diary in order to track down the sister, and find his mother one of the key characters. When he goes to visit her, a woman he has always found very hard and not understanding of him and from whom he ran away, he finds her reluctant to talk, but ultimately giving her the name of the former nun. When she has/, his heart is touched, although he does have very bad memories when, as a little boy, he saw his mother turned away the writer of the diary when she came to call, not knowing her, his father sending the little Jack after the woman to give her some food.

The film goes over some material from such films as The Magdalen Sisters and the Irish television film, Sinners. Some of the film was reminiscent of the material in Philomena. unlike the other films, this one has many flashbacks for training the life of the girls in the laundry is, the severity of Lucifer, the scars, sometimes literal, that she imposed on the women.

While the rather flashbacks, the film has murders in the present, gradually revealed as vengeance by the Sun of the writer of the diary, ordering the murders of the nephews of the former nun, young men whom she idolises.

Nora- Jane Noone appears once again as Kate, helping Jack Taylor. Killian Scott is present once again as Cody, now firmly Taylor’s offsider.

The film is quite moving in its presentation of life in the Magdalen laundries, anger at the treatment of the girls.

The Jack Taylor films were directed by Stuart Orme, a veteran television director, Merlin, Inspector Lewis.


1. The impact of this third in the series? Investigation, murders, the added aspect of the 1960s and the flashbacks to the Magdalen laundries?

2. Audience consciousness about the Magdalen laundries, the abuses? The previous films dramatising life in the laundries?

3. The complexities of the plot, the murders in Galway, the funerals, the father as ex-Garda, the mystery of the nephews’ murders, initially thought of as mistaken identities? Professional murders? Jack and his concern, going to the wakes, sympathy for the father, the promised to help?

4. Jack being approached by the daughter of the Magdalen girl, Geraldine, having committed suicide, left her diary for a daughter? Jack and his reading of the diary, the flashbacks, the young women, their work, the nun called Lucifer, her taunting of the girls, the cigarette smoking and stubbing the cigarette on Mary’s neck, saying that she would live in the minds of the girls after they left? The power of these memories? Jack’s mother as part of the flashbacks?

5. Cassell and his cancer, in a wheelchair, his son, following Jack, the bashing, ultimate death? His wanting the diary? Taking Jack, the confrontation, praising his son, the gun and the Russian roulette, Jack giving up the diary, following the son, taking it from him, the son drawing the gun, his death, Jack running away? The same night as the murder of the second nephew?

6. Cody, always helping, going to the church archives, not being allowed in, infiltrating, the search, the Magdalen boxes and their being empty? The later explanation by the parish priest that they were not relevant, they were the past?

7. The role of the parish priest, his friendship with Jack, always smoking, Jack taunting him? The priest and his common sense? The explanation of the archives? Getting Jack to visit his mother, present during the discussions, his knowledge of the Magdalen laundries? His mother’s stroke?

8. Kate, the suspension for slapping Kavanagh, coming to an end, her being reinstated, Kavanagh supporting her? The drink together after her refusals? The confrontation with Jack and his insulting Kavanagh? Kate and the button from the coat, waiting 36 hours before doing her duty?

9. Jack, the effect of the diaries, talking with his mother, with her in hospital? His long explanation about his family, the influence of his father, kindly, the books? The mother, superiority, selling the books, destroying the bookcase? His leaving home? Her harshness? Even talking with him and suggesting he shave, reluctant about revealing the Magdalen experiences, the note with Lucifer’s name? The landlady giving it to Jack who missed it when his flat was searched and rubbished?

10. Meeting Geraldine’s daughter, going to Rita Munroe’s house, confronting her, her unhappy life, wishing she were dead, the revenge taken on her by the death of her nephews? Her dying on the same day as Cassell?

11. Jack visiting Cassell, the connection with Rita Munro, getting the professional from Dublin to do the hits? Expecting the third boy to be killed? Jack text in Cassell about his failure? His dying?

12. Jack, knocked down in the street, trying to phone Kate, helped by Cody, going into the house, the killer and his search, Jack and his shooting the killer?

13. The daughter, thinking her brother was innocent, Jack not telling her the truth?

14. The end, dating Jack and the bar, Kate singing, Cody with the fancy drinks, Jack disappearing?

JACK TAYLOR: THE PIKEMEN

Ireland, 2010, 100 minutes, Colour.
Iain Glen, Ralph Brown, Frank O’ Sullivan, Nora- Jane Noone.
Directed by Stuart Orme.

Jack Taylor: the Guards is the first of a series of six telemovies focusing on the exploits of a member of the Garda, Jack Taylor. It was followed by Jack Taylor: The Pikemen.

The setting is the city of Galway, the photography giving audiences the atmosphere of the city, it streets, homes, police precincts, factories, as well as views of the water and Galway Bay. This is a great advantage for the authentic feel of the films.

The film shows the work of the Garda, the police work, diligent, with some corrupt officials. In the first film Taylor confronts a corrupt minister of the government and is dismissed from the Garda, although he keeps the overcoat against the wishes of the authorities – who finally allowed him to keep it at the end of The Pikemen.

In the first film, there are mysterious deaths of young women, their bodies found on the docks. A woman comes to ask Taylor to investigate her missing daughter. As it turns out, she is lying and is really trying to find an artist, a close friend of Taylor whose portrait he had painted, but he was involved in shady deals, especially in Kosovo where the woman worked. This leads to a businessman in the city and the number of deaths. In the final confrontation, the woman shoots the artist dead but the chief inspector pushes his body into the bay and everyone goes away with the case considered closed.

Taylor then goes to Dublin for a year but returns when he receives a letter from a close friend whose son has been murdered. The audience sees the killing, a group of masked men hounding the victim to his death. This opens up a group of vigilantes in the town, the chief forcing his young son to become a member of the group, the boy having been responsible for the disappearance of his sister sometime earlier. The pikemen choose targets who have exploited their victims. With the murder, things become more complicated, especially with Taylor’s arrival, and his being framed for the murder of a businessman. The addition to this film is the arrival of a young man, devoted to Taylor, wanting to be an investigator, much to Taylor’s initial annoyance, but finding that he saved his life.

There is a great deal of pathos in this story.

The Jack Taylor films were directed by Stuart Orme, a veteran television director, Merlin, Inspector Lewis.


1. The second film in the Jack Taylor series? Presupposing the characters from the first, the tone, Galway and the city, the water?

2. The title, the visuals of the Pikemen, hounding O’ Shea to his death? Their meetings, the masks? Meeting the Castle? The coat of arms and the Pike? Their motivations, vigilantes, choosing targets who offended but not convicted, the drunk drivers, drug dealers? The targeting of O’Shea?, his being in the town when the leaders daughter disappeared, information about his being in Australia and Berlin with similar disappearances? Ambiguity as to whether he was guilty or, as his father said, a propensity for being in the wrong place? The scene with the drunken driver, running over his foot?

3. Taylor, as in the first film, a year away after the death of Sutton, his drinking and reading, the letter from Mr O’ Shea, his return, investigation? His meeting up with Kate, their bond of friendship? Cody listening in, Taylor sending him off? Cody coming with information, wanting to be an investigator, his admiration for Taylor? Research? Taylor visiting his home, the discussions with his mother, her explanation of his obsession, the printing of the card, Cody and Taylor?

4. Suspicions on the wealthy businessman, Taylor’s visit, discovering Ann with him, his disappointment, her explanation because Taylor had disappeared? The businessman and his reputation for violence, his attitude towards Ann? His anger with Taylor, sending him the fake text, the confrontation and the bashing? His later been found dead after Taylor had gatecrashed the party and threatened him?

5. Clancy, in charge, meeting Taylor again, warning him, the evidence against Taylor for the businessman’s death? The arrest? His being taken to court, his escape?

6. Taylor, contact with Kate, her obeying the rules because Taylor was a fugitive, trying to get help from Ann, her shutting the door? Going to Cody, his mother, staying? His return to boarding and the landlady keeping his room for him?

7. Cody and his researches, the various cases, grievances, pinpointing the leader of the Pikemen? Taylor ringing him? The attack, then taken to the Castle, inviting him to join them? His decision to do so? The plan for him to attack the drug dealer, taking the leader’s son?

8. The leader, the disappearance of his daughter, the vigilante idea? Not telling his wife? The flashback with Frankie and his staying with his friends, letting his sister walk home alone, her disappearance? His father blaming him, not talking to Frankie for years? Making Frankie join the group? Participate? With Taylor, with the drug dealer, the gun, the dealer’s fear, Taylor challenging Frankie, his not being able to go through with it? Taylor shooting the man’s earlobe?

9. Taylor contacting Frankie, the setup for the meeting, the police waiting? Taping the discussion? Frankie and his explanation of what happened, the role of his father, the Garda contact giving him information? The explanation of the death of O’ Shea?

10. The police chasing Taylor, the leader confronting him, finding him with his son, the reconciliation with his son and then stabbing him to death? Taking Taylor to the Castle? Threatening him?

11. Kate, with Cody, working out which Castle they were at, the emblem of the Pike? Coming just in time?

12. Taylor wanting to kill the leader, Cody and Kate restraining him? With Clancy, the mother reading Frank’s letter, Clancy giving it to Taylor, the explanation for Frankie’s behaviour, his father framing Taylor for the businessman’s death?

13. Kate, Cody and Taylor together – and the prospect of another case?

MACARONI/MACCHERONI

Italy, 1985, 104 minutes, Colour.
Jack Lemmon, Marcello Mastroianni.
Directed by Ettore Scola.

Macaroni is a pleasing star vehicle for Jack Lemmon and Marcello Mastroianni. It was co-written and directed by Ettore Scola (The Ball, Passion of Love, The Family) .

Photographed beautifully in Naples, the film shows an American returning after 40 years to the city where he served at the end of World War Two. He has forgotten the attachments he made at that time. However, the brother of his girlfriend has not forgotten and indeed has been writing letters as the American for 40 years. Their initial meeting is difficult, but gradually there is a transformation of the American. The film is one of nostalgia as well as hope. The two actors are very much at home in their roles. Lennon is the crusty American who is mellowing. Mastroianni steals the film as an engagingly optimistic brother and father.

1. Enjoyable? Blend of the serious and comic? Italian and American cultures? Age, memory, reconciliation?

2. The use of Naples, the photography of the city, its beauty? Musical score?

3. The stars, the place of this film in their careers? Embodying the American and the Italian? Together?

4. The focus of the film on a few days, special days, transformation after 40 years? A chance for new life? Death and life?

5. Jack Lemmon as Robert: arriving, crusty, changing his travelling plans, in the car, with the secretary, the arrangements, the hotel, his being tired, headaches, arrangements?

6. The contrast with Antonio and his arrival, bothering the hotel staff, meeting Robert, not being welcomed, the photo of Maria, his virtually being ousted, the effect on him? Robert having no memories?

7. Robert as the American in his 60s, the past 40 years, wife and family, divorce and bitterness, his work, expertise, people trying to undermine his position? His memory of despair during the '70s and '80s? Depression? His going to meetings, his speeches? The television interview?

8. Antonio and the 40 years: a genial man, eccentric, nice? His work in the archives and its cold? Smoke and his illness? The motivation for his visit, being ousted, hurt? His revelation of 40 years: love for Maria, on her behalf being hurt, the decision to write the letters, the passing of the years, the international adventures, his own marriage and warmth, his love for his son, interested in his career, the music? Writing plays, the performance? His love for Carmelina? Everybody knowing him, knowing the family's story?

9. Robert wandering the city, getting out of the taxi, remembering Maria? Relenting towards Antonio, wanting to return the photo, going to his office, talking, going to the town to see Antonio's grandnephew, meeting Maria and her husband, the warmth of the visit, understanding the past, the visit to the studio and seeing Culio sing, going to the theatre and seeing the performance, the visit to Antonio's mother and her telling his fortune? Hearing of the letters, his astonishment, reading them, his reaction? The re-bonding of the two?

10. His having to return, the phone call at the airport, keeping the plane waiting, leaving? Trying to find Antonio and Giulio? Giulio's predicament? Going to Carmelina, the steps in tracking down where Giulio was, the girlfriend, finding Giulio, the gangsters with Antonio and bashing him, the fight? the charm? (Like the hero of the letters?) Their being together, going to buy the sweet, finding Antonio dead, his pain and sorrow?

11. The meal with the whole family, the full plate and, his making a place for Antonio, the camera tracking on the faces of each of those present? Their relationship with Antonio? Friendship, giving, a future?

12. Portrait of the two men, their lives, regrets, generosity, meaning and opportunity?

MAIL ORDER BRIDE

US, 1964, 90 minutes, Colour.
Buddy Ebsen, Keir Dullea, Lois Nettleton, Warren Oates, Kathleen Freeman, Marie Windsor, Paul Fix.
Directed by Burt Kennedy.

Writer-director, especially with westerns, Burt Kennedy, came into his own in the 1960s with a range of westerns like Welcome to Hard Times, The Rounders, Dirty Dingus Magee. He also directed a number of dramas like The Money Trap.

This is a slight and generally cheerful western, with veteran actor, Buddy Ebsen, a long way from his zany song and dance routines from the musicals of the 1930s and even from his stint on The Beverley Hillbillies, coming into town to look for the son of his friend who owned a property outside the town. The young man, played by Keir Dullea in an early role, spends his time drinking, playing cards and womanising. He does not welcome the arrival of the old man.

However, his father had left the property to the old man to be handed on when he thought the son was responsible. This is rather hard task as the young man resists him. The good idea is that he should marry, settle down, take responsibility. So the old man travels, looking up a catalogue where women advertise as mail-order brides, testing some out including Kathleen Freeman and a sympathetic Marie Windsor. She recommends the maid, Lois Nettleton, who has a son, and they go back from Kansas City to Montana.

Despite some resistance, the young man does fall in love with his bride, takes some responsibility for her son. But he still gets irritated with the old man and listens to his friends, including Warren Oates in an early role in urging him back to gambling and drinking, while the girl at the bar urges him to be devoted to his wife, and the young men plan to steal the cattle. When they burn the house that he had newly built, his change of heart becomes evident and they confront the friends and get back the cattle.

The film looks very good, has an interesting cast, and is a modest entertainment.

1. The title, expectations? Fulfilled?

2. The Montana settings, the town, the plains, the mountains, the river? An authentic feel? Musical score?

3. The work of the writer director, his eye for the West, characters, situations, troubles, peace?

4. Buddy Ebsen as Mr Lane, the old veteran coming into town, the encounter with Lee at the river and his disregard for advice? Meeting up with the sheriff again, their discussions, the sheriff’s warning? His mission, the document from his friend, ownership of the property, handing it over when the son was responsible? Encountering the son in the saloon, the cards, the drinking, the women, his friends? His taking Lee back to the property? The meals, the cooking, the work, the horses, cattle? Lee and his resentment?

5. The hard work, seemingly impossible for the change in Lee? His friends, the meetings, their advice, leading him astray?

6. The mail order book, Mr Lane travelling, Kansas City, the different women he interviewed, the madam in Kansas City, too old, sympathetic? Suggesting Annie, her going to Montana?

7. The arrival, Lee late for the train, meeting Annie, surprised at the boy? The hurried marriage, going to the river, the Reverend baptising, the text of the wedding, both consenting?

8. The building of the house, Lee and Matt and the horses, the beginning of bonding? Lee talking with Annie, the pledge? Knowing that she might go, letting her feel free? Her listening to him writing the letter to her?

9. Lee rebelling, going into town, the plan for the cattle, his talk with the woman in the saloon, the past relationship, a sense of decency, urging him to love his wife, giving him the gift?

10. The burning down of the new house, Matt and the rescue, Lee teeming with Mister Lane, going through the fog to the railroad, the cattle, the confrontation with Jase, pulling the gun, his death?

11. The happy ending, Lee and Danny, the boy, starting to build again?

12. Mr Lane achieving his mission, moving on, talk with Annie, her invitation to stay? His smile, and the return to the woman in Kansas City?

THE RETURN OF JAFAR.

US, 1994, 80 minutes, Colour.
Voices of: Scott Weininger, Linda Larkon, Dan Castellanata, Jim Cummings, Jason Alexander, Gilbert Gottfried, Jonathan Freeman.
Directed by Toby Shelton, Tad Stones, Alan Zaslove.

The return Return of Jafar follows on the success of Disney’s Aladdin, one of the top box office films of 1993, entertaining family audiences all over the world with its story of the street urchin, Aladdin, his love for the Princess Jasmine, his confrontation with the villain, Jafar, and his encounters with the zany genie, voiced by Robin Williams.

This time the film is designed for video and home audiences, taking up the story of Aladdin again and seeing his exploits confronting Jafar. Princess Jasmine and her father are part of the plot again. The film opening with young Iago, the bird who sided with Jafar, and then with Aladdin. He is voiced by Gilbert Gottfried in a rather screeching manner, humorous for the young audience, irritating for the old audience.

After 10 minutes, the genie reappears, with all the favourite images from the first film, a whole lot of shape-shifting, different voices, doing magic, saving the day. However, he is not voiced by Robin Williams but by Dan Castellanata. (Robin Williams was to return for the next sequel, Aladdin and the King of Thieves, 1996.)

Jafar is released from his lamp, looking like a monstrous red genie, but then changing into his sinister adviser form. The plot is mainly confrontations, Aladdin versus Jafar, the interference of Iago, the presence of the pet monkey. There are also a whole number of thieves with jewels and robberies, the monkey coveting one of the jewels given as a gift to Princess Jasmine.

When Jafar captures Jasmine and her father and imprisons them, also taking Aladdin, Iago has a crisis of conscience but opts for the side of good.

The plot is slight but capitalises on audience familiarity with the original characters and their pleasure in the first film which is revitalised with this sequel.

JACK TAYLOR: THE GUARDS

Ireland, 2010, 100 minutes, Colour.
Iain Glen, Ralph Brown, Frank O’ Sullivan, Nora- Jane Noone.
Directed by Stuart Orme.

Jack Taylor: the Guards is the first of a series of six telemovies focusing on the exploits of a member of the Garda, Jack Taylor. It was followed by Jack Taylor: The Pikemen.

The setting is the city of Galway, the photography giving audiences the atmosphere of the city, it streets, homes, police precincts, factories, as well as views of the water and Galway Bay. This is a great advantage for the authentic feel of the films.

The film shows the work of the Garda, the police work, diligent, with some corrupt officials. In the first film Taylor confronts a corrupt minister of the government and is dismissed from the Garda, although he keeps the overcoat against the wishes of the authorities – who finally allowed him to keep it at the end of The Pikemen.

In the first film, there are mysterious deaths of young women, their bodies found on the docks. A woman comes to ask Taylor to investigate her missing daughter. As it turns out, she is lying and is really trying to find an artist, a close friend of Taylor whose portrait he had painted, but he was involved in shady deals, especially in Kosovo where the woman worked. This leads to a businessman in the city and the number of deaths. In the final confrontation, the woman shoots the artist dead but the chief inspector pushes his body into the bay and everyone goes away with the case considered closed.

Taylor then goes to Dublin for a year but returns when he receives a letter from a close friend whose son has been murdered. The audience sees the killing, a group of masked men hounding the victim to his death. This opens up a group of vigilantes in the town, the chief forcing his young son to become a member of the group, the boy having been responsible for the disappearance of his sister sometime earlier. The pikemen choose targets who have exploited their victims. With the murder, things become more complicated, especially with Taylor’s arrival, and his being framed for the murder of a businessman. The addition to this film is the arrival of a young man, devoted to Taylor, wanting to be an investigator, much to Taylor’s initial annoyance, but finding that he saved his life.

There is a great deal of pathos in this story.

The Jack Taylor films were directed by Stewart Orme, a veteran television director, Merlin, Inspector Lewis.

1. The beginning of the series? The introduction to Taylor, his age, experience, his drinking? His skill as a policeman? With Clancy, accosting the Minister, punching him, losing his job? His becoming a finder? His lonely life, his friendship with Kate and her joining the Garda? Her helping him with the case? His drinking? His boarding and the friendly landlady? Affirming him?

2. The Galway locations, the impressions of the city, impressions of the water, the Bay? Musical score?

3. Ann, tracking him down, her request, the photo of her daughter? The connection with his friend, Sutton? Sutton appearing and disappearing over the years? Sutton in Kosovo? His painting of Taylor, its being in the window, the opening of the exhibition and the guests? Taylor’s mixed relationship with Sutton?

4. The bartender, friendship with Taylor, Taylor calling him his confessor, Sutton running him down in case the bartender had revealed what Sutton had told him when drunk? The impact on Taylor?

5. Sutton, the wealthy businessman, his supporting the painter, the exhibition?

6. The link with Ford, his factory, Taylor breaking in, finding the DVDs, the revelation that Ford was finding girls for the businessman? Their deaths? Ford and his death? Sutton pursuing him – and claiming that the death was an accident?

7. Ann, the truth, not looking for her daughter, looking for Sutton, to confront him about his behaviour with a group of children in Kosovo, their safekeeping, their being killed? Or, their being sold to couples in America?

8. Clancy and his suspicions, criticisms of Taylor, wanting the coat?

9. The build-up to the confrontation, Sutton on his boat, his taking Ann, Taylor confronting him, the gun, Ann shooting Sutton?

10. Clancy’s decision to roll the body into the water, to let Ann and Taylor go?