DEATH OF A SCOUNDREL

US, 1956, 116 minutes, Black and white.
George Sanders, Yvonne De Carlo, Victor Jory, Nancy Gates, Colleen Gray, Zsa Zsa Gabor, John Hoyt, Tom Conway.
Directed by Charles Martin.

Death of a Scoundrel is an interesting moralising drama of the 1950s. It could be seen as a 1950s equivalent of The Wolf of Wall Street, much, much more restrained in its presentation of the capitalistic dream, the consequences of wealth, sexual liaisons and exploitation.

George Sanders portrays Clemente Sabourin, from Czechoslovakia, educated at Oxford, the dapper English gentleman in style. It strains some credibility to hear that he spent years in a concentration camp, not looking any the worse for wear, visiting his brother who is married his sweetheart and runs an antique shop. In, he reports his brother to the police who is arrested and killed. Sabourin gets a passport for the United States, meeting a businessman on the boat, Victor Jory, whom he later swindles. He has the American capitalist dream, not particularly concerned about honesty.

He succeeds almost immediately, an encounter with a prostitute, played by Yvonne de Carlo, shot by her boyfriend and going to the doctor and discovering penicillin, immediately exploiting it on the stock exchange, helping a visitor to the exchange, played by Zsa Zsa Gabor, who for some time was George Sander’s wife. Sabourin buys mansion, continues takeovers, lives the high life until his swindles catch up with him.

Sabourin becomes repentant at the end, persuaded to give all his money back to those he had cheated. Unfortunately, George Sanders is far more persuasive in his suave dishonesty that in the scenes of his change of heart.

George Sanders’ brother, Tom Conway, appears as his brother in this film. They had both appeared as The Falcon and coincided in one of the films, The Falcon’s Brother.

While quiet in turn compared with later films, it is nevertheless an interesting film to watch.

1. A film of the 1950s? The aftermath of World War II? In Europe? In America? American dreams? Capitalistic dreams?

2. The film seen in retrospect, the 21st century perspective on finance and Exposés, financial crises, in America, worldwide?

3. Locations, dark Europe during the war, the contrast with New York, the views, the slums and the affluent world, offices, the high life, mentioned in restaurants? The musical score?

4. The title, Sabourin as a scoundrel? The tone of his name?

5. The prologue: Kelly arriving, the mansion, Sabourin dead, photographing the angle of his body? The butler? The police arriving? Sabourin’s mother and her saying she knew nothing? The occasion of the flashbacks?

6. Sabourin’s story, his cheque background, studying in Oxford, his impeccable British manner? In the concentration camp? Visiting his brother, wanting to marry Zena, her thinking he was dead, marrying his brother? The spending of the money for the goods in the shop? Not able to sell them? Sabourin and his betrayal, going to the police, the interrogation, reporting his brother, getting the passport? News of his death? How much real effect did this have?

7. On the boat, the encounter with Wilson, sharing ideas, talking about dreams, honesty, making money? His card? Landing, Wilson losing his wallet, Kelly taking it, Sabourin joining her at the bar, the police and the interrogation? Kelly’s boyfriend and his watching? The apartment, the conversation, Kelly changing her dress, Sabourin taking the wallet, the boyfriend following, shooting him, going to the doctor and the removal of the bullet?

8. The talk about penicillin, the tip for finance, the phone call to O’ Hara, visiting him, cashing the cheque, buying the shares, their rapid rise during the day? Meeting Mrs Ryan, talking with her, persuading her to invest? Her making money? Her cheque? His demand on our Hara to retrieve the cheque, the difficulties, O’Hara? and the deal, partnership?

9. Kelly, her arrival, getting the job, accompanying Sabourin to Canada, his giving the information to the press about Wilson and the oil, threatening him and Wilson’s reaction, buying him out, lying about oil, then the truth? Mrs Ryan, making the money, arranging the party, his disdain, changing his mind? Inviting her secretary to go? Meeting the wealthy man from Chicago, his wife, the dates for the meal, Kelly and the husband?

10. The secretary, her dreams, her working for Mrs Ryan, wanting to be an actress, Sabourin investing $75,000 in the play, the director, going to the first night, the text paralleling his own behaviour, the repetition in the apartment, the girl and her disdain, his getting revenge, getting her ousted from the play, her coming to visit him, thanking him, his change of heart and relenting?

11. Making so much money, buying the mansion, society coming to him, the parties? The years passing? Kelly working for him?

12. The effect of the play, Kelly’s remarks, the girl walking out of the supper? Kelly and her declaration of love?

13. Going to Chicago, the planning of the takeover, the phone call to the wife, the liaison with her?

14. Sabourin and his making money, exploiting people, people trusting him in investing? The sexual liaisons – and the suggestion, action offscreen?

15. His mother, not loving her, realising how he could use, bringing her to America, installing and the house, his request that she say he was illegitimate, a Swiss father, enabling him to take refuge in Switzerland and keep his wealth? Her disdain?

16. Kelly, challenging him, signing the documents to give money back?

17. O ’Hara, his arrival, the fight, his resentment about the money, the shooting? Sabourin coming home to die? Asking his mother to forgive him, and her not doing this?

18. A moralising film, 1950s style?

WHITE HOUSE DOWN

US, 2013, 132 minutes, Colour.
Channing Tatum, Jamie Foxx, James Woods, Maggie Gyllenhaal, Joey King, Jason Clarke, Richard Jenkins.
Directed by Roland Emmerich.

Over the history of the cinema, there is the frequent phenomenon that makers will produce two films at the same time on the same theme. 2013 sees two films with attacks on the American government and on Washington, DC. The first was Olympus Has Fallen where there is an attack by north Koreans on the White House, the heroics of a single action man, played by Gerard Butler, and the nuclear threats and the dangers to the president, played by Aaron Eckhart, along with character actors like Morgan Freeman and Melissa Leo as advisers.

This time the attack is from hawkish government authorities’ as well as disillusioned veterans. But, once again, the president is under threat, there is a single hero along with his lively daughter, and nuclear threats. Jamie Foxx is the president, with obvious references to president Obama. And the heroics are from Channing Tatum who was on a tour of the White House when the attack began with his young daughter, Joey King.

White House Down was directed by Roland Emmerich. He had destroyed the White House in Independence Day, 1996, and there is an enjoyable screenplay reference to this film. He also directed the end-of-the-world film, 2012. Along with Godzilla and The Day After Tomorrow, he has done a fair amount of disaster and destructive work on screen.

This screenplay takes American situations, government, peace attempts in the Middle East, arms sales to various countries of the Middle East, the possibility of withdrawing troops, and hawkish aims to retain military presence to defend American interests by staying in the Middle East. (This review written as decisions are to be made on strikes on Syria.) There is quite an amount of discussion on these issues. However, once the action starts, and the heroics accelerate, there are some rah-rah patriotic statements as well as some sentiment which is very American but may seem overblown to audiences outside the U.S..

The screenplay also makes good use of the clues that it offers early in the film including a painting of the burning of the White House in 1812, the little girl having photo capacities on her phone and being able to send them out, the indication early in the film of who the villain would be - but, still allowing for a twist at the end.

Channing Tatum seems very much at home in his role, a man not quite clever enough to be employed by the secret service, marrying too young and his marriage falling apart, yet devoted to his daughter and wanting to bond with her. Because he has served in Afghanistan and was in a security guard company, once the action starts, we’re not surprised at his heroics. Jamie Foxx is quite credible as the president. James Woods gets more than enough opportunity to chew the scenery in his familiar manner. Maggie Gyllenhaal is the security adviser. Richard Jenkins is the speaker of the house. Australian Jason Clarke is the vicious attack leader. And, once again, a lot of the action devolves on the young Joey King who acquits herself with some panache.

This is obviously a genre film, with its own conventions of dangers and heroics, betrayals and crises. It has to be judged on these criteria rather than assuming it is a highly serious-minded drama. The audience is invited to the joining in the puzzle about the situation, but they have the advantage of inside knowledge rather than the crowds who are seen milling outside the White House and the capital

This is a cheer the hero, hiss the villains kind of film. One of the intriguing aspects of both Olympus Has Fallen and White House Down is the presence of high technology as well as more ordinary, in-the-hand technology. There is computer hacking, getting access to Norad and the nuclear missiles and stopping government intervention as well as mobile phones, phone cameras, speakers, television coverage, often in close-up.

For audiences who enjoy this kind of action, drama and melodrama, allowing for some of the serious dialogue which could elicit giggles, while relishing the irony and humour of some of the rest of the dialogue, is an enjoyable action show.

1. Of Washington disaster film? The White House, the Capital and government? The context of the post 9/11 period? Terrorism? The attitudes of Hawkes and Doves in the government and administration? The director, his disaster films, aliens destroying Washington in Independence Day?

2. The Washington settings, the Capital and its interiors? The White House, interiors, the rooms, the basement, residence rooms, the elevators, the tunnels? The lawns and the exteriors, the gates and fences? The ordinary streets? The flight path through the buildings? The Washington monuments? The musical score?

3. The opening, Speaker, his security guard, living in the suburbs, his car to work? In the White House, the role of the VP? The president and his advisers, in the plane, his swoop? The various aides, Martin, at home, the farewell to his wife, his love for her, in the White House, the meetings, the day’s plans, Carol and her return and sending her away, the farewell cake and the celebration? The characters and the security personnel? Their tasks?

4. John, in the Speaker’s detail, his past history, the tours in Afghanistan, his wife, going to see his daughter, missing her performance, her not talking, the drive, the tickets to the White House and her mellowing? Going into the White House? His interview with Carol, the memories of the past, his studies, considered unreliable? His daughter, her blog, the president and her interview? Preparing for the later action? On the tour of the White House, Emma’s answering all the questions?

5. The terrorist team, John noticing them, the trolley with the explosives, the explosion itself and reactions? The Capitol exploding? The visuals?

6. The Security Centre, the commander and his hard line, antagonism towards Carol? The various contacts? The VP and his flight? The Speaker at the centre? The president and his being confined? The information, the equipment, the technology, grounds for making decisions? Communications to various parts of the White House and to the plane?

7. The terrorist group, the leader, his background, the various henchmen? The tour, Emma going to the toilet, John searching for her, Donny and his taking charge, the confrontation about the valuable paintings etc? The importance of the phone? Emma taking pictures of the group, sending them out, the media getting hold of them, the authorities? John and his running into the President, the terrorists in their search for them?

8. The drama of the pursuit, inside the house, in the elevator, above the elevator, dangers, the various rooms, the residence in the kitchen, the basement? Guns? The two eluding the pursuers? Going to the tunnels, their being blocked, contact with Carol, getting the codes? Through the tunnels and getting the car, the drive, the dramatics of the chase on the lawn, the tank attacking, the crash, the car going into the pool? The planes coming, the helicopters, the missiles?

9. Tyler, his role in the scheme, his abilities, downloading the codes, his vanity? Unlocking all the security systems for missiles and submarines?

10. Martin, in the office, his change, his attack on the President, his killing his detail and saying this was regrettable? His wife and the farewell, his motivation, his son and his death, his hawkish attitudes and lack of respect for the President’s negotiations? The plan, the money? The henchmen thinking it was about the money and the consequent reactions? The communications, the downloading, the targets in Iran and the motivations, the split-second timing and his not confirming the targeting of Iran? His not wanting the president killed? His anger? His ill-health? His wife coming to negotiate and vigorously supporting him? His telling Carol that he had sent her out of the building? The buildup to the climax, in the residence, guns and knives, wounding the President? His being prevented to fulfil his plan? His death?

11. The issue of the contacts, the film identifying the characters, the research, their grievances, then backgrounds? The leadership? The angers? Martin and the contacts?

12. The President, the issues in the Middle East, his wanting negotiations by phone, the Hawks in his government, the arms industry wanting wars to continue?

13. The VP, taking off, his staff, John contacting the girl who got the tickets, the swearing in of the VP? The attack on the plane and destruction?

14. The Speaker, being sworn in, not wanting to be President, his looking at the information, his authorising the attack on the White House?

15. Emma, with the group, the leader targeting her, being in the kitchen, the threats, the gun to her head?

16. John, saving the President, trying to stop the weapons against the planes and helicopters? The flights, the timing, going through the Washington streets, the crashes?

17. The media, the information coming instantly, Emma’s films, the speculations about what was happening? The journalists outside? The crowds outside the White House?

18. The various missile locations, submarines, the codes out of control?

19. John, eight minutes to the bombing, wanting to rescue his daughter, save the President, getting into the building, the picture of the burning of the White House in 1812, his setting fire to the upper stories, coming down, the confrontation with Martin, the fight with the leader, his death? The death of the
henchmen?

20. The confrontation, getting Emma out, the president wounded, getting him to safety?

21. Emma going into the lawn with the flag, waiting, the television footage, the pilots turning back, the White House saved? And Donny talking about the rebuilding?

22. Emma’s mother, present, dismay? Pride in her daughter?

23. The irony of the film not over, the issue of the codes, the research, checking phones, ringing the Speaker’s phone, its ringing, his ambitions, the setup, with Martin? His arrest?

24. The heroics, over-heroics, the ironies, the seriousness?

ONCE MY MOTHER

Australia, 2013, 96 minutes, Colour.
Directed by Sophia Turkewicz.

Once My Mother is a very moving documentary, a story of a daughter discovering the truth about her mother, a mother whom she had resented for a long part of her life.

Sophia Turkewicz made a name for herself as a film director in the 1970s and 1980s, especially with the perceptive film about Polish migrants to Australia, Silver City, which drew on her own experience and that of her mother. With this documentary, she makes a journey back into her past, back into the life of Helen, her mother, revealing quite an extraordinary story of a young Polish woman at the time of World War II.

The film opens with Sophia’s mother unable to care for herself and residing in a home for the elderly, with touches of dementia coming on. Sophia engages in conversation with her mother and takes her back into the past. What follows reveals, especially in her early years, hardships in life: work on a farm with relatives in Poland, leaving the farm at an early age and moving to the precarious existence in the city, being taken and transferred to a gulag, released after the war, going to the United Kingdom where she had choices as to where she might go. She chose to go to what is now Zambia, living in a tent camp for refugees, finally deciding to move to Australia, to Adelaide, where she had to work hard for a living, place her daughter to board in an orphanage (one of the main causes of the daughter-mother resentment), finally marrying and settling and living a long life.

It was in Lusaka that she met an Italian man, became pregnant, gave birth to Sophia, but the man was repatriated to Italy.

In 1977, Sophia began a film story about her mother, and Once My Mother uses footage of that period, a younger, vigorous Helen, talking to camera, gradually revealing aspects of her story, her experiences in the camp in Africa, the hard work in Adelaide and her regrets about her daughter boarding, her settling down.

But it was literally following in her mother’s footsteps that brought home to Sophia the difficult life that her mother had experienced. Sophia visits the farm in Poland, meet friends and hears about conditions at the time. An African visit. And, finally going to Italy, meeting her father who did not know about her, meeting his longtime wife and their children, her siblings, and experience of joy.

While the film is a memoir, a tribute to the difficult life of her mother, it is also a healing of memories for Sophia herself. The audience is invited in to share this life, learn something of a life that is so different from theirs, experience the regrets and resentments, experience the healing and reconciliation.

Audience will appreciate this story and its powerful and emotional feminine perspective.

1. A moving document? A moving story? A family narrative?

2. The director and her work, in film production, film direction? The story of herself, her mother, her mother’s past in Poland, the transfer to Africa, to Australia? An illegitimate daughter? Growing up, the camp, the orphanage, her mother’s visits, the resentments, her mother’s marriage and home, stepfather, her work and career, relationships, her children?

3. The attitude towards her mother, the title and tone? Sophia as young, feeling neglected, her angers, the years passing, the 1970s and her making a film about her mother, and filming her mother, talking with her, listening to the revelations? The audience seeing the clips? Her mother ageing, in the residence for the elderly, the visits, Sophia looking after her, the touch of senility? The importance of the visit to Poland, to Italy and finding her father and his family and some siblings? Pondering the differences – and what might have been?

4. Discovering the story of her mother, as a young girl, the farm, the family and leaving, at work in the city, and 15, picked up and sent to the gulag, the experiences there, the end of the war, sent to England, the decision to go to Africa, in Lusaka and the camp, her happiness there, the relationship with Sophie’s father, not able to acknowledge it, is returned to Italy and the lack of contact? The decision to go to Australia, finding a home, settling, the difficulties, hard work and placing Sophia in the orphanage, the visits? Her marriage, a settled life, her husband, family meals and glimpses, her ageing, her death?

5. The voice-over and the personal tone by the director?

6. The visuals, retracing her mother’s life, the visit to Poland, the visuals of the gulag, going to Africa, the visuals of the camp? The Italian images?

7. The audience and learning from this family narrative? The need for healing, the need for stories, the emergence of the truth, the relief of resentments, listening and speaking? the final healing?

8. The visuals of Sophia’s mother? The photos, the film, her ageing?

9. The visuals of Sophia, as young, with her mother, the orphanage, her career, the films, Silver City and the parallels with her mother’s life, Poland and Italy?

10. Audiences identifying with family quests and stories? Discoveries and healing?

HOW TO TRAIN YOUR DRAGON 2

US, 2014, 102 minutes, Colour.
Voices of: Jay Baruchel, Gerard Butler, Cate Blanchette, America Ferrara, Djimon Hounsou, Jonah Hill, Craig Ferguson, Kristin Wiig, Christopher Mintz- Plasse.

Directed by Dean De Blois.

How to Training your Dragon was a very entertaining animated film of 2010. It had colour, it had verve, it had interesting characters and plenty of action, Dragon flights included. It was set in the Viking island of Berk, ruled by Stoick the Vast, voiced by Gerard Butler, and focused on his young, less than bulky, less than Vast, son, Hiccup, voiced by Jay Baruchel. It is time for an entertaining sequel.

There was a lightness in humour about the first film, retained for the second, but in the context which is somewhat darker, somewhat grimmer.

Stoick is still there, wanting his son to take over as Chief, but Hiccup is reluctant, comparing himself to his father and finding himself wanting. Nevertheless, he and his faithful dragon, Toothless, so prominent in the first film, take joy flights and hang-gliding escapades, discovering a far country of rock and glacial ice. They also discover Dragon Hunters who have to deliver to an overall ruler, Drago, voiced by Djimon Hounsou. Stoick tells Hiccup the story of Drago and his attempts at Viking dominance. Clearly, battlelines will be drawn, especially when it is discovered the Drago has a whole host of captive dragons.

But the big surprise is that Hiccup discovers his mother, Valka, voiced by Cate Blanchett. She has been missing for over 20 years, thought dead – and her return brings great joy, and happy reminiscences, for Stoick, and a whole new dimension of family for Hiccup.

Hiccup has a plan to defeat Drago but believes in peaceful negotiations rather than battles. Perhaps it is inevitable that battles ensue in a confrontation with Drago with some heroism for both Hiccup and Toothless (who has been captured, used by Drago, with Hiccup having to do some kind of psychological hypnotic therapy to return Toothless’s consciousness to normal).

The film opens with the young people of Berk involved in rather Quidditch-type dragon races through the air – and finishes with them after the adventure.

Lots of interesting characters, especially Hiccup’s girlfriend, Astrid, voiced by America Ferrara, and the various friends who sound like Jonah Hill, Christopher Mintz-Plasse?, Kristin Wiig.

No objections to further Berk adventures and more dragon-training!

1. The appeal of the first film? A continuation of the story? Satisfying sequel? Place, characters, Dragons, action, comedy?

2. The visuals, the layouts, the delineation of characters, costumes, the Dragons? Action sequences? The musical score?

3. The initial race, the visuals, the action, its verve, the Dragons, the Vikings racing them, catching the sheep? Introduction to the characters again? Stoick and his kingdom, is advises, the children? The background of the Vikings, the culture, the Dragons?

4. Hiccup and Astrid, the past, their friendship, her strength of mind, Hiccup listening to her, each with their dragon? The ride, finding new lands, the peaks and the ice? Compiling the map?

5. Hiccup, his bond with Toothless, their raids, the freefall, gliding through the air and exhilaration?

6. Meeting the Dragon Hunters, their nets shot into the year? Toothless, being caught, the head of the Hunters, the confrontation, the story, the expectations from Drago, Dragons to be delivered the next day? Hiccup and toothless, Toothless’ escape?

7. Hiccup trying to tell his father about the Dragon Hunters, his father wanting him to consent to be the Chief? Stoick and the people coming with their petitions? Stoick and his story about Drago, his visit in the past, sinister, his threats?

8. Hiccup and his quest, meeting his mother, the revelation, the absence of 20 years, the reasons? The bond and love? Her helping him? Encouragement? Her return, talking with Stoick, the memories, the dance and the song, the tenderness?

9. Hiccup and his peace quest, planning to be captured, unarmed, with Astrid, the young Vikings arriving and spoiling the plan?

10. Stoick, his forces, the battles, the confrontation with Drago, Hiccup’s mother, the Dragons being taken? The cave with all the new Dragons? Alpha and his standing guard?

11. Stoick’s death, the solemnity of the Viking funeral?

12. Seeming defeat, Hiccup and Astrid, finding the baby Dragons and the group riding them?

13. The siege, Alpha, destruction of Offer, Drago and his confidence, the attacks, the manoeuvres? Drago with Toothless, Hiccup and his focusing on Toothless’s consciousness? Together, the ice, the flights, the Dragons falling on people, the heat?

14. Hiccup becoming Chief, saying that he was not to be his father, in his own right, support of his mother, support of Astrid, his friends, the adviser? The conversion of the dragon hunter and his support?

15. The races resuming, and the explanation of Berk as a very happy Viking kingdom?

THE KILLER IS LOOSE

US, 1956, 73 minutes, black-and-white.
Wendell Corey, Joseph Cotton, Rhonda Fleming, Michael Pate, John Larch.
Directed by Budd Boetticher.

The Killer is Loose is an effective crime, police thriller from the mid-1950s, a small-budget feature, with reliable actors rather than stars and directed by Budd Boetticher who made a lot of films during the 1950s, about bullfighting like The Magnificent Matador and The Bullfighter and the Lady, and, especially, a half dozen westerns with Randolph Scott.

The film opens with a bank robbery, meek teller intervening – but soon revealed as the inside man on the job. When the police go to his house and are assured his wife is not home, they shoot and kill the wife. After the court case, the teller threatens to kill the police officer’s wife. He goes to prison, escapes from the low-security farm and makes his way back to the city, first visiting the home of his officer during the war in the Pacific who tended, good-humouredly, to tease him, and was visiting him at the bank when the robbery occurred. He kills him, terrorises his wife and then goes in pursuit of the policeman’s wife.

The film is a tour-de-force for Wendell Corey, one of his best performances, usually a soldier or a policeman or a serious character. Here he is quite repressed, silent and meek, with anger inside. Bespectacled and seemingly unthreatening, he is all the more sinister because of his quiet behaviour and his ruthlessness in his killing. Commentators note that he borrows a wife’s coat and scarf to disguise himself as he pursues his target, perhaps some premonitions of Psycho.

Joseph Cotton is the policeman, Rhonda Fleming his wife and Michael Pate appears as one of the police.

1. An effective crime thriller? Of the 1950s? Small-budget? Modest cast?

2. Black-and-white photography, city locations, homes, courts, the farm, the roads? The musical score?

3. The work of the director, tight and small-budget films, westerns and dramas?

4. The situation of the bank, Leon and his being quiet, gentle with the customers, the assistant warning him about the robbery going on, the thieves, the manager, Leon’s intervening, his being bashed? The police suspecting him, going to his house, his refusing to come out, the landlord saying the wife was not home, the police shooting through the door, killing the wife?

5. The court case, his being found guilty, the sentences? Going to prison, his model behaviour, the authorities agreeable, his going to the low-security farm? Working there? Trusted? His being given the job for special carrying? In the truck, his finding the edge of the hoe, attacking the driver, pushing him out, taking the truck?

6. His going to his superior’s house, terrorising the wife, wanting something to eat, quietly spoken, the television? Husband coming home, assessing the situation, trying to talk Leon down, his being shot? Leon taking the coat and scarf?

7. Waking Sam, the news about the escape, his going to work, his discussions with Lila, and her not wanting him to go? The guards? His taking her to the friend’s home, thinking she was going to the beach? At home, the boy watching the television, the sympathetic wife, her eventually telling Lila off, telling her the truth?

8. Lila leaving, the rain, the taxi, taking the bus, walking home? The police and their watching, using the walkie-talkies for information? Building tension? Decisions? Leon and his disguise, hiding, following Lila, and noticing, her walking past the house and confusing him, her running back, the police shooting, his death?

9. Lila, the policeman’s wife, the risks, her husband trying to save her, her not realising it, the other wife telling her off? The happy ending and reunion?

THE SUM OF US

Australia, 1994, 97 minutes, Colour.
Jack Thompson, Russell Crowe, John Polson, Deborah Kennedy.
Directed by Kevin Dowling and Geoff Burton.

The Sum of Us was well received when first released in 1994. It also proved popular with the public. In some ways it was forward for its time, presenting a young gay man sympathetically, an ordinary plumber, not camp in his style, wanting some kind of relationship and sexual fulfilment. He was played by Russell Crowe before he went to Hollywood, after his success in such films as Proof and Romper Stomper. He then went to Hollywood to make The Quick and the Dead with Sharon Stone, Gene Hackman and Leonardo Di Caprio. Six years later he had won an Oscar for Gladiator.

The film is based on a play by David Stevens, Palestinian born, went to England and then to Australia for several years where he wrote directed and directed Undercover, The Clinic, as well as Kansas in the United States.

Jack Thompson portrays the father, a very sympathetic man who knows all about his son and understands him, interfering with good-natured energy in his relationships and behaviour at home. It is one of Jack Thompson’s most genial performances. The film uses the device of having the two central characters turn to the audience and look to camera and speak to the audience, inviting them into their lives – even when the father has had a stroke.

The film also raises lesbian issues with the grandmother in a 40 year relationship with her friend, their being separated that the end and moved into homes where they die. The scenes of the grandmother are filmed in black and white and offer a great deal of pathos, as well as a lot of reflection by Harry, Jack Thompson, about his mother and her relationship.

John Polson, who instituted Tropfest in Australia and then went to the United States where he directed a number of films including Fan, Hide and Seek, and directed Russell Crowe in Tenderness.

Audiences will be attracted by the bright Sydney settings, the landmarks, the Balmain-Rozelle? area, the harbour, the Botanic Gardens.

Film audiences have moved on in their attitudes towards gay characters and sexual orientations but this is a significant and fairly non-threatening film. American television had been making a number of telemovies on this theme like Welcome Home, Bobby, Doing Time on Maple Drive, and the later Prayers for Bobby.

1. The critical acclaim? Popular appeal? A film of the 90s? Seen after the 90s?

2. The title, children as the sum of the parents and their ancestors?

3. The Sydney settings, the brightness, colour, attractive, the harbour, Opera House, Botanic Gardens, the streets, the walks, homes, pubs, clubs, beaches and restaurants? The atmosphere of Sydney? The Gay Mardi Gras Parade?

4. The musical score, the songs of the period?

5. The screenplay as an adaptation of the theatrical play, opened up? Staged sequences? The two central characters talking to the audience, confiding in them, eliciting audience interest empathy? How well did this work dramatically?

6. Issues of sexuality, sexual preference, up to the 1990s? The reaction of Greg’s father? The response of Harry? The initial response of Joyce? The film offering understanding, issues of love, sexual behaviour? The camp style of the parade? The non-camp style of Jeff? Support for gay and lesbians?

7. The back story of the grandmother, playing football with the kids, playing board games, the meals? The kids enjoying it? Mary watching, the Salvation Army background? The relationship with Mary, the ‘dyke’ language? The 40 years of love, affection, in the bed, after 40 years the separation, grief, the farewells, death? The effect on Jeff? On Harry? Harry talking about his mother and this relationship?

8. Jeff, growing up, his past, sexual encounters in teenage, an acknowledgement of his orientation, accepting it, his life, the effect of his mother’s death, the bonding with his father, his father knowing everything, confiding in his father, trusting him? His work as a plumber? Going out, the range of friends? Experiences? disappointments? Loneliness?

9. Harry, his age, his job on ferries, the death of his wife and his love for her, memories of his mother? The puzzles about life, sexual orientation? Accepting? His heterosexuality, the dating service, meeting Joyce, the date, as a gentleman, going out, the flowers, the collage of the various dates and his company with Joyce? Joyce’s daughter? Harry and the effect effect, not confiding in Jeff, the proposal, Joyce coming to the house, seeing the magazines, her reaction to Harry, saying he had lied, leaving?

10. Harry at home, preparing the meals, his assistance on manners and not pushing the plate away, buying the magazines, the jokes about sexuality, the buying of the Christmas tree, the decoration, his wife’s decoration for the top?

11. Greg, at the pub, talk with Jeff, coming home, his attitude, the beers, uncomfortable with Harry about? Harry coming in, the drinks, talking, friendliness, the magazines and safe sex? The issue of AIDS? Greg, not staying, Jeff’s reaction? Greg going home, the stiffness of his father meals, wanting Greg to have a better job than gardening? His quiet mother? He is preparing for the Mardi Gras parade, on the float, on the television, his parents’ reaction, his father ousting him? Confiding in Harry that he dreamt of planting a forest and caring for it? Work at the botanical Gardens?

12. Harry, his collapse, the stroke, in hospital, unable to speak, tapping his responses? Jeff and his care, tenderness, not crying? Harry turning and confiding in the audience about the stroke, at home, home care, toilet troubles?

13. The supermarket scene, Greg, his reaction? Joyce and her visit, her being sorry? In the gardens, Jeff seeing Greg again?

14. Jeff, his life, liking Greg, meeting him again, inviting him to visit his father, Greg and his flat, the possibilities with Jeff? Not just sexual encounter, love?

15. The optimism of the film, the background of AIDS but no despair? Some commentators saying it was too good to be true?

THE LOSERS

US, 2010, 97 minutes, Colour.
Jeffrey Dean Morgan, Jason Patric, Chris Evans, Idris Elba, Zoe Saldana.
Directed by Sylvain White.

Unfortunately, somebody else got in before me with The Dirty Five or The B Team. But that kind of indicates what to expect from this movie version of a comic strip. It is certainly written like one, filmed like one and acted like one – even to the most impossible high diving catch in movie history.

We are introduced to the five, with their action skills, before they go on an ill-fated mission to destroy a drug house. The villain behind the scenes then emerges as an oddball sounding and fashionably tailored megalomaniac who is not burdened by scruples about taking human life – and Jason Patric plays him just like that, a real comic strip, smooth baddie.

Just when we thought it was going to be a really macho show, in comes Aissa (Zoe Saldana from Avatar and Star Trek) and shows that where punch ups are needed (or, as here, not needed, but fought nonetheless) she is not to be beaten.

It starts in Bolivia, proceeds to Miami, while the villain seems to be able to turn up anywhere in the world from Mumbai to Los Angeles, and does.

There is revenge, betrayal, tricks and explosions going off big time. Jeffrey Dean Morgan is the leader with Idris Elba clashing with him and Chris Evans doing some amusing turns as a computer nerd who is also big with action.

For those who enjoy the same old, same old...

1. The popularity of this kind of action adventure? The CIA? Covert operations? Latin America? Rogue agents?

2. Locations, Bolivia, the jungle? The druglords and missions? The compounds? Action sequences? Musical score?

3. The focus on Clay, the leader, the members of the group? Roque, Jensen? The strike? Confronting the druglords?

4. The compound, the slave children, their role in drug distribution?

5. Max, the commander, the planning of the mission, the request to call off the strike, his refusal? The shooting down of the helicopter with the children on board?

6. Clay, leader of the group on the ground, The Losers, the attempt to rescue the children? Max turning on the Losers?

7. Aisha, contacting Clay, helping to smuggle the Losers back home, the return to the US? Gratitude towards Max, vindictive?

8. The Losers and the attacks on Max, Max and the selling of weapons, to terrorist clients?

9. Aisha, the relationship with Clay, the revelation of who she was, the daughter of the drug lord? The death of the drug Lord, Aisha and her reaction, breaking with Clay, wanting revenge?

10. Max, the port, Max getting the weapons? Roque and his change of heart, betrayal, sabotaging the mission? His being killed, Max escaping?

11. Aisha and her help? Resuming the relationship with Clay? The Losers surviving, continuing their work?

4.3.2.1.

UK, 2010, 117 minutes, Colour.
Emma Roberts, Tamsin Egerton, Ophelia Lovibond, Adam Deacon, Sharika Warren- Markland.
Directed by Noel Clarke, Mark Davis.

Noel Clarke made two sharp films about teen people and adult people in the London suburbs: Kidulthood and Adutlhood. This film is more ambitious but makes less impact.

It starts with a misleading incident, which is later seen to be the opposite of what we thought and, then, before you can say 4.3.2.1., we are whirling around in time (with whirling camera and lots of flash flourishes) as we follow four young women and what they did over a two day period. When you realise that we are going back in time for each of the four, then it makes sense and we see the interconnections and the repeats and make sense of what is happening.

Meanwhile there is a subplot of a diamond robbery in Antwerp and the misadventures of the London connection which sees one of the girls in unwitting possession of the diamonds. She is also having a bad emotional time as her mother is leaving her father who is bogged down in sadness and self-pity. The rich girl of the four flies off to New York to secure a study place as well as to see the charming man on the other end of the computer link-up. Some disasters there as well (despite cameo appearances from Mandy Patinkin and Kevin Smith). A third girl, of mixed race, has a hard time with her family and teams up with her girlfriend. The fourth is an American (Emma Roberts) who works in a supermarket.

Quite a number of coincidences drive the plot forward, but it will depend on whether you like the girls and believe in them whether you are persuaded that this is an effective drama or not.

1. A slice of British life? The focus on the girls? Relationships? Troubles?

2. The London setting, Westminster Bridge, homes, streets, clubs? The musical score?

3. The opening, Shannon on the bridge, preparing to jump, the girls arriving, preventing her jumping?

4. The flashbacks, Friday, the girls, saying goodbyes?

5. The focus on each of the girls: Shannon? At home, trying to talk to friends, ignored, Dillon, the invitation, his kissing Jo, work in the shop? Shannon attacked, again, the rescue, Kelly? Shannon escaping, the potato chips, the diamonds? Shannon and her relationship with her mother, her mother’s dominance, the forced abortion? Drinking, contemplating suicide?

6. Cass, in New York, the audition, the meeting with Brett, the contact online? The true Brett, the naked photographs? The aggression in the attack, the men, the locals and the rescue? The audition, returning home?

7. Kerrys, in the flat, her relationship, girlfriend? The panic room? The party? Kerrys’ taking the car, the accident, the crash into the supermarket, the gun, Kerrys’ taking it?

8. Jo, the hold-up, the manager and delivered conspiring? Shannon’s arrival, Joe pretending to distil and? Tee and the diamonds, the potato chips, Shannon grabbing them, Kelly arriving at the supermarket, wanting the diamonds? The crash and the change of the situation?

9. The girls going to the bridge, stopping Shannon jumping?

10. Giving the diamonds back, the decision to go to New York for a holiday – Kelly on the plane and their not knowing?

11. The character of each girl, how well-delineated? The time shifts, the explanation of what went on from different angles?

STRAW DOGS

US, 2011, 110 minutes, Colour.
James Marsden, Kate Bosworth, Alexander Skarsgaard, James Woods, Dominic Purcell, Walter Goggins.
Directed by Rod Lurie.

Straw Dogs was originally made in 1971 by celebrated director, Sam Peckinpah, noted for his on-screen violence, especially in westerns. This was a story set in the British countryside, and is now transferred to the deep South, to Mississippi.

The basic plot outline is that an author and his wife go to her home town so that he can write a screenplay. He employs his wife’s former sweetheart, and the football champion of the town, to get his friends to repair the house. They have thuggish attitudes and behaviour, continually taunting the author, the physical versus the intellectual. Also an influence on the town is the former football coach, now an alcoholic, who has a set against a mentally impaired man, accusing him of molesting his daughter.

When the men challenge the author to go out hunting with them, they leave him stranded and take the opportunity to rape his wife. This leads to a revenge scenario, the man defending the mentally impaired man as well as his wife, a vengeance and revenge story.

There is no doubt as we watch this film about the rights and wrongs of all the characters. The early version, there was greater complexity and challenge to audiences to think through their attitudes. This has been a great criticism of the remake, many considering it unnecessary and reduced simply to a revenge story for DVD release.

In the roles taken by Dustin Hoffman and Susan George, there are James Marsden and Kate Bosworth. The coach is played by James Woods, the leader of the thugs by Alexander Skarsgaard and the mentally impaired man by Dominic Purcell.

The film was written and directed by Rod Lurie, a former critic, who made a great impact with his film The Contender in 2000. He also made the intriguing Resurrecting the Champ with Samuel L. Jackson and Josh Hartnett.

1. The 21st century and the deep South, Mississippi, rednecks, intellectuals, the clash? Sexual politics? Rape and abuse? Vengeance?

2. Comparisons with the original film by Sam Peckinpah? From 1971? 40 years later? Treatment of themes? A more explicit era? The contrast between more subtlety of the past than straightforward presentation of characters and situations?

3. The title, the explanation?

4. Mississippi, location photography, the town, streets and buildings, the football field, homes? The countryside? The musical score?

5. David and Amy, their marriage, each of their characters, commitment to each other, love? The decision to go to Amy’s home town? David and his wanting to write the screenplay about Stalingrad? His Jaguar, credit cards, glasses, walking out of church? Amy coming back to people she knew, especially Charlie and her relationship with him in the past? His claiming that she still loved him?

6. An intellectual and sophisticated couple coming to stay in this town? Setting up the house? The repairs? Charlie and his friends, their work? The bear trap – and its later being used against Charlie, his death? Their behaviour, comments, criticising David, his manhood? Coarse minds and mouths? Their work on the, house, arguments, roughhouse?

7. The football coach, his place in the town, influence, leadership, drinking? David in the bar and his reaction? His daughter? Her coming on to Niles? The criticism of Jeremy Niles? His favouritism towards Charlie? Urging them on to their violence?

8. The football games in the crowd mentality?

9. Jeremy Niles, simple, in the care of his brother, a big man, the coach seeing him as a threat to his daughter? His response to the coach’s daughter, strangling her? On the road, hit by David?

10. Challenging David to go hunting with them, his agreeing, his motivation, his reactions against the taunts? Their leaving him alone in the woods?

11. Going into the woods, allegedly hunting, hunting Amy, the brutality of the rape?

12. David, Amy not telling him, his challenge to the men, defending Jeremy, defending his wife?

13. The siege of the house? The group? The coach and his attack on the policeman, the black policeman, his death?

14. The violence, visual, guns, blood? David and his shooting the coach, the other man? Amy and her shooting?

15. The motivation, violence and revenge? Self-affirming as a man?

16. The more straightforward melodramatics of this telling of the story than the drama and complexity of the original?

VERBOTEN!

US, 1959, 93 minutes, Black and white.
James Best, Susan Cummings, Tom Pittman, Harold Daye.
Directed by Samuel Fuller.

Samuel Fuller made a number of very strong, often small-budget films in many genrres from the 1950s to the 1980s. Early he made such dramas as Pickup on South Street, later making westerns with Barbara Stanwyck. But he had a strong interest in war films and this one is one of his strongest.

It is set at the end of World War II, the American troops advancing into German towns, the final stances, the arrival of the Allies, the setting up of administration for the Germans, especially in food and countering the black market. The film also shows the subversive group, the Werewolves, established by Himmler with the Hitler Youth to fight back should Germany lose the war.

James Best portrays the American soldier who is wounded, is sheltered by a German woman, Helga, played by Susan Cummings, and stays after the war to help with the American administration, marrying Helga. Tom Pittman portrays Bruno, head of the werewolf is, working under cover with the Americans but leading a band of fanatics, repeating the words of Hitler, merciless. He turns David against Helga. (Unfortunately, Tom Pittman was killed in a car accident at the age of 26 soon after the release of this film.)

Helga takes her brother, part of the Werewolves, to the Nuremberg trials where he sees footage of the concentration camps and other horrors of the war, something he did not know, which leads him to tell David about Bruno and there is a final climax between Franz, Helga’s brother, and Bruno in a blazing train carriage.

One of Samuel Fuller’s most ambitious and finest war films is his story of a sergeant in World War I and in World War II in Belgium, The Big Red One.

1. The title and its use throughout the film?

2. World War II, a view from the late 1950s?

3. The work of Samuel Fuller, strong and tough, his war stories over the decades? An American perspective? With a feel for Europe?

4. The black-and-white photography, the atmosphere of the war years, action in the war? The incorporation of newsreel footage? Hitler, action? The
Nuremberg trials? The musical score?

5. The war episode, the town, the American attack, the camaraderie, the snipers, the advance into the town, deaths, the empty streets? David and his taking refuge with Helga and Franz? The reactions? David and his being wounded? His suspicion of the two as Nazis? All Germans as Nazis? Their helping him, hiding him? The SS officer and his advances on Helga? David remaining hidden, found by the Allies? The effect of the experience?

6. David, the shelter, the wound, attracted to Helga, the bond, her explaining that all Germans were not Nazis? Issues of hunger, David and his love for Helga, the marriage? His accumulated points to go back to America but not going?

7. Out of the military, but getting a job, with the American forces, the administration of the town? His role in decision-making, the food, the black market?

8. The rebel group of Werewolves? Instituted by Himmler, advocacy in the Hitler Youth? Now young men after the war, the gathering, the train, Franz and his joining? Bruno, his leadership, philosophy, Hitler’s words, tough and merciless? Fanaticism and violence?

9. The protest in the street, the Germans wanting food, the young Werewolf man and his continuous harangue, David and his response, anger, the brawl? His being let go from his job? But his wanting to stay in Germany?

10. The protests, the words voiced by the protester, the Germans, hungry, memories of World War I and its aftermath?

11. Bruno, his leadership, his job with the Americans, his cover? Friendship with David, his insinuations about Helga, the reason for her marrying David, quoting her as saying that he was a ticket for food? The effect on David, going home, confronting Helga, the pregnancy, her reply, his disgust ?

12. Bruno and the meetings, his sitting on observing, his speeches, the protester, drawing the circle on him and asking for him to be stabbed? His ruthlessness?

13. The Nuremberg trials, Helga taking Franz, his sitting in, the graphic film of suffering, concentration camps, hunger? Franz watching, saying he didn’t know, comparing Hitler’s words to those repeated by Bruno?? The incorporated footage of the war criminals and the trials? The long initial speech of the prosecutor?

14. France, giving information about Bruno?

15. David Helga, love and the reconciliation?

16. France, getting the list, Bruno attacking him, Franz setting fire to the carriage? The flames, David rescuing Franz? Their future?

17. The impact of the film for the 1950s? Later?