THE PRIME GIG

US, 2000, 98 minutes, Colour.
Vince Vaughn, Julia Ormond, Ed Harris, Rory Cochrane, George Wendt, Wallace Shawn, Romany Malco.
Directed by Gregory Mosher.

The Prime Gig is a film about financial fraud. The fraud is presented on a small scale, with a small company and staff involved in phone sales for travel and other shady deals. Than the fraud is presented on a large scale, a previously-jailed financier, with a very plausible manner, and a seductive assistant, recruits staff for investment on a very large scale in a mine – for which he hires a plane to take the staff to visit. But, ultimately, it is fraud.

With its American setting, this is an indictment of criminal financial operations – that have led to financial crises over the decades. On its small-scale, it anticipates the Financial Global Meltdown of 2008.

The film can also be seen in the light of films about sales, especially David Mamet’s Glengarry Glen Ross, and the smaller scale The Business of Strangers, with Stockard Channing. While Mamet’s play was of the 1980s, both films appeared in the 1990s.

The film offers a good opportunity for Vince Vaughn, early in his career after his impact in Swingers. While he has performed in a number of serious films, he is probably best known for his comedies. Julia Ormond was introduced in Sabrina and has had a mixed career ever since. But Ed Harris has been a constant, find the performances for over 30 years.

The film shows the ambition of a man comfortable in small-scale operations, his ambition being pandered to by an attractive woman and a smart-talking salesman – but he is taken in nonetheless.

Director Gregory Moshe has made as directed for the stage, making few films, including A Life in the Theatre, from the play by David Mamet, with Matthew Broderick and Jack Lemon.

1. The title? A show? Business exploitation? Fraud?

2. An American story, the small company, the phone deals, taking people in, offering more than could be fulfilled? The failure of the firm, cash, the law? The contrast with big companies, the elaborate setups, detailed recruiting, in action, financial turnover, ruthlessness, fraud – even for the employees?

3. The American cities, homes, offices, set up for fraud? The musical score?

4. Penny’s story? In himself, his age, experience, relationships? His phone calls, capacity the selling? The boss and his concern? The other members of the company, the personalities, the failure of the company, concerned about their future?

5. Penny and his relationship with Joel, Joel and his disabilities, depression? Sharing the apartment? Joel and his disappearances? Returns, life away from Penny? His moral stance with Penny?

6. The meeting with Caitlin, her recruiting him? His believing her? Meeting Kelly Grant? His reputation, trustworthiness or not? Discussions, his being persuasive? Penny becoming part of the team, the plan, the investments, the details of the trip and the visit to the mine, the recruits having faith in Kelly Grant? The issues of the bonuses, urging the sellers on? Penny, falling behind, the other succeeding? The pep-talk from Kelly, exercising his power, success on the phone, the importance story of the old lady, the widow and his persuading her to invest? His rewards? The personal relationship with Caitlin, the flirting? His concern about the relationship between Caitlin and Kelly? The sexual affair? His confiding in her, her confiding in him, support?

7. His waking up, Caitlin gone, the fact that he was warned, going to the centre, its being dismantled? Kelly and Caitlin disappearing?

8. Caitlin, her manner, seductive, seducing the audience as well as Penny? With Kelly, her continued work on the floor, supervision and support, the sexual relationship? Her words to the sleeping Penny and her leaving?

9. Kelly Grant, the background of his imprisonment, money deals? A plausible character, his plan, taking the people to the site? Disarming? Relationship with Caitlin, permissive – and in retrospect urging her to have the relationship for Penny’s trust? Disappearing?

10. The first crew, their work, small company, their life, interactions, the boss, his sense of failure?

11. The second group, personalities, skills, success, competitiveness?

12. The sudden ending? The audience unsettled? Thinking about what they had seen and experienced? The nature of financial fraud? The individuals involved? Responsibility and culpability?

FAITH CONNECTIONS

India, 2013, 115 minutes, Colour.
Directed by Pan Nalin.

Faith in general? Or a particular faith? The answer is Hinduism. And the focus is on a particular religious celebration, pilgrimage, gathering of 100 million people, the Kumbh Mela.

Film director, Pan Nalin, tells us at the opening of the film that he was urged by his father to go on this pilgrimage, to bring home something of faith, as well as faces and stories. And this is what he has done, roaming among the pilgrims, talking with them, exploring their faith and devotion, as well as finding all kinds of faces which offer portraits of contemporary India (and probably past India) as well as a range of differing stories.

It should be said that the film is visually most arresting. Just seeing the massing crowds and crowds, old and young, men and women, is sometimes overwhelming. But, to prevent the film from being too overwhelming, the director pauses very often, holds his camera on an expressive face and lets the audience contemplate, identifies a range of people from yoga practising experts to parents who have lost their children to some children themselves.

The director arrives by train, joins the throng, keeps moving. The key religious ritual is that of, using the word of the subtitles, a ‘dip’ in the confluence of three rivers where the celebration is held. This motif recurs during the film, people going into the river, washing, dipping, experiencing something of the sacred.

Audiences will have seen other world religious pilgrimages – which tend to be more orderly in their conduct, a visit to the Vatican, a pilgrimage to Lourdes, and, in the Muslim world, the pilgrimage to Mecca for the Hajj. This celebration is a kind of mixum-gatherum, more perhaps akin to a crowded music festival: some groups focusing on one experience, individuals going searching, watching a Guru in extraordinary yoga contortion positions, reverencing images of the gods, quietly recollected.

The main narrative focuses on a young boy, who gives the impression of a worldly-wise street kid, glibly talking about being a Mafia gangster, committing murders during the day, arbitrarily choosing four intended killings, victims to be the police and anyone he comes across. Someone remarks that the boy has seen too many movies – probably an understatement. He is cheeky, moves around amongst the people, swaggering. But a religious man, a Sadhu, semi-adopts him, trying to take care of him, shelter him, feed him, urge him away from his violently melodramatic imagination. At the end of the feast, he disappears, and the main searches for him, ultimately finding him living in a quiet village. There is an interview with his father, and the boy declaring that he himself wants to be a Sadhu, The influence of good example? A worthwhile ambition?

Another holy man adopts an abandoned child, making strong comments about Indian youth that (sounding like youths from other cultures) they are only interested in sex, drugs, their own self-centred lives. There is also comment about young girls becoming immediately pregnant then abandoning their children when they are born.

On the other hand, there is a lot of talk about ganja, smoking marijuana and linking it to spiritual experience.

Not everything in the film is religious. Quite an amount of the footage is about the logistics in managing 100 million people. There are glimpses of lines and lines of people sitting, waiting for the serving of food. There are the police, trying to manage traffic and movement. And there are quite constant images of the centre for Lost and Found, children straying away from families, husbands and wives separated, a full-time job for a large staff.

Which means then that the audience is immersed in the Festival, in the traditions of Hinduism, in the ordinary life of Indian people, colourful, surprising, sometimes dismaying. There is no explicit faith connection to other world religions, but audiences of different faiths or no faith will have the opportunity to contemplate and reflect on the phenomenon, so ingrained in millions of people, of faith and devotion.

THE MASTER RACE

US, 1944, 98 minutes, Black and white.
George Colouris, Osa Mussen, Stanley Ridges, Carl Esmond, Lloyd Bridges, Nancy Gates,
Directed by Herbert Biberman.

Watching The Master Race without knowing the year in which it was made and released, an audience would think that it is a retrospect on World War II. But this is not the case. Production on the film began several days after the D- Day invasion of Normandy on 6 June 1944. The film was released in September, three months later. It was the first film to incorporate into its narrative, action on the Normandy coast, the invasion, the battle, the German prisoners (so well-known Spielberg’s Saving Private Ryan).

This means that the screenplay is a speculation on what happens at the end of the war, which the release of the film anticipated by eight months. In this way it is similar to the 1944 film by Andre de Toth, None Shall Escape, a story about a war crimes tribunal after the war.

The focus on this film in this film is the German commander played by George Colouris. He sees the collapse of the third Reich, gathers together some followers and urges them to infiltrate and create heat and dissension so that the master race will be able to continue after Hitler’s downfall. He himself hides in a Belgian town, pretending to be the brother of the businessmen who collaborated with the Nazis.

As with many of the war films, and the propaganda films, showing Europe, this is set in a small town in Belgium, the ruins of the aftermath of the German invasion, people returning to the town and trying to rebuild. The Americans are also in the town trying to create order and progress. The American major is played by Stanley Ridges.

Osa Mussan plays a woman who now has a child from a German soldier, trying to keep out of the public eye, finding it difficult to let her family know what has happened. Lloyd Bridges is her young brother, returning from the war, injured, looking forward to seeing his fiancee, who is the daughter of the collaborator but now restricted in her activities by the German officer occupying her home.

There are many of the expected tensions, especially the freedom of prisoners and their being replaced by German soldiers in prison. One of the released is a Russian, played by Carl Esmond, a doctor who contributes to the betterment of the town.

With the German, there are tensions, especially with the manager of the mill who believes the German and is bent on revenge, even to the blowing up of the prison at the behest of the German.

The town is particularly Catholic, wanting a priest, a temporary chaplain arrives and builds up the spiritual feelings, especially at Christmas.

The film was made by RKO on a small-budget, very much studio-bound, not an A-production. However, in retrospect it is quite interesting in itself, as well as to see how film-makers at the time imagined the aftermath of the war.

The film was directed by Herbert Biberman, who became one of the Hollywood 8 and imprisoned for his defiance of the house House un-American hearings. He was blacklisted. His principal film, about working conditions, was Salt of the Earth in 1954.


1. A film of 1940? Its impact? Made during the war? anticipating post-war Europe? Seen in retrospect?

2. The director, his career, his ideas, blacklisted?

3. RKO, small-budget film, the cast, the sets, studio-bound, black and white photography, the musical score?

4. The title, as understood in 1944, audience knowledge of the Nazis at the time, the Third Reich, Hitler, expectations? The involvement of the United States in World War II? Europe?

5. The film in production soon after the Normandy invasion, the footage, recreation of the landing, the fight, the German prisoners of war? The impact so soon after the events?

6. Von Beck, the imminent defeat of the Nazis, his speech to his followers, an alternate Master Race, an alternate Reich, rousing people, the group listening, his advocating hate and dissension, dispersing them? His assistant? Arranging papers for his own disappearance?

7. The village, Belgium, the Belgian experience will, liberation? The town in ruins? The mill destroyed? The people returning, the remnant in the town, the resistance, in the army?

8. The arrival of the Americans, the major, the welcome, the town’s people not able to applaud? Setting up in the town hall? The British assistant? The American staff? His speech in the marketplace? Managing? His promising doctor and a priest?

9. The Russian, background in prison, freed, his being a doctor, offering to help, his hopes to return to Russia, his helpings the Bartoc family, examining Von Beck’s leg noting that it was a recent injury? His leadership? His return at the end? The Soviet Union as an ally at this time?

10. Von Beck, his arrival, the disguise, pretending to be the brother of the owner of the mill, his Nazi collaboration and death, his wife and daughter? Shooting himself? Pretending to be ill?

11. His policy of sowing dissension, hate? The mill worker, fostering his resentment, taking over the mill, his taking the horse from the citizens out in the fields? Defying the American presence? Reactions? His hope of the future? The blowing up of the prison, getting the explosives? His executing the plan?

12. The Bartoc’s, the father and his return from the war? Helena, at home, grim, the revelation that she had a daughter, the German father? Her shame, people in the town? Frank and his discovery, accepting the reality? John coming late, the discovery of the child, his reactions, harshness and talk about death, his apology, accepting the reality? The effect on Helena? The family group at the end?

13. Nina, the shame of her father and his collaboration? Her mother? Von Beck in the house controlling her? going out? Her being condemned? Meeting Frank, his turning against her? yet his love? Her mother and her fear, the donation to the church, the confrontation with Von Beck, his killing her?

14. The German the prisoners, their being freed? The German soldiers, in prison? The Ukrainian, his carving the cross, his story to the major, his participation in atrocities, coming to his senses, the need for repentance and atonement? The other soldiers attacking him? The explosion, his injuries, his being rescued? Hearing Von Beck’s voice? The soldier killing him?

15. The priest, coming to the town, the encouragement, helping with the church, Christmas, the donkey, the little girl giving the doll? His exhortation about loving one another as Jesus loved us? The devout people? Catholicism? Coming to the church?

16. The family at home, the little girl, her wandering, finding the church, giving the doll? Leaner and her concern?

17. The ending of the war – and RKO filming this eight months or more before the reality?

18. The meeting in the town, the mill manager and his shock, manipulated by Von Beck? Von Beck and his trying to escape from the accusations? Of the murder, of his identity? His defiance? Executed by the firing squad?

19. The meeting in the town, the resolve to build, the major and his being transferred to Germany to deal with the prisoners and rebuilding? The applause for his speech? the village and hope?

HALF OF A YELLOW SUN

UK/Nigeria, 2013, 111 minutes, Colour.
Chiwitel Ejiofor, Thandie Newton, Anaka Noni Rose, Joseph Mawle, John Boyega.
Directed by Biyi Bandele.

Good question. What in fact is the half of a yellow sun?

The answer is that a half sun was the symbol, emblem, on the flag of the fledgeling nation, Biafra. But, after the 1960s, Biafra has faded from many memories – except the memories of citizens of Nigeria and emigrants leaving Nigeria from which Biafra seceded in 1967 and which was conquered by the Nigerian army and reincorporated into the nation. These years were tragic for the citizens of the new country, many killed in warfare, in the air raids, many placed in camps where they experienced starvation.

This drama offers an opportunity for worldwide audiences to learn something of this part of Nigerian history. It opens with great fanfare on the day of Nigerian independence in 1960, local celebrations and a visit from Queen Elizabeth and the Duke of Edinburgh. But, Nigeria was an artificial creation by the British government and its colonial mentality, gathering together a number of tribes which, if not enemies of the other, left them with great tensions. This artificial creation, as with so many of the countries of western Europe and Central Europe, would lead to bitter conflict, to armed conflict.

One of the advantages of this film is that it incorporates a great deal of film footage from the 1960s. This enables the audience to see some of the participants in independence movements, in the subsequent governments and in military coups. There is footage from television coverage, including reporting from author, Frederick Forsyth, and from the newsreels screened in the cinemas.

The star of this film is Chiwitel Ejiofor (12 Years a Slave), born in London of Nigerian parents. This is an opportunity for him to return to his roots, this struggling time in Nigeria which meant that his parents emigrated to the United Kingdom. He plays an academic, comfortably off, teaching at a university, in a relationship with a woman who is also an academic. She is played by Thandie Newton, born in the UK, but with a Rhodesian background.

As the film opens on Independence Day, we see her wealthy family entertaining one of the new ministers, but also vying for financial contracts, and the minister eyeing the daughters to see what benefit he could gain. The two daughters, twins, then go to a club where one of them (Anika Noni Rose) encounters an Englishman, working in the colonies but aiming to be a writer, and they begin an affair which leads to their partnership. He is played by Joseph Mawle (who had played Jesus in the 2008 BBC series, The Passion).

These characters live in the part of Nigeria which was to become, for such a short time, Biafra. The first couple live in a university town, but the professor is heavily influenced by his tribal mother, who comes from her village with a servant and encourages her son, plying him with drink, to make the servant pregnant. This does not quite have the effect that she intended, but it does change the couple’s lives. The other couple live in Port Harcourt and look after the business interests of the family. When trouble breaks out, the well-to-do parents move to England.

The first half of the film establishes the characters, their situations, the new country with its independence, but the inevitable trouble with ambitions, tribal clashes, leading to violence – and a surprisingly shocking massacre at an airport.

The second half of the film is concerned with the war, its effect on people in Biafra, the mass movements out of areas which we are were being bombarded. Some of the sequences, especially with cars trying to get along roads which are continually being bombed, bring home something of the effect of the war.

By 1970, Biafra no longer existed – which throws light on the subsequent history of Nigeria, tribal rivalries, and the clash between Christians and Muslims.

In some ways the film is fairly straightforward, with its story of relationships, prosperity, hardships. But, seen in the context of this part of Nigerian history, it reminds us that history needs to be relived so that later generations can be aware of what has happened.

1. Audience interest in this film about Africa, Nigeria, the 1960s, independence, Biafra, the Civil War?

2. Audience knowledge of places, history, events? The film as informative? The use of maps and the indications of journeys?

3. Nigerian locations, the cities, towns, homes, high society, universities, the easy life, the contrast with the hard life, tribes, different cultures, the visuals of war and action?

4. The title, the Biafran flag, Biafra, secession, the war, losing, disappearance?

5. The use of newsreel footage of the period, the declaration of Independence, the visit of the Queen, the Nigerian authorities, popular joy, patriotism? The footage throughout the film, giving information, Nigerian personalities, their decisions, their philosophies, the description of events?

6. Olanna, in herself, twin, her position, love for Odenigbo, their being together, members of the elite classes, well educated, her education in Yale and in England? The life together? The detail, happiness? His mother, arriving, the servant, her disapproving of Olanna, Olanna moving out? Odenigbo and his drinking, the sexual encounter with the servant? Olanna’s reaction? Her visiting Richard, the sexual experience, her motivation, the effect on her life, the reaction of her sister?

7. Kainene, twin, the bond with her sister, at home, her parents? And the parents going to England at the time of the Civil War? The phone calls? At the party, meeting Richard, his attraction, leading him on, the sexual relationship, its continuing, her reaction to Olanna and the encounter with Richard, not wanting to say that he was sorry? Continuing with him? The family business at Port Harcourt, her success, the war, managing the camp with Richard? Visiting Olanna, help, food, accommodation? Her strong mindedness, her going to the border, her disappearance?

8. Odenigbo’s mother, from the village, her commanding personality, superstitions, the servant, urging her son, the pregnancy, offer to take care of the child? The later approval when the decision was made to marry, reconciliation? Her refusal to leave the village, news of her being killed?

9. The servant, pregnant, quiet, the birth, not wanting the child, Odenigbo’s mother offering to bring the child up, Baby, Olanna and her decision to ring up the child? Not giving it a name until late?

10. Richard, British, at the party, author, his work, releases coming to Africa? Attracted to Kainene, the affair, their being together, his infidelity with Olanna, his being sorry? The work, the war, the camp? His visit to England for the wedding? His experience of violence at the airport, shocked? The phone call? His love for Kainene, returning, looking after the camp? Kainene going to the border, his desperation, weeping, trying to find her?

11. Olanna settling down, as a mother, the years passing? Odenigbo and his work?

12. Ugwu and his presence as a servant, bad cooking, the rice, his being educated, improving, his role with the family, involved?

13. The political situation during the 1960s? The scene in the various coups, uprisings? Executions and massacres? Tribal? The Igbos, talk, the massacre at the airport, the shootings? Olanna and her pride in being an Igbo?

14. The information about the times, action, the secession, the leader? The war, the attacks, the destruction, the refugees, hunger, the camps?

15. Odenigbo and Olanna, leaving, his mother’s decision to stay? His proposal, the preparation for the wedding, the ceremony, the reception and the bombings? Leaving in the car, with the explosions? Ugwu and his being taken, reported dead, the relief when he was found alive?

16. The camps, the difficulties for renting, Odenigbo and Olanna and their property, the job teaching, his work in the office, their being ousted by the landlord, Kainene and Richard offering support? The baby and her growing up, being named?

17. Peace, the disappearance of Biafra, the sister and her not being found?

18. The epilogue, the information about the characters, their long lives and success?

19. The value of this kind of film in recreating the past and audiences learning, experiencing, having empathy?

JANE DOE: THE HARDER THEY FALL

US, 2006, 85 minutes, Colour.
Lea Thompson, Joe Penny, William R. Moses, Jessy Schram, Zac Shada, Dorian Harewood, Helen Slater, David Groh, Muse Watson.
Directed by Lea Thompson.

This film is the sixth in the very popular series. And it is directed by Lea Thompson, the star.

At this stage, audiences had become fully familiar with the general pattern of the films, Jane Doe and her home life as the real Cathy Davis, happily married, the two children, with various home problems occurring during each film; and the crime, Frank Darnell calling on Cathy to help, the mystery, steps in investigation, the clause, the puzzle, the solution. And, by this stage, husband and children are aware of what she does.

In this case there is a small parallel to The Murder on the Orient Express, several suspects, involved, not in the murder, but in benefiting financially from the death. In fact, the actual villain is initially not one of the suspects. She is played, with some glamour, by Helen Slater.

The plot goes into the world of finance and of the media.

An entertaining film in the series.

1. The popularity of this television series? Lea Thompson as Jane Doe? As an agent, as housewife, as wife and mother? Solving puzzles, solving cases? Lea Thompson directing this film?

2. The city settings, the homes, the offices of the agency? The boat? The rooftop? Action sequences, chases, helicopter? The musical score?

3. The title, the focus on the millionaire, his privacy, greed, the secret about his son?

4. Cathy, at home, her daughter and the school project, investigating finance, her investing real money? The collapse of the company? Her concern, asking her brother to help? Cleaning the garage, the garage sale? The need for more money? The fact that their parents knew all the time? The shares going up?

5. The boat, Jim and his security role, trying to retain sobriety? Going on deck, his vision shaking, the millionaire in the water, Vasquez diving in, rescuing him? The next morning, the reality, his being fired?

6. Jim going home, his wife, her support, her dismay, leaving him? His going to see Frank Darnell? Enlisting Cathy? The meal, disbelief? his being upset? His participation in the investigation? Going back into action, the former agent? Hopeful re-employment?

7. The captain of the boat, giving information, his being sacked, the boat being sold?

8. The media, the film-maker and the source of this information? The film of his being sent away from the boat? The later visit, his giving information, his documentary after the man’s death? The anagram for the informer?

9. Television, seeing the millionaire on television, the interview? Allegedly life? Cathy going to investigate, pretending to be a walk Wall Street journalist? The host being flattered? The information about the chair being fixed, the phone call and pretending to leave? The discussions with the host’s assistant, his being overbearing, the revelation that the interviewee was never at the station? The editing together of pieces?

10. This kind of evidence important for the time of the millionaire’s death? The coroner, going to visit them, his change of opinion?

11. The suspects: the vice presidents on board, the girlfriend? Vasquez and his being suspicious, interrogation, not liking the millionaire, following Cathy in his car? The revelation that the vice-president was the millionaire’s son, illegitimate, fostered, brought into the company? His being part of the plan? But not wanting to kill his father? The Australian, activities and the South Pacific, the girlfriend, setting up their own company, everyone taking advantage of selling shares and changing the time of death?

12. Stella Andre, not being on the boat, taking over the succession, trimming the staff, doing things herself? The interviews with Cathy? Attraction to Frank? Her explanations? Her calling the millionaire by his first name? The anagram of the source of information for the film-maker? Both Cathy and Frank suspicious, her being on the roof, the helicopter, the explanation of what she did, the illegitimate son and using him? Her gun? The arrest?

13. Satisfactory explanation of the murder, the range of clues, the working out of the puzzle?

AMISTAD

US, 1997, 155 minutes, Colour.
Matthew Mc Conaughey, Djimon Hounsou, Morgan Freeman Anthony Hopkins, Morgan Freeman, Stellan Starsgaard, Jeremy Northam, Nigel Hawthorne, Pete Postlethwaite, Anna Paquin, David Paymer, Paul Guilfoyle, Tomas Milian, Chiwitel Ejiofor. Arliss Howard.
Directed by Steven Spielberg.

A cargo of slaves overpower the crew and take over the ship, La Amistad. They set sail for home in Africa. However, the tides and winds drive them to the Long Island shore where they are arrested and taken to a New Haven prison.

It is 1839. Martin Van Buren is president. He is pressured into adopting political positions to condemn the slaves. The debate in the courts concerns the ownership of the slaves: the contenders include the Spanish government, the English shipowners, the crew of the ship.

In prison, the slaves discover the Bible and see their plight parallelled by that of Jesus. Meanwhile abolitionists, led by African American, Theodore Joadson, and young lawyer, Roger Baldwin, campaign for the slaves' freedom. Protesters stand guard praying. Baldwin is appointed for their defence but he is inexperienced and the judges are political appointees who are expected to find against the slaves. However, Judge Coglin, a closet Catholic, goes to a church to pray and decides in favour of the slaves.

Court proceedings continue. Finally, the slaves are defended by former president John Quincy Adams who delivers a rousing speech based on the American Constitution.

Amistad is a dramatic lesson in historical ethics. It is based on events in 1839 where slaves from Sierra Leone overcame the crew of the ship, La Amistad, and massacred them. Captured by an American ship, they were tried three times in the American courts. Abolitionists supported the slaves. Martin Van Buren, standing for re-election, manipulated the courts to convict the slaves. Amistad is Steven Spielberg's clear and heartfelt plea for black Americans just as in Schindler's List he pleaded for Holocaust victims.

This time, however, there is much more of a preaching tone to the screenplay which may alienate some sympathetic audiences who would be moved by more direct storytelling. The screenplay writer is David Franzoni, one of the writers of Gladiator. In contrast to the speechmaking, the flashbacks to the capture of the slaves and their horrendous voyage wield a powerful impact.

The movie relies on the courtroom drama, especially the moving defence spoken by Anthony Hopkins who is excellent as the elderly John Quincy Adams. Amistad is a most worthy film and dramatises the experience of the African slaves, revealing a history that must continually be acknowledged so that a just future can be built on the past.

Of particular Christian interest is the sequence where two slaves look at the drawings in a bible and talk about the story of Jesus. They identify with him and his sufferings, showing us how the African slaves so readily became Christians and developed a spirituality heard in the 'Negro Spirituals'. There is quite a deal of crucifix imagery in the film, Spielberg presenting Christian belief and symbols more powerfully than Christians sometimes do themselves.

Spielberg went on to direct Lincoln (2012). Chiwitel Ejiofor was nominated for Oscar Best Actor for 12 Years a Slave which won Best Film for 2013. Amistad and 12 Years a Slave should be seen together.

1. The impact in the 1990s? African- Americans? Slavery? Before the Civil War? For American audiences, African audiences, world audiences?


2. The title, the irony of the name of the ship, Freedom?

3. The career of Steven Spielberg, his serious films, The Colour Purple, Empire of the Son, Schindler’s List, Lincoln?

4. The 1839 setting, American society at the time, the United States, the gap between North and South because of slavery? The possibilities of civil war? The town, the prison, the court room, the church? The president in the streets, in his offices? Washington DC, Adams’ home in Massachusetts? The musical score?

5. The opening, dark, the ship, cramped, the slaves, Cinque, unlocking the chains, the uprising, the battle, the killings? Taking over the ship? Language issues? The pilot, taking the ship West? The stars? The surreal scene with the ship passing the people at dinner?

6. Cinque, the boats to shore, the United States, the Navy, the capture of the slaves? Their being marched through the town, in chains, imprisoned? Cinque and his leadership? His deputy?

7. The court, the prosecutor, the accusation about the massacre? The lawyer for the slave-owners in the claim from Cuba? The scenes with the Queen of Spain, young, her letter, her possessions? The American naval officers in the claiming salvage and sea property? The judge, listening to everyone? Baldwin, his speech, the issues, the documents, searching the ship, findings the papers that proved his case?

8. Van Buren, politics, in the carriage, with his adviser, race issues, the slaves, his preoccupation about re-election? His assistant and ideas? In the streets, greeting the crowds, kissing the babies? In his office, the officials? Legal aspects? His being able to appoint a different judge? His belief that he had a hold on him? The judge and the tradition of Catholicism and his keeping it quiet?

9. Joadson, his role, ex-slave, getting freedom, spending his life for abolition? His shipping company? With Tappan, abolitionists? The discussions with Baldwin? Wary about him? Impressed in the court?

10. Baldwin, his background, law, his manner of talking, promoting himself, salary, ideas, the slaves as property and this kind of issue and the courts? Speaking Spanish and the slaves not understanding, disproving the coming from Cuba? Finding the documents in the ship? The Portugese slavers, producing the papers in court?

11. Cinque, the group, his leadership, his angers, the American translator and his inabilities? The subtitles for what the Africans were saying? Baldwin communicating by gestures, getting them to stand up, the sand at the map, enabling trust? Their decision to trust?

12. John Adams, asleep in the congress, his retort to the politicians? The background of his father being President, his being President? His age, a touch doddery, with the flowers, asking about the seasons, not taking on the case? Joadson visiting him at his home, his working the garden, listening, not wanting to be an abolitionist, his curiosity, asking about ‘the story’, Joadson’s story and his life? The emphasis on who the slaves were?

13. Baldwin and the class from the translator? Learning the language? Communication? Going through the town with words to find people from the tribe? Most people not understanding? The ensign and his response?

14. Ensign Covey, his understanding the words, the tribe, his history as a slave, freedom, as a person, taking on the job, present in the court, the translation work and his sensitivity, involvement, joy at the result? His continued presence at the Supreme Court?

15. Dear assertion of the flashbacks, simply Cinque and his wife, the ivory piece, trapped in the net, taken as a slave, the slave castle, the brutality, the boats, the treatment, the chains, the lack of food, the birth of the baby, people put on a chain with heavy stones and drowned, the later records and the loss of weight on the ship, the mother and the baby going overboard? Cuba, the auctions?

16. The judge, his Catholic background, expected to do the President’s wish, going to the church, praying the I Confess, going to the court, hearing the case? His attentiveness? His listening? The judgement?

17. The abolitionists, with their Bibles, singing Amazing Grace?

18. The prisoners, looking at the Bible, the sketched illustrations, the story of Jesus, their interest, developing the parallels, his working wonders, walking on the water, the arrest, Cinque thinking had done something wrong and his friend pointing out that they had not? Calvary, the resurrection and ascension? Images of hope? The focus on the three crosses – and the prisoners walking to the court, the three masts of the, Amistad like the crosses on Calvary?

19. The hearing, the prosecutor and his spurning of the story of the enslavement? Joadson, his presence? Tappan and the court? Baldwin and his speech, covering all the possibilities for the ownership of the slaves: the Cuban slave owners, the British the American officers, the Spanish Ambassador? The judge and his summation, Justice, Freedom, human rights? The slaves beginning to comprehend? The general rejoicing? The representatives of the President, Forsyth and going to the president, and their dismay?

20. The President, at the dinner, his advisers, the former Vice President to Adams, John Colquhoun, his negative attitude, threats to the president who looked on grimly, the other guests listening, the summation about the attitudes towards north and south, rich and poorer, the South subservient to the north, the issue of slavery, the prospect of the Civil War?

21. Van Buren and his discussions, fears, advice, the prospect of civil war, the influence of Colquhoun? His decisions?

22. The victory, the disappointment, Cinque and his reactions?

23. Joadson and his talking with Tappan after the decision, Tappan and his proposing that they should be seen as martyrs? Judson disgusted with him?

24. Baldwin and his decision to write the letter to Adams? Adams receiving it, reading it? Crumpling it? Baldwin and his bringing Cinque and the translator?
Adams and the tour of the garden, the plants, Cinque’s, the African violet and its use in the case?

25. Adams and the discussions, the strategies, the documents, Cinque and the translator?

26. The case in this Supreme Caught, the Judges, solemnity, Van Buren and the others mocking Adams and his age, going to sleep…?

27. Adams’ speech, the rhetoric, the issues, the ownership, disdain of the prosecutor’s case, pleading, the significance of the decision? The judgement
with only one dissension?

28. The significance of this case, for the 1840s, the decade before the Civil War, slavery, ownership, freedom? One of the bases for the United States?

REMEMBRANCE/ DIE VERLORENE ZEIT

Germany, 2011, 105 minutes, Colour.
Alice Dwyer, Dagmar Manzel, David Rasche, Matheus Damiecki, Suzanne Lothar, Lech Machiewicz, Joanna Kulig.
Directed by our Anna Justice.

Remembrance is an emotional film, made almost 70 years after the initial events, almost 40 years after the secondary events. It is a German film, much of the dialogue in German, but in the scenes in New York in English, as well as the conversations between Hannah and Thomas, the central characters.

The structure of the film has the two time sequences, the concentration camp in 1944, life in Brooklyn in 1976. The screenplay continually intercuts the two stories, especially as they become reminiscences, remembrances of Hannah.

While the concentration camp scenes are rather familiar, it does not lessen the emotional impact in watching them. Hannah is a young woman doing drudgery work in the camp, Thomas is Polish and works in the office. He falls in love with Hannah even before speaking with her, supplies her with some extra food, organises an escape attempt which succeeds. He takes Hannah to his family, is shocked at his mother’s anti-Semitic disdain, has to go to Warsaw and does not return in time and Hannah thinks he is dead. Because Hannah and his sister-in-law were taken by soldiers, he assumes she is dead.

Much of the action takes place in New York, where Hannah is now married to an academic and has a daughter. By chance, she sees a television interview with Thomas and takes steps to find him – and his successful. Is an academic in Poland with the daughter. The emotion when they each realise the other is alive is powerful – and Hannah’s husband urges her to visit Thomas. As the couple meet, the film ends leaving everything to the audience’s imagination and hopes.

1. The impact of the film and its World War II and Holocaust story? From the 21st century perspective? On the Nazis, on Germany, on Poland? Anti- Semitism?

2. The re-creation of the concentration camp, the surroundings and woods, rivers? The Polish villages? The contrast with Brooklyn in 1976, apartments, streets, dry-cleaning shop? The sense of realism in each year? The 30 years in different times?

3. The title, for Hannah? For Thomas? For older audiences who would have experienced something of this? For their descendants? The Americans and their trying to comprehend?

4. The 1944 story: the details of the concentration camp, Hannah, amongst the other women, their work, the poor treatment, the dormitories, the lack of food? Hannah and her encounter with Thomas? His falling in love with her? His work, the office, supervising the food? Getting food to Hannah? His plan for the escape? The documents, the Nazi uniform? His commanding Anna to leave, going to the gate, the sexual banter with the guard? The getting out of the camp, running into the woods, his changing his clothes? The pursuit by the guards, the dogs? Swimming the river? The escape? Love, consummation? The German women in the field, their stealing their car?

5. The village, Thomas and his family, his mother’s disdain for Hannah? Magdalena and her help? Hannah and her pregnancy? Thomas and the others going to Warsaw? Only one returning? Thomas being wounded, presumed dead? The Germans coming to the house, wanting to go horse riding, Hannah hiding in the cupboard, Thomas’s mother and her protection? The roundup of the women, Magdalena being taken, Hannah being taken? Thomas and his return, his mother telling him that Hannah was dead?

6. The intercutting of the two stories, the time difference, the characters ageing, future presuming the other dead? The effectiveness of the intercutting, memories, remembrance?

7. Hannah, 30 years later, living in Brooklyn, having escaped? The comfortable life? Her husband, her love him? The daughter? The party, the daughter’s concern about her mother, moodiness? Her husband’s concern?

8. Going to the dry-cleaning, the return, hearing Thomas on the television? The impact? Her call to the enquiry centre, the rude reaction on the phone, the authorities and their agreeing to search? The phone call, finding Thomas and giving the phone number? Hannah and her moodiness at the party, going to sit watching the river? Her return, Daniel’s concern, his knowing of the situation, his wanting to share things with his wife? At the table, the book, showing it to her daughter?

9. The phone call, Thomas answering, hanging up, Hannah ringing again? His amazement? The emotional effect? The later phone call? The explanations? Thomas and his daughter, her University studies, the situation in Communist Poland, authorities, repression?

10. Daniel urging Hannah to visit Poland, travelling, in the bus, getting out, Daniel in the car, standing waiting? The reunion?

11. The moment for the film to end? Leaving an imagination of the future, whether they should stay together, whether their lives had so changed that this was just a reunion, but not forever?

ANOTHER’S WOMEN’S LIFE/LA VIE D’UNE AUTRE

France, 2012, 97 minutes, Colour.
Juliette Binoche, Matthieu Kassovitz, Aure Atik, Vernon Dobtcheff, François Berleand.
Directed by Sylvie Testud.

Another Woman’s Life is a pleasant variation on the themes of time travelling. However, Marie (Juliette Binoche) moves from age 25 and the initial sexual encounter with Paul (Matthieu Kassovitz) to wake up at 41, 15 years of her life disappeared from her memory and consciousness.

The early part of the film establishes Marie at 25, her father having had a stroke, her mother’s exasperation, her own uncertainties and the possibility of getting a job with a neighbour, Dr Speransky (Vernon Dobtcheff). She is also attracted, at a beach outing, to the doctor’s son, Paul.

The rest of the film is looking at how Marie copes with the 21st century, all the changes that she does not understand including Internet, mobile phones, the death of Michael Jackson… But most of all it is discovering that she has a son and knows nothing about him, that her husband is cold towards her and, she finds out, that she has initiated divorce proceedings. And she herself is a top financial expert.

Couple she has while she has to accept the present, her attitude is still that of her 25-year-old self. She is shocked and wants to remedy the situation is that she has caused.

It is always a pleasure to see Juliette Binoche, and that is the case here. It is interesting to see Matthieu Kassovitz as her husband. He has established himself not only as an actor but as a significant French director.

The film doesn’t offer us solutions – leaving it for audience imagination and hopes?

The film was directed by actress Sylvie testud.

1. An interesting blend of realism and fantasy? Plausible? Possible?

2. The Paris settings, the contemporary city, the landmarks, apartments, schools, offices, a sense of realism, as well as the beauty of Paris? The musical score?

3. The title, the focus on Marie, a young life, caring for her father, reaction to her mother, her friends? Her visit to Doctor Speransky? Interactions with the family? Her birthday party, the family coming, wanting to go home except for Paul, his attraction to Marie, the night together?

4. Marie waking up the next morning, Paul disappeared, her look in the mirror, 15 years older? Finding Adam in the kitchen, talking with him, his reaction to her free of vocabulary? Her quick thinking in playing the game, asking all the questions and Adam and answering? Hurrying to school, late, the grim views of the principal?

5. Paul, his drawing comics, his father and the earlier looking down on this ambition? His succeeding? His studio, working hard, the publication, his assistant and his relationship with her? Marie going into his studio, his cold reaction, her puzzle? And her behaviour like an excited twentysomething?

6. The television, her discovering her reputation and achievement? The information about the divorce, the discussions with the lawyer, discovering that she had initiated the divorce? Her going to the board meetings, the documents, attentive to the comments? Her decisions? The member of the board and his gift for her birthday, the obvious liaison, her not understanding it, separating herself from him?

7. Meeting her father-in-law, the office in England, her successful ventures? The meetings, his calm attitude towards her moving out of the family?

8. Rita, her puzzlement, helping Marie, with keys, the wrong watch, the details of the domestic arrangements?

9. Hurrying to the school, the Nanny having picked up Adam, playing computer games with the Nanny, the Nanny preparing the meals?

10. Marie, with her attitudes from the past, her response to finding she had a son and not knowing him? Puzzled about Paul, yet flirting, her birthday, the meal? Her seductive manner and his response? Taking him on the boat? The meal? His ambiguous reactions?

11. The relationship with Jeanne, apologising to her, and yet his bewilderment about Marie?

12. Marie, going to the psychologist, her desperation about what was happening to her? The contrast between her younger self and her older self and what must have gone on in between?

13. Her realisation that she had started with enthusiasm, remembering this? Not knowing what had changed her, for the worse?

14. Her wanting to change in the present? The film ending – was it possible or help achieve ?

BEAT THE DRUM

South Africa, 2003, 114 minutes, Colour.
Junior Singo, Owen Sejake.
Directed by David Hickson.

Beat the Drum is a South African film, made in 2003, a particular perspective on the growing spread of AIDS in the country. At this time and in the years after, there werere a number of films made with the theme of AIDS, films like Yesterday.

This film is a mixture of narrative, a story about a young boy, his life in the village, his going to Johannesburg to find work and to find his uncle. Ultimately, it becomes a preaching message film, with discussion about AIDS, the spread by men to women, the issue of condoms, the silence and fear amongst the community. There are scenes of a campaign at the end of the film with the truck driver urging a congregation to think about AIDS and the Minister giving a sermon, urging people to unite together to confront the disease.

Junior Singo plays a young boy, Musa. His father dies of AIDS, with the village is decimated by adults dying of the disease. We see scenes of a witchdoctor and the sacrifice a the cow, the silence of the chief of the village about AIDS.

On his way to Johannesburg, Musa encounters a friendly truck driver and gets a lift. He disappears into the streets, looking for work, seeing people clean car windows, getting some tips, getting some snubs. He meets a young girl and befriends her.

Musa and the truck driver meet up a second time and he gets a lift back home, giving his grandmother money and the truck driver also giving her a wad of notes.

There is a subplot where the manager of the business is dismayed to discover that his son has AIDS and dies. He determines to do something for his workers and provides blood tests. The truck driver volunteers and the other workers follow. The truck driver also becomes more conscious about AIDS and delivers a pep talk to a religious congregation who are initially hostile and the Minister also gives a sermon on unity in the face of the disease.

A film of its time and of its place, but engaging as the portrait of the young boy.

1. A South African story, post-apartheid, post-1994 elections, issues of racism, equality?


2. An AIDS story, the perspective of 2003, AIDS in Africa, South Africa? A message film? A blend of preaching and narrative?

3. The title, Musa and his drum, the gift from his father, carrying it everywhere, not wanting to lose it? The end, and the campaign concerning HIV?

4. The location photography, the village, the mountains, the homes, the school, roads? The pit stops? Johannesburg, the modern aspects, the streets, poor areas, offices, the hospital, homes? Realism? The musical score?

5. Life in the village, the grandmother, all the children, the witchdoctor and the rituals, killing the cow, beliefs? The role of the chief? The adults dying from AIDS? Its not being mentioned? The father dying, Musa and his father? The drum? His cousin, school, the teacher and the suggestions of inappropriate sexual behaviour? His illness, AIDS, the danger of the cousin? The difficulties in the village with so many deaths?

6. Musa, going to the city, looking for work, looking for money to buy the car, wanting to find his uncle? Walking round, observing? Seeing Nobe? With the prostitutes? Nobe and the lift, travelling, talking, pleasant, hopes?

7. Nobe, driving, going to the headquarters, Musa leaving, Nobe going home, his family, talking with his wife about AIDS, his impatience and Andrea, leaving?

8. Musa, the streets, seeing the gang, finding the girl and becoming her friend, cleaning the windows of the cars, snubs, tips, sleeping out, the search for food, in garbage disposals? The time with the girl, talking, losing, finding her?

9. The manager of the company, his son, charity work, his collaborator, in hospital, diagnosed with AIDS, his father coming, sitting at his bedside, his death? The effect on the father?

10. Musa, meeting and Nobe again, getting a lift, going home, giving the money to his grandmother, Nobe giving her money as well? Nobe at the pit stop, his friend, not going with the girls? The discussion about AIDS, his drinking, the Minister finding him, bringing him to the church, sobering him up? The gathering about AIDS? The reaction of the congregation? Nobe and his speech, the need for unity in the face of AIDS? The drum and beating it in the street together the people? The pastor and his sermon?

11. Nobe and the manager of the company, his offering the AIDS tests, the assistant volunteering, Nobe volunteering, the others following? The appreciation of the manager? The discussions about Musa, finding a place for him? News of the death of his uncle, a good security guard?

12. At the Institute, finding his friend, the swings, happy together?

13. The impact of the film for a South African audience in its time? Later? Beyond South Africa?

CLOUDY WITH A CHANCE OF MEATBALLS 2

US, 2013, 95 minutes, Colour.
Voices of: Bill Hader, Anna Farris, James Caan, Will Forte, Terry Crews, Andy Samberg.
Directed by Cody Cameron and Kris Peam.

The first Cloudy… Meatballs appealed to a great number of audiences and critics. It was quite a colourful show, focusing on a young man, Flint Lockwood, who fancied himself as an inventor and his machine which could actually provide food from the skies, transforming the elements. He was something of a loner, but had a supportive family, especially his father, and a young woman, Sam the meteorologist, who walked into his life and into his romance. The film appealed to adult audiences as well as children.

So, now another visit to the inventor and the opportunity to see how he got on with his machine after it went skewiff in what it provided and what fell from the sky. Flint and his friends were organising themselves in Swallow Falls to tidy up their world when his idol, Chester V, arrives to recruit him to his new company. Flint takes the opportunity to begin again with his inventions, making good from the last one which went awry. He has his usual team, the chicken-clad,Brent, the local policeman, Earl, and with help from Sam and his father.

But… Chester V is not what he seems, or perhaps he is what he seems but Flint does not notice. He has a new machine which also goes awry, intentionally, transforming creatures into hybrids with names such as shrimpanzees, watermelophants, peanut butter and jellyfish, tacodiles, and bananostriches . Needless to say, lots of opportunities for comedy and lives, for visual colourful inventiveness, and the potential for crises.

Ultimately, Flint sees Chester V for what he is and has to rally his troops to remedy the situation which leads to some comic conflicts. Chester’s assistant is a monkey called Barb but she has difficulties with her identity and what she should really call herself, monkey or not, finally coming over from the dark side.

There is a lot of sharp dialogue, plenty of action, use of the imagination for inventiveness, bright colourful animation. Amongst the voice talent is Bill Hadar as Flint, James Caan as Flint’s father, Anna Farris as Sam, Will Forte as Chester.

The film is eccentrically attractive but might be also an acquired taste.

1. The popularity of the original film, characters, its zany plots, characters?

2. The title and its zany tone? The focus on food? Food puns?

3. The style of animation, characters, layout, the foodimals? Chester V? Swallow Falls? The machinery?

4. Flint Lockwood, his role as an inventor, water-into-food? His success in the original film? Chester V as his mentor, recruited, going back to Swallow
Falls? The machine and the foodimals, ‘foodimals’? His mission to stop it? Life-Corps?, its business and plan? It’s bureaucracy?

5. Sam, from the first film, her love for Flint, working with him, working with the foodimals, discovering the truth?

6. The foodimals and their place in the ecosystem?

7. Flint finding the machine, Chester stealing it? Taking the foodimals? The plan to destroy them, turn them into food bars?

8. Flint, his range of friends from the first film, the monkey, mischievous, finally on side, his relationship with his father and the support, Sam and her help, planning to release the foodimals?

9. The foodimals, the humour with their shapes and sizes, combinations? Names?

10. Chester, Flint’s disillusionment, opposing him, Chester falling into the grinder?

11. The water into food machine restored, the ecosystem restored, Flint a hero, happy ever after?