POMPEII

UK, 2014, 106 minutes, Colour.
Kit Harrington, Carrie- Anne Moss, Emily Browning, Kiefer Sutherland, Jared Harris, Jessica Lucas.
Directed by Paul W. S. Anderson.

Most audiences know that the city of Pompeii was destroyed by an eruption of Mount Vesuvius in 79 A.D.

Which probably means that audiences who go to see Pompeii will want to see the eruption and its consequences. They will not be disappointed because the special effects are quite special, and the sequence goes on for over 30 minutes. During the film, there are several overhead shots of what is brewing in the volcano, followed by various tremors, then the molten fire and lava are thrown into the air and then come down the mountainside – while there is quite an amount of ash, the main special effects are many, many fireballs which rain down on the city, on the people, on the harbour, on ships with people trying to escape the disaster not. As disaster movies go, this part of the film is quite effective.

But there is a whole story prior to the eruption. Audiences who have seen Spartacus as well as Gladiator will recognise a great number of similarities in Pompeii. Actually, it opens in northern Brittania with a Celtic people, experts in horsemanship, brutally conquered by the Romans under the leadership of the later Senator Corvus, played with laid-on arrogance and venom by Kiefer Sutherland. A young boy survives the massacre of the whole privilege and of his parents, only to be captured and taken to Londinium (explained as the capital of Brittania) where he trained as a gladiator, impressing a local authority (who looks a little like Frank Thring and gives a Thringinsh performance) who takes him to Italy, and to Pompeii.

The gladiator, Milo, is played by Kit Harrington, not well-known on the big screen, but with a huge reputation as one of the key stars of television’s Game of Thrones. Pompeii may not be the answer to his big-screen ambitions, but will get him noticed, although he has to play a rather humourless role, bent on revenge, skilled at fighting as a gladiator, but a bit solid and stolid nonetheless. On his way to Pompeii, he has the opportunity to stand out, when Cassia (Emily Browning) is travelling in the carriage back from Rome and her horse stumbles and he is able to put it out of its misery. She is fascinated and attracted, though the soldiers in charge of gladiators are certainly not.

Cassia’s parents, played by Carrie Anne Moss and Jared Harris, are interested in development of the city of Pompeii and are relying on the intervention of the now Senator Corvus, who has set his lascivious eye on Cassia. The ground is set for confrontations, gladiatorial fights, brutal treatment by the Senator. In the cells under the arena, Milo encounters and African champion gladiator (Adewale Akinnuoye Agbaje) who is about to get his freedom after his last fight. Milo warns him that this will not be the case and in the arena, when all the gladiators have to fight Roman soldiers, they see that this is the truth. Milo and Atticus defeat all the soldiers and are appreciated by the sadistic crowd. Cassia gives a thumbs up and is able to save their lives.

While the film does get complicated, the complications are different because of the eruption and the wilful and brutal behaviour of the Senator. And we’re back at the eruption and, as many have pointed out, an ending which owes great deal to the end of Titanic!

This is a kind of film that it is easy to turn up one’s nose at. its director is best known for making the Resident Evil series which is a recommendation only for horror fantasy fans. But, despite all this, this reviewer rather enjoyed Pompeii.



1. The destruction of Pompeii as a familiar story? The eruption, Vesuvius? The results? The images of the ashen bodies in the street? The destruction of the city? The historical background? Audience interest in seeing the destruction of Pompeii? The special effects?

2. A gladiator story, the cells, practice and bouts, forced marches, the treatment by the soldiers, the plans for fights, practices? Gladiators expecting to die, the salute from those about to die? Friends and enemies amongst the gladiators? The gladiators available for the women to choose them for the night?

3. Production values, northern Brittania, forests, the city of Londinium, the Roman roads, Pompeii the city, the overviews of the city and Vesuvius? The streets, homes, the arena, the harbour? The quality of the production? The musical score?

4. Dialogue, serviceable for this kind of film? The performances – all very serious, even stolid? This kind of film in the sword and sandal tradition, the 21st century?

5. The introduction in Brittania, war, the Romans, the conquest, the Celtic tribe and horsemanship? The lining up of the victims, their being slain? The role of Corvus and Proculus? Milo to be dead of in the corpses, emerging? Wandering the forest, his being captured?

6. 17 years later, Milo fighting as a gladiator, the entrepreneur and his assistant, the idea of taking him to Rome, trip to Italy, the road to Pompeii, the cells, the gladiators, the practice, prospects?

7. Cassia the carriage, the horse falling, Milo offering to help, putting the horse out of its misery?

8. Cassia, her dislike of Rome, the revelation later on the behaviour of Corvus? Her parents, her maid, the attraction to Milo?

9. Senator Corvus and his business interests, his relationship with the Emperor, plans for the development of the city, Cassia’s parents and their investment? The banquet, the Senator and his eyes on Cassia, his bargaining with the parents?

10. Milo and Atticus, together in the cell, initial enemies, admiration at practice, each commenting on the other’s technique, bond? In the market for the women?

11. The rumbles quakes, the aerial shots of Vesuvius and the lava?

12. The Senator, organising the gladiators to fight the soldiers, the gladiators winning? The response of the public? His concern about public opinion? Sitting Cassia with him, her giving the thumbs up and the crowd following?

13. The entrepreneur of the gladiators, his being aware of what was happening, going to the harbour, getting the boats, bribing the captain, the fireball destroying the boat?

14. Vesuvius, the people fleeing, the eruption, love, clash, fireballs, hitting the buildings, people, the harbour, the ships?

15. The Senator and his escape, taking Milo, taking Cassia, tied to the chariot? The final confrontation? His death?

16. Atticus, helping the mother and child, his kindness the ship, telling Milo and Cassia to go on, confronting Proculus, the build-up to duel between them,
taking off the armour, the broken sword, Proculus dead? Atticus killed by the eruption?

17. Milo and Cassia escaping, the smoke, their embracing and kissing? Overwhelmed in their death?

18. The opening with the bodies, the ending, the bodies of Milo and Cassia?

GENERATION UM

US, 2013, Colour.
Keanu Reeves, Bojana Novakovic,Adelaide Clemens.
Directed by Mark Mann

For most audiences, this film will probably be quite unwatchable. The plot is negligible, the characters uninteresting and unattractive. Keanu Reeves appears, with his often nonchalant style performance, as a man in New York City with connections with two young women (both Australian actresses). The plot summary on the IMDb sums it up effectively and tersely:

Three adults during a single day in New York City, one filled with sex, drugs, and indecision.

There are many street scenes, Reeves driving around, drug atmosphere, sexual relationships, and, towards the end, quite a deal of reminiscing about past life which makes the film slightly more interesting at this stage – although many audiences, most audiences?, will have left the film by this.

THE PAST/ LE PASSE

France/Iran, 2013, 130 minutes, Colour.
Berenice Bejo, Tahir Rahim, Ali Mossaf.
Directed by Asghar Farhardi.

Asghar Farhardi has proven himself to be one of the world’s best directors, and one of the best directors to come from Iran.

In his film, About Ellie, he portrayed a group of adult characters interacting on a holiday, something tragic occurring and the repercussions on the life of the group and their perceptions of Ellie. Then came A Separation, impressing audiences at the Berlin Film Festival, winning the main prize (and winning the Ecumenical Prize also), then moving to international distribution, receiving praise everywhere, leading to many awards including Golden Globe and Oscar.

The Past is his next film, with audiences having high expectations. They will not be disappointed. This is a very fine film, continuing in the vein of his previous films and their close study of individuals and interrelationships, often low-key, set within a comparatively small world, but nevertheless showing an extraordinarily humane sensitivity and creating believable characters with both strengths and weaknesses.

The film was made in France, the director not speaking any French but, nevertheless, eliciting wonderful performances from his cast. Berenice Bejo as Marie won the Best actress award in Cannes, 2013 (where The Past also won the Ecumenical Award). She is most persuasive in a very complex role. And the men are impressive as well, Ali Mossaf as Ahmad,her former husband arriving in Paris to sign divorce papers, and Tahir Rahim as Samir, the local drycleaner with whom she is having an affair and wants to marry, especially because she is pregnant.

The performances by some of the children in the film are outstanding, making us wonder how on earth the director elicited such action, feelings, extraordinary expressions of emotions, especially of the young boy). They include Marie’s teenage daughter, as angry a character as you will ever see on screen, resenting her mother and the new liaison, its effect on her, on Samir’s little son, because they have both moved in with Marie. And the performance of the little boy, Samir’s son, is absolutely convincing and passionate, in anger, in wilfulness, ultimately in affection.

All seems well at the airport when Marie welcomes her former husband who had abandoned her four years earlier and returned to his native run Iran. There are smiles, but soon the smiles will disappear, especially as we wonder at Marie’s motivation in inviting her ex-husband back when there is no legal need. And she expects him to stay at her house rather than a hotel which makes it very uncomfortable for him – and the rest of the family. She also wants him to talk to the teenage daughter, her daughter from a previous liaison, but who admires him and listens to him as well as argues with him. Because she does a number of very imprudent actions which have deep effects on the other characters, we feel for her, are aghast at what she has done, but trust that with her confessions she will be able to recover and continue on her life.

Samir owns a dry-cleaning shop and the action moves there later in the film as he returns with his son. In fact, he is married, and the question arises whether his wife knew about the affair or not, if she found out, because she attempts suicide in the shop, complicated by the actions of the young woman who works as an assistant in the shop. As the film opens, she is in hospital in coma.

While all this is happening within a very short space of time and in a rather narrow area of Paris, we see that there are universal themes in relationships, in vindictive attitudes, and the consequences of choices for children, and responsibilities for the consequences, sometimes like attempted suicide, for those not immediately involved in the crises.

The performances are excellent, quite believable, especially in audiences responding sympathetically. The dialogue is powerful, and very credible. In fact, the film does offer a mirror to us all, loves, fidelities, infidelities, rancour, vengeance, angers, with an Iranian sensibility which is quite universal.
One of the best films of any year.

1. The impact of the film? The director and his dramas? Serious, small, focused, but with many layers?


2. The Iranian background of the film, characters, a character coming from Iran? A pervasive Iranians atmosphere?

3. The Paris setting, a French production, the feel of France and Paris? The airport, homes, suburbs, train lines? The dry cleaners? Hospital? Cafe? Interiors? The Paris streets? An authentic feel for characters, story?

4. The title? For Ahmad and Marie? For Samir and Celine? For the children? The past of the past? The immediate past? Dealing with the past and letting it go?

5. The introduction to Ahmad, at the airport, coming from Iran, meeting Marie, pleasant, smile, waiting? An immediate argument, his leaving four years earlier, the reasons, living in Iran? The past and his depression? His marriage and its failure? Maria wanting the divorce? Lea and Lucie?

6. Marie and her motives, for the divorce, her affair with Samir, wanting to marry him, pregnant? At home, relationship with the children? Fouad and his living with her? Celine and the suicide attempt? The effect? The later revelations?

7. Ahmad’s questions, wanting to stay at the hotel, Marie wanting him at home, his discomfort, sharing the room with Fouad, the boy’s reactions? Lea and his bonds? Marie wanting him to talk to Lucie and sorting her out? Going to the school, the parking problems, at home, the meals, bonding with his daughters? Talking with Samir, gradually being informed about Celine, going to the office with Marie and signing the papers? Matter of fact? Going to see his friend at the restaurant, memories, talking, the man’s wife and her help? Lucie going there and their helping her? Ahmad going and handling the situation?

8. Marie and Samir, the relationship, the dry-cleaning shop, the assistant and her role? Fouad and his travelling with his father, in the train? Meeting Ahmad? His wife and the suicide attempt? At the hospital?

9. The daughters, Lucie and her age, her experience, attitude towards her mother, coming home late, at school, disapproving of the relationship, her absences? Ahmad and his being a father-figure, going to the restaurant? The revelation of what she had done about the emails and sending them, her feelings of guilt, the effect, running away, Ahmad pursuing her, helping her, reassuring her? Marie’s anger with her daughter and ousting her?

10. Fouad, a strong performance from the little boy, his age, comfortable with the girls and at Marie’s house, his relationship with his father, his tantrums, his father reprimanding him? His dealings with Ahmad? His feelings, in this situation?

11. Celine, knowing about the affair or not, thinking Samir was having an affair with his assistant? Going to the shop, the anger about the stain on the dress? The assistant and her being put down by Celine, in danger from immigration because she was illegal? The emails and her blame? The wife and the suicide attempt in the shop? Samir, his anger, ousting the assistant?

12. Marie, her future? Pregnant, marrying or not, relationship with her daughters? Ahmad and his return to Iran? Samir and marrying Marie or not?

13. His visit to the hospital, the perfumes, trying to revive his wife – and the tear from her eye?

THE PAPERBOY

US, 2012, 122 minutes, Colour.
Zac Efron, Matthew Mc Connaughey, Nicole Kidman, John Cusack, Macy Gray, Scott Glenn, David Oyelowo.
Directed by Lee Daniels.

This is a world that most of us do not enter too often. And, at the end (as well as during), we might be wondering what we are doing here.

On the immediate surface, it looks like one of those journalistic films where reporters come to a town to investigate how the law was applied in a particular case. That certainly happens. However, what we are treated to is a motley group of people with problems (real Problems) who interact strangely with one another and who give us a picture of some of the more bizarre aspects of human nature.

It is the American South in the latter 1960s. For some, that might explain it at once. This is a South where many of the white inhabitants are still as racist as in slavery days (probably not acknowledging that these days should have gone long since) – and that includes one or other of the main characters. Perhaps it’s the heat or the steamy atmosphere, but sexual behaviour, of all kinds, seem to seep through all the time. With the racism and the sensuality, the investigative journalism takes second place.

But, there is something fascinating about this kind of story, this kind of treatment, this kind of expedition into somewhat forbidden territory. The Paperboy definitely keeps one attentive unless one is immediately repelled and that is that.

The film is narrated by the family maid, Anita (Macy Gray), so already the screenplay offers a perspective from the African American perspective, from a woman who has served the family, been accepted, been humiliated. Director and co-writer, Lee Daniels (Precious) is also African- American.

The focus is on Jack (Zac Efron), younger brother of journalist Ward (Matthew Mc Connaughey). He has been a scholarship swimmer but has dropped out and just seems to be lazing around the house. He leaps at the opportunity to drive his brother around during his investigations. His brother is accompanied by a black journalist (David Oyelowo), who poses as a Londoner to try to maintain some status.

But the straightforwardness of the venture veers off course with the arrival of Charlotte, an easy-going kind of woman who corresponds with prisoners and believes that the accused murderer of a local sheriff, whom the journalists want to have a fair trial, is the man of her dreams – just on the evidence of his letters.

Things go awry.

Charlotte meets her would-be fiancé, Hilary (John Cusack) who has more than a lecherous eye. Jack becomes infatuated with Charlotte, no matter what. Ward has some dark secrets which lead to him being beaten up. And, in keeping with the pessimistic tone of the film, there are no real happy endings.

One of the compelling curiosities of the film is to see stars playing against familiar type. Nicole Kidman stands out as the sluttish Charlotte. John Cusack, usually a goodie, is not so convincing as the loathsome Hilary. Matthew Mc Connaughey plays against his laid-back romantic image. Zac Efron proves that he does not have to stay in High School Musical territory.

This is an excursion into a deep South of contemporary (that is of the 1960s) decadence.

1. A story of the American South? The 1960s? Issues of racism, prisons, capital punishment? Journalism? families and relationships?

2. The title, the reference to Jack, his perspective on characters and events? His place in the family, memory of his mother? Treatment by his father? Getting a job as the journalists’ driver, visiting the prison, meeting Charlotte, attraction to her, his growing up?

3. The Florida setting, 1967, the atmosphere, homes, the prisons, newspaper offices, the contrast with the woods, the lake, the isolation, the rivers? The musical score?

4. The framework of the story: the maid, the interview, her response to questions, her perspective, experience, the past? The treatment of African- Americans? Her role as a servant in the house? Treatment of her, friendship and Jack, respect from Ward, the father and his new wife? Her condescending attitudes? The film returning to her interview throughout? Her observations of situations, the characters, the issues?

5. Zac Efron as Jack? His place in the family, age, university career, the swimming sequences, his behaviour, ousted from the University? At home, not having anything to do? In his room, the maid coming in, his being in his underwear, the talk? The maid liking him, at ease, banter, doing his washing? His use of the word ‘nigger’, the embarrassment, Ward urging him to apologise? His apology? His not being considered sufficiently grown-up?

6. Ward and Yardley, the reputation as journalists, their arrival, the car, Jack picking them up, Yardley and his sense of himself? In the family, Yardley as black in this situation and time? Ward at home, his relationship with his father, discussions about the papers? Relating to the new wife? The aim with the article and the research? Van Wetter and the accusations, innocent or not? The death penalty? The campaign against it? Ward and his visit to the isolated community, Van Wetter’s relations, the hostility, the cousin and his wife and children, their work in the swamps? Ward and his visits to Van Wetter in prison?

7. Yardley, pretentious, his manner, behaviour, at the table, his work in the investigation, his pride as a writer, visits to the prison and his sardonic remarks, his response to Charlotte, the casual sexual encounter? His getting information about the alibi but not researching it properly? His editing Ward’s text? Jack and the confrontation? Young revealing the truth about himself, not from London, and the reason for his pretences? His relationship with Ward, the sexual encounter and the consequences?

8. Charlotte, seeing her at work with the other ladies? Writing letters to prisoners? The romantic attitude? Idealising Van Wetter? her vampish attitudes? The clothes, the dress, the prison? Meeting Van Wetter for the first time, her sexual behaviour, his response, in the presence of the others? The second visit and his criticising her for not wearing a dress? Charlotte with Ward, the letters, the documentation? The sexual encounter with Yardley? The friendship with Jack, response to him, her knowing what he wanted, his swimming, the jellyfish, the recommended treatment, urinating on him, the newspaper headlines? Initiating the sexual encounter, letting Jack go? Marrying Van Wetter?

9. Van Wetter itself? The opening, the killing of the sheriff and the maid’s description? His being visualised, shot, crawling, his reputation, death? Van Wetter imprisoned, redneck attitudes? The sexual behaviour with Charlotte? His cousins vouching for him, the jobs and deliveries? Getting out, marrying Charlotte, his brutal treatment of her, her isolation? The visit of Ward and Jack? Confrontation, the guns, stalking in the river? Killing Ward and Charlotte? His own death?

10. The father, the paper, the tradition? The woman from New York, the editing, taking over, at the meals, chicken with her fingers? Marrying the editor? Talk about stories, attitude towards them advertising, Jack and his headlines about the jellyfish?

11. Ward the , his attempt to tell Jack about his sexual orientation, going to the city, the bar, the pickup, the violence, the sadistic behaviour, his injuries, abandoned, Jack’s reaction, getting him to hospital?

12. Jack, the infatuation continuing with Charlotte? Going to visit her? The audience seeing the brutality towards her? Jack, the confrontation? Ward dying? Van wetter dying? The bodies of the two in the boat?

13. The film’s impact strong, melodrama, journalists’ story, violence, prison, the death penalty, racism and the American South?

THE PAPERBOY

US, 2012, 122 minutes, Colour.
Zac Efron, Matthew Mc Connaughey, Nicole Kidman, John Cusack, Macy Gray, Scott Glenn, David Oyelowo.
Directed by Lee Daniels.

This is a world that most of us do not enter too often. And, at the end (as well as during), we might be wondering what we are doing here.

On the immediate surface, it looks like one of those journalistic films where reporters come to a town to investigate how the law was applied in a particular case. That certainly happens. However, what we are treated to is a motley group of people with problems (real Problems) who interact strangely with one another and who give us a picture of some of the more bizarre aspects of human nature.

It is the American South in the latter 1960s. For some, that might explain it at once. This is a South where many of the white inhabitants are still as racist as in slavery days (probably not acknowledging that these days should have gone long since) – and that includes one or other of the main characters. Perhaps it’s the heat or the steamy atmosphere, but sexual behaviour, of all kinds, seem to seep through all the time. With the racism and the sensuality, the investigative journalism takes second place.

But, there is something fascinating about this kind of story, this kind of treatment, this kind of expedition into somewhat forbidden territory. The Paperboy definitely keeps one attentive unless one is immediately repelled and that is that.

The film is narrated by the family maid, Anita (Macy Gray), so already the screenplay offers a perspective from the African American perspective, from a woman who has served the family, been accepted, been humiliated. Director and co-writer, Lee Daniels (Precious) is also African- American.

The focus is on Jack (Zac Efron), younger brother of journalist Ward (Matthew Mc Connaughey). He has been a scholarship swimmer but has dropped out and just seems to be lazing around the house. He leaps at the opportunity to drive his brother around during his investigations. His brother is accompanied by a black journalist (David Oyelowo), who poses as a Londoner to try to maintain some status.

But the straightforwardness of the venture veers off course with the arrival of Charlotte, an easy-going kind of woman who corresponds with prisoners and believes that the accused murderer of a local sheriff, whom the journalists want to have a fair trial, is the man of her dreams – just on the evidence of his letters.

Things go awry.

Charlotte meets her would-be fiancé, Hilary (John Cusack) who has more than a lecherous eye. Jack becomes infatuated with Charlotte, no matter what. Ward has some dark secrets which lead to him being beaten up. And, in keeping with the pessimistic tone of the film, there are no real happy endings.

One of the compelling curiosities of the film is to see stars playing against familiar type. Nicole Kidman stands out as the sluttish Charlotte. John Cusack, usually a goodie, is not so convincing as the loathsome Hilary. Matthew Mc Connaughey plays against his laid-back romantic image. Zac Efron proves that he does not have to stay in High School Musical territory.

This is an excursion into a deep South of contemporary (that is of the 1960s) decadence.

1. A story of the American South? The 1960s? Issues of racism, prisons, capital punishment? Journalism? families and relationships?

2. The title, the reference to Jack, his perspective on characters and events? His place in the family, memory of his mother? Treatment by his father? Getting a job as the journalists’ driver, visiting the prison, meeting Charlotte, attraction to her, his growing up?

3. The Florida setting, 1967, the atmosphere, homes, the prisons, newspaper offices, the contrast with the woods, the lake, the isolation, the rivers? The musical score?

4. The framework of the story: the maid, the interview, her response to questions, her perspective, experience, the past? The treatment of African- Americans? Her role as a servant in the house? Treatment of her, friendship and Jack, respect from Ward, the father and his new wife? Her condescending attitudes? The film returning to her interview throughout? Her observations of situations, the characters, the issues?

5. Zac Efron as Jack? His place in the family, age, university career, the swimming sequences, his behaviour, ousted from the University? At home, not having anything to do? In his room, the maid coming in, his being in his underwear, the talk? The maid liking him, at ease, banter, doing his washing? His use of the word ‘nigger’, the embarrassment, Ward urging him to apologise? His apology? His not being considered sufficiently grown-up?

6. Ward and Yardley, the reputation as journalists, their arrival, the car, Jack picking them up, Yardley and his sense of himself? In the family, Yardley as black in this situation and time? Ward at home, his relationship with his father, discussions about the papers? Relating to the new wife? The aim with the article and the research? Van Wetter and the accusations, innocent or not? The death penalty? The campaign against it? Ward and his visit to the isolated community, Van Wetter’s relations, the hostility, the cousin and his wife and children, their work in the swamps? Ward and his visits to Van Wetter in prison?

7. Yardley, pretentious, his manner, behaviour, at the table, his work in the investigation, his pride as a writer, visits to the prison and his sardonic remarks, his response to Charlotte, the casual sexual encounter? His getting information about the alibi but not researching it properly? His editing Ward’s text? Jack and the confrontation? Young revealing the truth about himself, not from London, and the reason for his pretences? His relationship with Ward, the sexual encounter and the consequences?

8. Charlotte, seeing her at work with the other ladies? Writing letters to prisoners? The romantic attitude? Idealising Van Wetter? her vampish attitudes? The clothes, the dress, the prison? Meeting Van Wetter for the first time, her sexual behaviour, his response, in the presence of the others? The second visit and his criticising her for not wearing a dress? Charlotte with Ward, the letters, the documentation? The sexual encounter with Yardley? The friendship with Jack, response to him, her knowing what he wanted, his swimming, the jellyfish, the recommended treatment, urinating on him, the newspaper headlines? Initiating the sexual encounter, letting Jack go? Marrying Van Wetter?

9. Van Wetter itself? The opening, the killing of the sheriff and the maid’s description? His being visualised, shot, crawling, his reputation, death? Van Wetter imprisoned, redneck attitudes? The sexual behaviour with Charlotte? His cousins vouching for him, the jobs and deliveries? Getting out, marrying Charlotte, his brutal treatment of her, her isolation? The visit of Ward and Jack? Confrontation, the guns, stalking in the river? Killing Ward and Charlotte? His own death?

10. The father, the paper, the tradition? The woman from New York, the editing, taking over, at the meals, chicken with her fingers? Marrying the editor? Talk about stories, attitude towards them advertising, Jack and his headlines about the jellyfish?

11. Ward the , his attempt to tell Jack about his sexual orientation, going to the city, the bar, the pickup, the violence, the sadistic behaviour, his injuries, abandoned, Jack’s reaction, getting him to hospital?

12. Jack, the infatuation continuing with Charlotte? Going to visit her? The audience seeing the brutality towards her? Jack, the confrontation? Ward dying? Van wetter dying? The bodies of the two in the boat?

13. The film’s impact strong, melodrama, journalists’ story, violence, prison, the death penalty, racism and the American South?

ASTERIX AND OBELIX: GOD SAVE BRITANNIA/ AU SERVICE DE SA MAJESTE

France, 2013, 106 minutes, Colour.
Edouard Baer, Gerard Depardieu, Catherine Deneuve, Fabrice Lucchini, Valerie Lemercier, Danny Boon.
Directed by Laurent Tirard.

Asterix and Obelix have been popular for many decades. Appearing in comic strip form, their adventures were expanded into comic books. The next step was animated film versions of the stories. In the 1990s, there was a life-action version, which proved very popular. This is the third sequel.

The main common denominator is the rotund Gerard Depardieu, dressed and made to look like the cartoon Obelix.

The basic idea behind this story is very amusing, the rivalry and clashes between the English and the French. After Caesar has conquered Gaul, he decides to conquer Britain. However, he finds the British very hard to deal with. Caesar is played by the top French actor, Fabrice Lucchini.

There are quite a lot of English characters in the film and they all speak with a very Anglicised French accent, including Catherine Deneuve as the Queen, modelled on Queen Elizabeth herself, her look and manner, clothes, but with small poodles.

The British enlist the aid of Asterix and his special potion which gives enormous strength to people and will enable the British to defeat Caesar. There are various adventures along the way, including the potion being stolen. This leads to a fair amount of subterfuge and the soldiers having to use their own strength to defeat the Romans.

An added bonus is the presentation of life in London, modelled very much on images of the 18th century, clothes, shops, manners. And there is also a presentation of the British upper-class.

Always humorous, this is often a laugh-aloud comedy.

1. The popularity of the comics? The French animated versions? The live-action versions?

2. The success of the live-action films, layouts and creativity, locations, the characters and their look of the cartoon designs, parodies, situations and actions?

3. The title, relationships between Britain and France, humorous perspectives? The clashes? Caesar’s invasion of Gaul? The history? Caesar invading Britannia? Intentions? Being thwarted? His disdain for the British? The irony of Asterix and his friends being called to the aid of Britannia?

4. The humour in the names? the humour and the British characters and their British French accents? Including the Queen? The comparison with Queen Elizabeth? The look of Britain, the traditions, hot water and the introduction of Indian tea, the shops, the upper classes? The Queen and her assistant going to call to enlist the aid of Asterix?

5. Caesar, the parody, his vanity, his assistants, the soldiers, the invasion, the setting up of camp, lavish? His plan, the attack, his supervising the battle, the soldiers and their military formations, the Gauls and their power? Defeat?

6. Britain, the Queen, Catherine Deneuve and her impersonation of Queen Elizabeth? The little dogs? The manner, the Knights and their titles, the emissary, his reports?

7. The message to the Gauls, audience familiarity with Asterix and Obelix? Their village, Asterix in charge of Obelix and his humour? The English plea? The decision to go, Obelix not invited? His going nonetheless?

8. The special potion, carrying it to Britannia, Asterix and his friendship, telling the truth to Obelix, Obelix being hurt, Obelix not being attracted to women? Courting women – and failing?

9. The contemporary humour with the refugee, Indian, his help, his introduction of tea?

10. The potion and its effect, its stolen, search, recovering it, the reality of its power and effect? The pretence and its success? The fighters using their own strength?

11. the humour of the picture of life in Britain, the 18th century style, the manners, the visit to the upper-class, a heroine, the tutor, the romance with Obelix?

12. The battles and the visuals?

13. The humour, the quips, the funny lines, satire, parody? An entertaining and happy experience?

RIDE ALONG

US, 2014, 105 minutes, Colour.
Kevin Hart, Ice Cube, John Leguizamo, Bruce M cGill, Laurence Fishburne, Tika Sumpter.
Directed by Tim Storey

Ride Along is an American term, perhaps universal, for someone accompanying a police officer in his rounds. This is what it means here in this very American comedy.

Ride Along was extremely successful at the American box office – perhaps the reason that it had featured release in other countries around the world. While it is specifically geared to the American audience, especially the African- American audience, it is much more accessible than some of the other comedies, especially some in the past which have featured Ice Cube.

One of the pluses (perhaps minuses) for the film is the presence of comedian Kevin Hart. For some audiences, he will be particularly irritating with his patter and his stupidities. For others, he will be hilarious. And, for others, he may be an acquired taste. Since he is going to appear in a number of upcoming films, his reputation and appeal will be tested.

He is the comic figure in this rather odd couple, playing Ben, the comedian, to Ice Cube’s straight man. And Ice Cube plays it very straight indeed. His James is a straight arrow policeman in Atlanta, tends to go out on his own, trying to find and confront a big drug dealer, Omar. One entertaining piece of the film is that when Omar eventually turns up, he is played by Laurence Fishburne. James has a sister who is in love with Ben. James can’t believe it and says he will only give his blessing if Ben accompanies him on a ride along.

The ride along provides most of the comedy as Ben makes out that he is a top policeman and gets himself entangled with bikies, one of whom is woman whom he mistakes as a man; goes to a park to interrogate a boy about his criminal brother who gets the better of him; accosts a drunken man in the supermarket; and goes to a gun range and tries out guns beyond his capacities with kickback results.

When he discovers that he has been set up for jokes at his expense and destined to fail, he decides he will play along and goes to the next episode, ultimately finding out that it is real and that he was dealing with actual gangsters.

Of course, Ben is going to prove himself and this is the case when James confronts the drug gang and Ben steps in to handle the situation by impersonating Omar – which, whether we like Kevin Hart or not, is quite funny.

All’s well that ends well, except the final boo-boo that is typical of Ben.

Anyone for Ride Along 2 – more than probably. (Actually, it is already listed in the IMDB for 2016!)

1. A popular comedy? US box office? The American audiences? Afro-Americans? Worldwide? Characters and style?


2. The title, Ben riding along with James?

3. The Atlanta settings, homes precincts, the situations with Ben and James Parkes, clubs, streets, the warehouse?

4. Stuns, the appeal, the background of stand-up comedy, repartee, the comic man, the straight man Western Mark the odd couple? The musical score and? It’s who? Its moods?

5. The comic influences, Richard Pryor, Eddie Murphy? Bed Boys and police partner films?

6. Introduction to be, or good, incessantly talking, playing computer games, the fire, the encounters with James? His love Angela, the engagement?

7. James, his police work, straight arrow, his boss? Santiago and his partner? The situation with over, his work in time to discover her mother’s identity,
arrest him?

8. James’s reaction to Ben, worry about his sister, their adoption background? Only giving his blessing it been were to ride along? Ben applying to the police Academy? The two working of each other comedy and serious scenes?

9. The situations on the ride along, the bike is staking the, the discussions with the boy in the Park about his brother, going to the gun range, wanting to fight the guns and the reaction? Going to the disturbance in the supermarket, the drunk man, stripping, honey? Is offering clues James?

10. Back at the present, James of the others joking about the set up? Interviewing? The new 126 going, his that is real, his performance with the gangsters, the reality, the shots, the arrests?

11. The tip at the warehouse, the James to work ‘handed? The discovery that Santiago and his part? Ben hearing this, deciding to perform as Omar, the comedy of his impersonation of big gangster, his pint-size, the jargon, the gun, the comedy of people believing him? The real Omar arriving? Getting James
the gun, the shootout, the grenades? Bed with the hole in his leg?

12. Angela, love for their, 60, playing the computer games, the friends and their warning, the mother of the group coming to her house, tying, Ben James their tactics, getting the house, fights, the? Omar taken off in the ambulance?

14. The boss, commending James? James giving his blessing to Ben for the wedding?

15. The barbecue, the final comedy, the fire!

PRISONERS

US, 2013, 156 minutes, Colour.
Hugh Jackman, Jake Gylenhaal, Paul Dano, Maria Bello, Viola Davis, Terrence Howard, Melissa Leo, Len Cariou.
Directed by Denis Villeneuve.

Prisoners is one of the strongest dramas of 2013. It has been directed by Canadian Denis Villeneuve, who made a great impact with his Oscar-nominated film, Incendies. He has not failed in his follow-up film.

There are many prisoners in this film, some held in abduction and detention, some trapped in their own personalities.

On paper, the plot about the abduction of two little girls might seem fairly straightforward. The police investigate. The fathers become involved. The mothers share in the grief. The search goes on over many days and the audience is always unsure of the outcome.

The film opens with two hunters stalking a deer in a wintry November setting. The soundtrack has a recitation of the Lord’s Prayer. There will be themes of hunting during the film. There will be some Christian themes.

Two families celebrate Thanksgiving together, the Dovers and the Birches. Keller Dover is played by Hugh Jackman in one of his best roles and Maria Bello is his wife. The Birches are played by Terrence Howard and Viola Davis. Before the meal the two little girls go for a walk and wamt to play on a camper van parked in the street. After the dinner, they disappear as does the camper van.

The film is very powerful showing the desperation of Dover. An intense man, a carpenter and builder, he is a reformed alcoholic and a devout Christian, listening to tapes in his car. Angered by the seeming lack of effort by the police, he takes the search into his own hands with brutal and devastating results. He persuades his friend Franklin Birch to join him to find out where the girls have been him.

In the meantime, it is Jake Gylenhaal as the local detective who has never lost a case using police methods to try to track down the lost girls. It is one of Jake Gylenhaal’s best performances also, a loner, serious, with several tattoos, and no back story. It is inevitable that the two men will clash.

There has been controversy about the torture sequences in the film, whether they are too brutal, or if they bring home to the audience what is truly happening in the interrogation. Many have seen this plot line as echoing Americans taking people captive, interning them, torturing them, the superior Americans, righteous, against those they perceive as enemies, right or wrong. And the possibility is always there that they are wrong.

Central to the film is the man accused of abducting the girls. An accident in his early life has meant that he has an IQ of the boy about 10 years old. Played by Paul Dano, a versatile actor who does not always take on sympathetic roles, the audience is puzzled about his role in the taking of the girls because there seems no real evidence against him. Which makes the interrogation more brutal.

Another suspect enters the picture and is pursued by the detective, interrogated, his house searched, but the connection is not what the audience expects. In fact, by the time the film has ended, we realise that there were many clues given as to what had happened, especially in the subplot of an alcoholic priest and a dead body in his basement and his story of a man wanting to make a confession about abductions. One of the difficulties in investigations is the credibility of the witnesses, and a presumption that they will be telling the truth. Here, vicious lies are told.

There is a strong supporting cast with Len Cariou as the priest and, especially the very versatile actress, Melissa Leo, who appears in a great many films, several in 2013, very different roles and characters. But it is the focus on Hugh Jackman’s strong character and the counterbalance of Jake Gylenhaal’s detective which makes this a very strong drama, even to the final moments, which incorporate yet another clue and create an uneasy sense of what is to follow.

A dark exploration of human nature, evil choices begetting evil consequences. Sombre but strong.

1. Acclaim for the film, drama, the script, Oscar-nominated photography, the performances? The work of the director?

2. The title, meaning, as applied to the abducted girl, to the tormented father, to the alleged abductor? To the community? To Loki? Holly Jones and the basement, and the maze?

3. The town, Thanksgiving, the American fall, wintry? Homes, the apartments, streets, the police precincts, cafes, the derelict unit and interiors, the basement of the maze? The feeling of place? The musical score?

4. The opening, Dover and his son, shooting the stag, praying the Lord’s prayer, the father, commending his son? Father-sudden relationship?

5. Families, working together, friendship, neighbours, going up to the Thanksgiving dinner, the ordinariness, the little children playing, the older children and their talking, the role of supervision? Seeing the van in the street, the driver, suspicions? This leading to further suspicions after the abduction?

6. The characters of the family members, Dover and his strength, friendly? Grace and her support? Frank the, African- American, Nancy? Hosting the dinner? The older children, the friendships? Playing? The loss and the search?

7. The van, playing on it, gone, the police finding it, examining it, no evidence of Alex and the children?

8. The anguish, Dover upset, Grace opting out, Franklin handling the situation, Nancy? The older children? The son in the house and looking after Grace?

9. Dover and the police, his being upset, the search of the woods, everybody helping?

10. The introduction to Loki, his reputation, not that much information about his past, alone for his meal on Thanksgiving? Past success? His men? Going into action, method, the search, collecting information, interviews? His superiors and the issues of funding, giving advice, his losing his temper? His interrogations, coming on strongly? The encounters with Dover, Dover’s anger, urging him on?

11. The van, Alex, his mental state, reserved in speaking, the interrogations, not giving them information? Holly Jones as his aunt, taking him from the precinct, the alleged comments, Dover’s angry reaction, causing an incident, the attack? Dover and blame?

12. The investigation leading to the priest, the information about the bones, the man coming to confess? The priest and his drinking, going to the precinct, questioning?

13. Dover, abducting Alex, going to the abandoned premises, his presuming he was right, the brutality, treatment? Tying Alex up, the torture over the days, the brutality? Alex, the blood, injuries, tied up, not giving any information?

14. Enlisting Franklin, his initial reaction, acquiescence, the continued torture, the desperate interrogation of Alex for the whereabouts of the girl? Nancy and her reaction to what was happening and to visit, the reaction, hard stance?

15. Dover and his lies to his family, alleging he was searching, torturing Alex? His angers, Loki following him, buying the alcohol, the argument with Loki, his drinking? Grace’s reaction, fearing someone outside the house? Dover and his demands of his son?

16. Holly Jones, her story, her husband, the death and their grief, turning against God, the adoption, Alex as their son? The religious dimension? The irony of the husband going to confess? His death? The photos of the husband and the children?

17. Further stories of abductions, the couple still searching after years – and the irony that it was Alex who was taken? Reunion?

18. Vigil, the suspicious man, Dover pursuing him? information from the store that he was buying clothes, the map of various victims, his interrogation, background of abduction, shooting himself and Loki’s shock? The buried dolls?

19. The return of Franklin’s and Nancy’s daughter, in the hospital, Dover and his desperation to question her?

20. The photos of clothes, Dover identifying some as his daughter’s?

21. Confrontation between Dover and Holly, her pleasant manner, inviting Dover in, the discussion, talking about her husband? The change, the gun, the talk about the maze? Dover going down, calling for his daughter? Finding the whistle?

22. Holly Jones, driving the car over the entrance to the maze?

23. Loki’s visit, talking with Holly Jones? Her death?

24. Loki, the aftermath, talking to the families, Dover vanishing, Grace realising that if it was found, he would go to prison? Thinking that he had fled?
Wanting the search of the site, the workers digging and finding the ice and snow too hard? Loki staying and heasring the whistle? An apt ending?

25. The overall impact of the film about families, about sexual predators, about American violence, imprisonment and torture, responsibility, police investigations, religious motivation, anti-religion?

L'HISTOIRE D'ADELE H (THE STORY OF ADELE H)

France, 1975, 98 minutes, Colour.
Isabelle Adjani, Bruce Robinson, Sylvia Marriott, Joseph Batchley.
Directed by Francois Truffaut.

Francois Truffaut is a humane writer and director, able to tell a story, create setting and atmosphere and explore character. All of which he has done superbly in a short film on Adele Hugo, the novelist's daughter. The unusual setting is Halifax, Nova Scotia, in 1863, presented effectively with great attention to detail. We are made to live Adele's romantic dreams which become obsession, her retreat into a private and lonely world of madness and an empty life contrasted with the publicly acclaimed career of her father. Isabelle Adjani portrays Adele's decline impressively. though she elicits sympathy, rather than empathy, for this unfortunate victim of life?

1. The quality of this film? Its reputation? Its overall impact? The reasons for critical and popular admiration?

2. The film's emphasis on the fact that it told the truth about people? Why was this? Would audiences have responded differently to fiction? Truth being stranger than fiction? The emphasis at the end on dates, Victor Hugo and his daughter, funerals, the nature of deaths and funerals, and funerals and memory?

3. How well did the film create the world of the 1860s? The presentation of the world and the map, the Halifax setting and the detail of the wharves, the streets, shops and people? Did this help to understand Adele? In a familiar and yet a strange world? Away from the security of France? Away from home?

4. Isabelle Adjani's performance? Its empathy and range of moods and feeling? Did she make Adele a credible character? The initial seeing her in the docks, and her slipping ashore? Her sensitivities on arrival, going to board? The mystery about her attitudes and the gradual way that it unfolded?

5. How successful was the film in gradually unfolding the character and the mystery of Adele? How much sympathy did she elicit from the audience? How much puzzle and antipathy? Her obsession and madness and audience sympathy? The gradual revelation of her story, for instance to her landlady, to the people at the bank, to the bookseller, to the lawyer, to Mrs. Sanders? How kindly and understanding were people in response? What did she learn from them?

6. The explanation of her love and its obsession? The emotional effect of her being jilted? The film's filling in the background of the island of Guernsey? The romantic reasons for Adele's pursuit of her love? Why did it grow into an obsession? Into a desperate pursuit? The whole focus of her attention on this? Her correspondence with her father, her visits to the bank to get money? Her detailed writing down of her experiences? The film's technique of focussing very much on close-up for our understanding of her? The details of her daily life?

7. What kind of nun was the English soldier? In himself. as a soldier, his easygoing way of life, especially with women? His assistant who gave him advice? The effect of the encounter with Adele? His explanation of his not following up his love, especially with the disapproval of her father and his reputation? Was he in any way an admirable character? Was it comprehensible why Adele was so in love with him?

8. The importance of the gradual revelation that Adele was the daughter of Victor Hugo? The expectations in audiences about Victor Hugo his role in France and influence, politics and exile? The effect on people, the money situation,, the doctor discovering the truth? Her then using her name? The announcement in the paper about her engagement? The death of her father etc.? What was the film trying to communicate about the relationship of father and daughter and the mutual influence?

9. The significance of Adele's writing her journal? The scenes where she wrote this?

10. The importance of the encounters of Adele with her lover? His fear? His trying to explain? Her inability to understand? The reason for her visit in the disguise as a man and its effect on him? Her watching the military exercise by the sea etc.? What was the cumulative effect on him? How did it eat into her?

11. How well did the film show her retreating more and more into her own world? Creating her own fantasies? Understanding people in the light of her fantasies? Her changed appearance, growing wilder and looking after herself less, wearing glasses etc.? The impact of her illness? Her stories to Mrs. Sanders and her leaving Mrs. Sanders? The effect of her wandering about Halifax, for example, the scene at the markets and her avoiding Mrs. Sanders? The ultimate humiliation of her going to the Poorhouse, falling out of bed, holding on to her possessions? How mad was she and why?

12. The transition of the film from Halifax to the Barbados? Her lover establishing his military way of life there? Marriage? The prospect of Adele arriving and his trying to cope with it? Her arriving in Barbados as decrepit and ill-kept? Completely mad?

13. The pathos of her walking the Barbados street in rags, open to ridicule, collapsing? The prospect of her returning to France with her father's reinstatement? The kindliness of the Barbados woman writing the letter and taking care of her? The ultimate irony of her walking past her lover and not recognising him?

14. How important was the epilogue? The explanation of the famous father, his role in France, his death and the people at his funeral, the contrast with her forty years of life in madness?

15. Her romantic achievement and its success? That she would pursue her lover across the seas? The grim irony of reality? The pathos of the picture of her grave?

16. How well did the film explore themes of love, hatred, father and daughter relationships, love and self-giving in love, obsession, the meaning of life and its fulfilment?

17. The insight into people? Into history? How true was the film?

I SPIT ON YOUR GRAVE/DAY OF THE WOMAN

US, 1978, 101 minutes, Colour.
Camille Keaton, Eron Tabor, Richard Pace.
Directed by Meir Sarchi.

The principal reason for watching I Spit on your Grave is the controversy that it caused in the 1970s and 1980s. It was denounced by many groups because of its subject matter and exploitative treatment. Noted critic, Roger Ebert, denounced it as the worst film have made. On the other hand, many groups supported the film, especially women’s groups who commented on the appalling treatment of women by men.

The director said that his story was based on his own experience of finding a raped woman and taking her to hospital and reporting the issue to the police who were ineffectual. His original title for his film was Day of the Woman, far less exploitative than the title which was used when the film became controversial.

Working with a small budget, the director has made a film which is more technically polished than might have been anticipated. Camille Keaton plays the woman, an author who rents a summer house in the countryside to write a novel. When she arrives at the town, she feels up her car and sees the owner of the garage as well as two men who would later be called slackers. She goes to her house, settles in comfortably and begins to write. Because she is in the remote countryside, she does go swimming in the nude but generally wears her bikini outside.

Her groceries delivered by Matthew, who is mentally and emotionally impaired. He hangs out with the idle men and the garage owner. Before long, they are prying on the woman, which leads to their raping and sexually abusing her. The men tried to force Matthew to lose his virginity in raping her.

The rape scenes are quite explicit, sometimes prolonged. They are meant to be very ugly, not in the least attractive to men in the audience, at least normal men in the audience got. Ultimately, after the men terrorise the woman, they set up Matthew to have sex with her, but he fails.

The film then turns into a vengeance drama, giving a lot of attention to the suffering of the woman, the emotional hurt as with physical degradation, and her revenge on each of the men. She begins with Matthew, seducing him and then killing him. She pursues the other men, especially one who falls from her boat and she circles him. She keeps the main perpetrator until last, the audience seeing that he is married man with children. He offers the usual arguments about men being men. He allows himself to be persuaded by her seductive manner into taking a bath where she castrates him.

The author then goes back to ordinary life, scarred by her experience, but satisfied with her vengeance.

In 1970s in the UK, there was a campaign against what were called ‘video nasties’, especially by the Festival of Light and the leadership of campaigner, Mary Whitehouse. This was one of the main examples for condemnation – though it seems so much more respectable than many of the other cheaply made, exploitative video nasties. This led to banning, burning of video copies and the film gaining a reputation and notoriety.

The film was re-made in 2010 by Steven R. Munroe, keeping the same plot and a lot of the detail. He then made a sequel which is really the same plot made over again, 2013.

The theme of rape and vengeance has been taken up in a wide variety of films including Sam Peckinpah’s Straw Dogs and its remake. The original Straw Dogs appeared in 1971. The revenge and vigilantes genre increased in popularity with the 1974 Death Wish with Charles Bronson.