HOUSESITTER

US, 1992, Colour.
Goldie Hawn, Steve Martin, Dana Delaney, Peter Mc Nicol, Julie Harris, Donald Moffat, Richard B. Shull.
Directed by Frank Oz.

Housesitter is quite an entertaining comedy, a romantic comedy even though it is also a battle of the sexes. An exasperated architect meets a ditsy waitress, has a one night stand with her, and then forgets her. However, she is quite an opportunist, letting people make assumptions about who she is and what she does rather than telling them.

She turns up in the architect’s town, moving into the house that he was organising with his fiancee. She makes friends with everyone in the town including the architect’s parents as well as his fiancee. Once the lies start, they multiply and continue. She gets herself tangled but is always able to get out of the problems. He gets tangled and does not know how to get out. But, in discussions with his fiancee and his parents, he comes to accept the waitress – and ultimately falls in love with her.

The film is a star vehicle for both Goldie Hawn and Steve Martin (who elected to appear in the remake of Neil Simon’s the Out-of-Towners). It is a typical performance from Goldie Hawn. And it is also a typical Steve Martin performance. The film has a very entertaining supporting cast, including Julie Harris is Steve Martin’s mother.

Housesitter was directed by Frank Oz, director of a wide range of comedy is, including Dirty, Rotten Scoundrels with Steve Martin.

1. A romantic comedy with differences?

2. The stars, their careers, reputations, working well together? The report? The supporting cast, very strong?

3. The screenplay, the basic idea, the theme of lies, consequences, the ever-enlarging stories, no way out? The wit of the screenplay?

4. Boston, Massachusetts, the atmosphere? The city, the firms? The taller buildings and cityscapes? The contrast with the town, quiet, a sense of community, the shops, the Church? The musical score?

5. The range of foods, the jaunty atmosphere?

6. Davis and Becky, driving into the country, their love, in the car, seeing the house, the red ribbon, Becky saying no?

7. Davis and his disappointment, his work, at the party, with his best friend, the critique of the boss and his ideas? The friend and his advice, sex? Gwen as a waitress, not understanding English, Hungarian?

8. Gwen and her serving, Davis at the bar, her understanding English, the discussions outside, his comment about her being a law student, her walking him home, arriving back at the restaurant where she lived? His going in, the sexual encounter, his leading, his low self-esteem? Gwen, Goldie Hawn and her verve, the decision to go to the house, getting the bus, finding the house, going to the shops, buying up and putting it on Davis’s account? Chatting with everyone, everybody liking her? Meeting Becky, sympathy and friendship? Encountering Davis’s father, his revealing who he was, her ingratiating herself with him, and especially his wife, the chats, going shopping? The chatting to everyone, the firemen…?

9. Her range of stories, her accident and her face covered, Davis and his visiting another patient, falling in love, the proposal, first sight? The wedding? Honeymoon? The visit to Maui and all that happened? Davis’s charity? Telling his parents that he was sorry? The stories of his gallantry? The story about her parents? Involving herself more and more in the fantasy?

10. Davis, his arrival, finding Gwen? His plan to sell the house, to propose to Becky? Caught up in Gwen’s stories and lies, with his parents and the reconciliation with his father’s forgiveness? The borrowing money to build the house? encounters with Becky, the meetings, her jogging, going to her home, the sexual possibilities? The build-up to the clashes with Gwen? His not wanting her to look sexy? The visit from the reverend and the attempt at counselling?

11. His going to the boss with his plan for the house, finding Gwen there already, the smart talk, calling the boss by his name, her father and the shared war experiences? His the decision to come to the reception?

12. The prospect of the reception, Gwen and agreeing, shopping with Davis’s mother? The meal at home, the father wanting him to call him ‘dad’? The build-up to the reception?

13. The reception, getting the vagrants outside the restaurant to dress up as her parents, their knowing the story, telling it well? Gwen and her being upset, the gifts and smashing them, drawing her out, everybody happy? The scene about Davis and his relationship with Becky? ?

14. Davis and his going to Becky’s house? Finding Gwen? Her wanting to see where he would go?

15. The company boss, making allowances for Gwen’s father’s memory, accepting him as the real thing? Giving Davis the promotion?

16. Gwen, the clashes with Davis, her agreement that they would divorce, the imaginary affair with her schoolfriend, everybody knowing, urging forgiveness? Her decision to leave, going to the bus, Davis and his pursuit of her, his lies, her accepting them and coming out of the bus? The irony of building a house for her make-believe parents?

17. The plausibility of the ending? Happy ever after?

THE SAINT IN PALM SPRINGS

US, 1941, 66 minutes, Black and white.
George Sanders, Wendy Barry, Paul Guilfoyle, Linda Hayes, Jonathan Hale.
Directed by Jack Hively.

The Saint in Palm Springs is the sixth in the popular Saint series, films that were brief, low-budget, used as supporting features. They were based on short stories by Leslie Charteris, the novelist who wrote the Saint series. This was to be the last film for George Sanders as the Saint.

In fact, the main reason for seeing this film is the presence and performance by George Sanders, eternally calm, very well-spoken, with a touch of flirtation, handy at times with the fists, but all times the gentleman.

He is helping out his old friend, Fermack, whose World War I friend is trying to get valuable stamps to his niece in Palm springs. He stages and arrest at the pier when Templar arrives from England. But he eludes the police and goes immediately to Fermack’s office. Fermack is shrewd in motivating Templar to take the stamps to Palm Springs. On the way he meets a pleasant woman played by Linda Hayes – ultimately one of the thieves, a femme fatale who is murdered.

In Palm Springs he meets the niece, played by Wendy Barry who appeared in other Saint films, and enjoys himself at tennis and horseriding. However, a policeman is killed and the Saint goes into action – with some humorous help from his old contact, ex-com, pearly gates, played engagingly by Paul Guilfoyle. The gang makes itself known, Templar organises the situation so that they are all arrested, and all is well. From now on Hugh Sinclair would take George Sander’s place.

THE CLASS OF MISS McMICHAEL

UK, 1978, 99 Minutes, Colour.
Glenda Jackson, Oliver Reed, Michael Murphy, Rosalind Cash.
Directed by Silvio Narizzano.

London remedial schools of the 60s must have benefited only temporarily by Sidney Poitier and To Sir with Love. Here, in the 70s, they look and sound just as bad. While the material seems overstated and Oliver Reed's superciliously incompetent, face-saving headmaster may seem overdone, many connected with schools, their running and their problems, will be nodding their heads. Glenda Jackson gives strength to Miss McMichael?, an average sympathetic teacher, and audiences will probably share her passionate outburst at the end. This film doesn't offer many solutions or much hope except basic human decency, sympathy and respect that could help adolescents to keep going, and maybe, eventually make a breakthrough.

1. Expectations from the title? Themes of schooling, broad education themes? The world of teachers? Serious, light? Drama? Comedy?

2. For what audience was the film made? Its impact on British audiences, international audiences? The presence of Glenda Jackson?

3. The film as a Glenda Jackson vehicle? How does her acting and presence enhance the film? The merits of the plot, treatment without her presence?

4. The personality of Miss McMichael? Glenda Jackson's presence and style? As a woman, teacher? An ordinary teacher? Seeing her on her way to school, ‘one of those days’? Her relationship with the other teachers, her presence in the staff-room, trying to criticise the headmaster and get the other teachers active? The clash with the headmaster? Her presence in the class room, class control? Her relationship with the boys and the girls and their various problems? The contrast of her life at how, her failed marriage, her apprehensions about relationships and marriage, her living with the American businessman? Happiness? His being preoccupied with his world and trying to make decisions for her? The importance of her decisions and making them on her own? A creative teacher, clashes with the Administration? A portrait of an ordinary teacher in such a school?

5. The emotional response to the plot? In itself as treating children and their problems, remedial work? The presentation of youth - language, interaction? The classroom situation, outings? Their behaviour, defiance, home background and expectations of life? The type of remedial work necessary? Manners, morals, sexuality, language, violence, roughness? How real were these children? Their trying to cope with life and not knowing how? The teachers trying to cope with them and bringing an attitude to work or dedication? Miss McMichael? within this context? The importance of the craft-room, the sequence when she was sick and was looked after?

6. The various crises day by day in the school? Their effect on the pupils, on the staff? How was this illustrated by the craft-room? The Headmaster and his initial attitude, his turning against his decision? The growing clash between Miss McMichael? and the headmaster? The violence of the outburst and the truth that she told? Paralleled with the clash with the American businessman? The future?

7. The presentation of the staff; intimidated by the situation and the headmaster, by the pupils? Staff-room, meetings? The headmaster and his treatment of them and treating them equivalently to the pupils? The various personalities of the teachers, the black teacher and her friendship with Miss McMichael?

8. How credible was the portrait of the headmaster? Supercilious, boorish in manner, keeping order, physically banging heads together? Was he credible? His decisions? His attitude towards externals, the cliches that he mouthed? His liaison with his secretary? His taking officials on tour of the school? The craft-room and his stopping it? The irony of the tour when he was out and his being found out? The violence of his outburst? The clash with Miss McMichael? Would he change at all?

9. The businessman and his living with Miss McMichael?, as a type, love, shared experience, his attitude towards the pupils and his reluctance to have them in the house? His work, visits to Paris? His pre-occupation with himself and his future, his wanting her to share it? Her refusal?

10. The Administrators, the visits and the tours of the school? The impression made by the headmaster? The irony of their being taken around by the student and his showing them the bad side of everything?

11. The treatment of schools and this kind of situation by comedy, farce, drama? How does this emphasis, albeit exaggerated, draw the attention of the ordinary audience to such situations? The day by day running of such schools? The credibility of chaos and crises? Human themes, education themes?

LABOR DAY

US, 2013, 111 minutes, Colour.
Kate Winslet, Josh Brolin, Gatling Griffith, Toby Maguire, Clark Gregg, Maike Munro, James van den Beek, J.K.Simmons, Brooke Smith, Brighid Fleming.
Directed by Jason Reitman.

Labor Day is a quietly moving drama. Some audiences may find it very slow moving, but the film is finely detailed, giving the audience time to appreciate, be moved, contemplate what is happening and to contemplate the characters and their feelings and interactions.

In a sense, the plot is fairly familiar and, perhaps, predictable. It has been seen in dramas like The Desperate Hours when a family is held hostage in the home by escaped criminals. But, Labor Day is not like this. There is little or no overt violence in the film, except, most unexpectedly, when the mother of a boy with muscular dystrophy is annoyed at the end of a busy day caring for her father and slaps him across the face – more unexpected because of the lack of violence throughout the film.

We are introduced to Adele, a middle-aged woman suffering from depression and a general fear of going out of the house or making contact outside. The introduction is made in the voice-over by her son Henry, at the time of the film’s action he is 12 or 13, but the voice-over voice is that of his adult self, played by Toby Maguire. He explains that he has to look after his mother, care for her, take responsibility for her, which he does willingly. On a rare visit to a supermarket with his mother, Henry is accosted by a man who is bleeding and asks to be taken to his house. Adele is afraid, especially when it emerges that the stranger is a prison escapee, who had been serving a sentence for murder.

After the initial alarm, the film settles down in a way that we had not anticipated. We begin to wonder whether the escapee, Frank (Josh Brolin in a most sympathetic role), is guilty of the charge. During the film there are quite a number flashbacks to his previous life, his marriage, the birth of his child, the death of his wife. While tying up Adele for appearance’s sake, and intending to leave the next morning, he decides to stay for the Labour Day weekend. And he proves himself an extraordinary father-figure, mending things in the house, coaching Henry at baseball, a kindly and wise man. He is practically a saint-figure, a practical one at that.

This is all reassuring for Adele, who is played excellently by Kate Winslet, an intelligent actress in all her performances. Henry is played by Gatling Griffith, a talented young man who is able to keep his own on screen with both Kate Winslet and Josh Brolin. The weekend is not what they all we were anticipating and it leads to plans for the future. In the meantime, Henry has a Sunday visit with his father, who confesses that had he been a stronger man, he would have been able to stay with Adele in her depression.

Significantly, Adele’s depression has been caused by trauma in giving birth to Henry, several miscarriages, and a very difficult birth experience which will move all audiences, eliciting compassion for women who experience such circumstances.

The screenplay is not as predictable as some audiences might have it, more of reality than we might have expected. Some reviewers have remarked on sentiment and sentimentality – but it always depends how involved you are with the film before you go on the side of appropriate sentiment or decry sentimentality. Many audiences will share the sentiment in this story of three human beings who, by chance, interact with each other and whose lives are changed.

In some reviews, the writers and speakers have noted the previous films by director Jason Reitman, Juno, Up in the Air, and Young Adult, which had strong and wry senses of humour. They seem to blame him for not continuing in this vein but he has moved towards a more humane story and characters.

1. The impact of the film as drama? As romance? As a family story? As a rites of passage story?


2. The title, the four days at the end of August? The days titled on screen, the experience of the weekend? The immediate aftermath? The long-term aftermath?

3. The strong cast?

4. The photography, New Hampshire summer, the town, the surroundings? The musical score and its moods?

5. The director, his work, a different kind of story, pace? The performances? The editing? A slow-burner? Emotional?

6. The introduction to Adele and Henry? The narration by Toby Maguire as the older Henry? His perspective? Adele and her depression, in the house, quite isolated, dressing drably, difficult to get up, manage the day, her love for Henry, his support, working in the house, his mother and the emotional bond? The comment on his being a substitute-husband – in most respects? The boy taking responsibility?

7. Henry, his age, his father leaving, going to see him on Sundays, in the diner, his father, his new wife, her baby, her son and his acidic remarks? Henry’s mother asking him about sex education? His father? His dreams? Meeting the young girl, talking, the library, the tough attitudes towards life, Frank? Her influence on his ideas about Frank? That he could be left behind, his asking his mother and reassurance? The girl guessing Frank’s identity? Her quick kiss – and saying it was the memory of his first kiss?

8. The initial shopping, Adele and her hesitancy, careful in driving the car, Henry putting it into gear? Henry and Frank, in the supermarket, the meeting, quiet, Frank asking him to help, the blood, his apprehensiveness, Adele and her fears, the drive home, Frank planning to spend a few hours and then leaving? The presuppositions about his guilt, the television coverage, the newspaper articles and headlines?

9. Frank’s character, Josh Brolin’s performance and presence? His story of appendicitis, the policeman going for a drink, his jumping from the second storey? Injuring his leg? His plan? The encounter with Adele and Henry, calling him Hank? His warnings? The flashbacks to his story, inserted throughout the narrative, his wife, her manner, the child, Frank holding it and loving it at the fair, her flirting, on the ground floor, the bath seeping, the close-up of the damp through the roof? The effect on his life? The murder charge? His sentence?

10. Frank in the house, tying up Adele up for plausibility? Always telling the truth? His becoming a father figure to Henry? Fixing things in the house, cleaning up, the very long sequence of cooking the peach pie and its consequences for Henry? The breakfast scene, Adele enjoying the breakfast? Things normal? Adele and her attending the wound? Talk, intimacy, the talk unseen, Henry trying to hear, looking through the door? Henry going shopping, the questions of the shopkeeper? His leaving the door open? The effect of Frank’s presence on Henry, on Adele? The neighbour coming in, with Barry, Adele reluctant, the mother saying he would watch the TV? His participating in the baseball practice, Hank and his learning to throw, Barry sitting in his chair, Adele and her reluctance but holding the bat? The barbecue and the food? Watching the television? Barry and his seeing Frank on television, unable to communicate this because of his muscular dystrophy, the suddenness of his mother slapping him?

11. The friendship of the neighbours, the man with the peaches and his reassuring Adele? The policeman, patrol, finding Henry on his walk back from his father’s, driving him home, apprehension for Henry and Adele, Frank watching from the window, carrying the box?

12. The plan, in Henry going to the library to get books on Canada? The young girl, her shrewdness, dealing with her own parents, the sardonic humour of her theories and observations?

13. Henry, the day with his father, uncomfortable, coming home, leaving a note in his father’s postbox, the consequences, his father phoning? The police coming?

14. The theme of pregnancy, and Adele and her memories of Gerald, to war, returning, marriage, happiness? Giving birth to Henry? The changes to her body, uncomfortable, illness, depression, the pathos of the miscarriages and the effect on her? The pregnancy, the birth, the child stillborn – and the nurse giving the child for Adele to hold? Gerald and his inability to deal with Adele’s condition, his leaving? His letter apologising to Henry and saying that if he had been a stronger man he could have stayed?

15. Packing, the hopes, Adele and Henry going to the bank, the teller and the questions, the manager, Henry and his joke about Bonnie and Clyde in going to the border – from the young girl? And Frank’s advice always to tell the truth?

16. His father and the letter, the phone call, the sirens, Frank tying up Adele again, his arrest?

17. Adele, after the arrest, going to plead Frank’s cause, the accusation of harbouring a criminal? Writing the letters, their being returned?

18. Henry, the years passing, at school, living with his father, visits to his mother, the importance of his dad’s apology? Henry’s return to his mother?

19. Adult Henry, married, the shop, baking, the peach pies, the article? Frank contacting him? Asking about Adele, his return and the happy reunion?

CUBAN FURY

UK, 2013, 98 minutes, Colour.
Nick Frost, Chris O’ Dowd, Rashida Jones, Ian Mc Shane, Olivia Colman, Rory Kinnear, Alexandra Roach.
Directed by James Griffiths.

No, this is not a drama of the 1950s revolution led by Fidel Castro. No, this is not an action film about protesters, exiled from Cuba, angry in Miami. In fact, it is about salsa.

This is also a story with the moral of not worrying about one’s weight and appearance, that many things are possible, including winning salsa competitions. The man with the weight is Nick Frost, co—writer and co-star Simon Pegg of Shaun of the Dead, Hot Fuzz, Paul, The World’s End. So, he has a strong reputation for comedy – and this is his film, the idea, writing, starring, dancing.

‘Fury’ is probably far too strong a word for the title. Bruce, Frost’s character, does have a lot to complain about. But not ‘fury’. As a boy, he won many salsa competitions, pairing with his sister, Sam. On the verge of a big win, he was chased by a group of bullies and became so down that he opted out of dancing altogether, much to the anger of his trainer, played by Ian Mc Shane.

Now that he is an adult and weighing more than he should, he is the butt of jokes, especially the nasty teasing and sexual innuendo from his co-worker, Drew, (Chris O’ Dowd). When the new boss, Julia (Rashida Jones) comes from the United States, he is partly smitten, but when she crashes into him as he is riding his bike, he is completely smitten. Then he discovers she does salsa, and he starts to move back towards the dance floor, encouraged by his sister.

Of course, this is quite predictable film, but that is why people enjoy it. The put-upon Bruce tries to stand up for himself, gradually doing it more and more, pushed by his old teacher, exasperated by his experiences with Drew who even mocks him for making a cassette for Julia’s car and then passing it off as his own work for her.

Frost doesn’t always look gainly on the dance floor, but he has what his trainer calls corazon, heart. This keeps him going despite some humiliations and Drew and others even mocking the idea that he could dance, let alone salsa. However, at the lessons, he encounters a fellow-dancer, Bejan, from the Middle East, who is quite camp in dress, manner, an irritant for Bruce until he gradually gets to know and like him – and we get to know and like and are highly amused by.

As the film moves towards its climax, Bruce and his sister partner for a competition. But then Julia turns up and she happily dances with him.

Probably best to say that the film is rather slight, but often comedies that are light and slight are entertaining, as is this one, and, of course, the moral to be self-confident and not be put off by those who think they are smart, but are actually making fools of themselves all the time. We are on Bruce’s side.


1. The title? Not about Cuba, but salsa? Audience attitudes towards salsa, for and against?

2. The London settings, flats, workplaces, restaurants, clubs?

3. The musical score, the Latin American music, songs, salsa?

4. Chris’s story, Nick Frost and his screen presence, telling the initial story, Bruce at a young age, with his sister, the dancing, the competitions, their skills, the awards? His being chased by the boys, bullied? The sequins torn from his costume? His change, opting out? Ron and his annoyance with Bruce for not continuing? His sister continually encouraging him?

5. His story as an adult, putting on the weight, living alone, eccentric manner, awkward, yet good at his work, design, fine presentations at work? His love of eating? His friends at the golf club, their going through the week and examining their sexual prowess – and lack of it – the comparisons? Riding his bike, vetoed from getting into the building? The tangle with Drew, his continued mockery, sexual innuendo? First impressions of Julia, her talk, the party, getting tangled with her, the mistake and her being called Julio, her driving into him on the bike, the talk? Going to the club, seeing that she did salsa? In the car, the tangled tape, his making the new one, slipping it into her bag, Drew taking it out, giving it to Julia as if it was his own? His skill at golf, with his friends, as release for his anger and energy?

6. Ron, his past, his age, owning the club, employment of tutors for salsa? His attitude towards groups? Allowing Bruce in? Bejan his presence? Bruce and the board games, the challenges, Ron urging him on? Watching behind the scenes? At the end?

7. Julia, coming from America for the job, talking to the group? Bruce seeing her dancing salsa? The accidents, tangling the nametags, driving into Bruce? His getting a life? The broken tape? Drew and his flirting, his not telling the others to come to her flat? Alone with Drew, Bruce misjudging? Her forcing Drew to dress, ousting him? Going to the club?

8. Bejan, his character, and style, humorous lines, situations? Gary finding him with Bruce?

9. Sam, the bar, her dress, encouraging her brother, partnering him? Knowing when Bruce was upset his going to the golf course? Taking him to the competition?

10. Bruce and Drew, parking area, the salsa duel?

11. Bruce competing in the heats, enjoying himself, Gary and the friends watching, his success?

12. Julia, arriving, joining in the dance, happy, coming second?

13. The tale urging strong self-image self-confidence? Liking what we do?

ESCAPE PLAN

US, 2013, 115 minutes, Colour.
Sylvester Stallone, Arnold Schwarzenegger, Jim Caviezel, Sam Neill, Amy Ryan, Curtis Jackson, Vincent D’ Onofrio.
Directed by Mikael Hafstrom.

All those going into see Escape Plan will have presumptions about Sylvester Stallone co-starring with Arnold Schwarzenegger: it’s probably going to be just a variation on the brawn and brawn action series, The Expendables. It isn’t. In fact, it is far more interesting, combining brains with brawn.

Sylvester Stallone plays a prisoner who organizes an escape from a Colorado prison. At least, that’s what we think for the first few minutes. In fact, he is the top expert in the United States, and probably in the world, of discovering how prisoners could escape from the most maximum of prisons. He is invited to go into a beyond-maximum security facility and advise how escape-proof it is.

There used to be those films in the 1990s about isolated prisons with Ray Liotta or Christopher Lambert, films with titles like No Escape or Fortress. Escape Plan becomes a variation on that theme, except that the prison has used all kind of devices to become absolutely escape-proof - and there are several interesting revelations throughout the film. But Stallone, as Ray Breslin, is determined to escape and is helped in his quest by a fellow prisoner, played by Arnold Schwarzenegger in a more subdued manner than usual, though not with some bruising battles. With a beard, Schwarzenegger seems rather different, and even more benign – and speaks some German.

While the film does offer the opportunity for audiences to see Stallone and Schwarzenegger together, hostile at first, becoming friends, doing battle together in order to facilitate a daring escape plot and plan, there are quite a few other character actors in the cast which bring it to a higher dramatic level. And that is despite the presence of Vinnie Jones, always a brutal presence in violent shows, and not blessed with the gift of acting. He gets the chance to throw his weight around, mostly a caricature of this type of prison guard.

On the other hand, there is Jim Caviezel, dapper and deadly sinister as the sadistic warden of the prison, not against brutality, but never soiling his hands in this; his approach is psychological threats and clash. Also on hand is Sam Neill as the prison doctor. And, in charge of the security company, there is Vincent D’ Onofrio as well as Curtis 50 Cent Jackson and Amy Ryan.

Our heroes do get that chance to show their capacity for brawn and action, but with the ingenuity of the prison security schemes and the sometimes ingenious plans for escape, they have to use their brains as well. Which makes the screenplay much more interesting,-with a couple of twists at the end.

It seems as though the action fans have been pleased with the pairing of the two super-heroes. Those who come across Escape Plan looking for a more thinking thriller than might be expected, will also be pleased with watching the plans go into action.


1. The two stars, their careers, action performers? Expectations? Acting skills/not? Age? Still tough?


2. A prison drama, ordinary and extraordinary?

3. The title, Ray and his expertise, testing prisons? The twist and his being employed, used?

4. The introduction to Ray, in prison, tough, his senses, the authorities, the plan and the execution, his getting out – and the revelation of who he was and what he did?

5. His team, office meetings, Lester and Abigail? Being clients? Writing his Manuel about escapes? his expertise?

6. The visit, challenge about the prison, test, the difficulties – and the revelation of the end, the daughter and her wanting to rescue her father, setting up Ray, the deals?

7. His going to prison, not knowing the location? Land or sea? The discipline? The range of convicts? Tough, the guards? Control, routines, severe punishment, the treatment of the prisoners?

8. Ray, his plan, the tough punishment, his isolation? The warden and the conflict with him?

9. Emil, Arnold Schwarzenegger, and his appearance, the beard? HIs reactions to Ray, behaviour, discussions with him, with the warden? His agreement to undergo the tortures to help Ray (the realisation that this was his own escape)? The waterboarding, his freaking out in solitary?

10. The warden, his manner, agent personality, ruthless, his officials, the prisoners, the meetings, the punishment? Phone calls to Lester?

11. Dr Kyrie and his presence in a prison, Ray talking with him, the doctor’s own fears, moral dilemmas, helping Ray?

12. The audience expectations of prison and prison life? As exemplified?

13. The plan, the trust between Ray and Emil? Emil his cover, the pain, the endurance? Ray and his own endurance?

14. His getting out of solitary, discovering the prison was at sea? His making the contacts, Abigail, the squads? The riots and the escape?

15. The revelation about Lester, that he was after Emil’s money, the betrayal of Ray? Abigail and her loyalty?

16. The attack, the melee and the fight, the confrontation with the warden?

17. The revelation of the truth, Emil being the thief, his daughter arranging the escape?

18. A satisfying action show with the two stars – plus a bit of intelligence?

ENDLESS LOVE

US, 2014, 106 minutes, Colour.
Alex Pettifer, Gabriella Wilde, Bruce Greenwood, Joely Richardson, Rhys Wakefield, Robert Patrick.
Directed by Shana Feste.

It was surprising in 1981 that celebrated film and theatre director, Franco Zeffirelli, directed the Hollywood film – with the touch of soap opera – Endless Love. It was a star vehicle for Brooke Shields in those days and Tom Cruise had a small role. The main protagonist was played by Martin Hewitt who did not have a strong career in films. But the theme song, sung by Diana Ross and Lionel Richie, proved very popular at the time.

But now this is a new time and a new version of Endless Love. A number of comments have indicated that it is quite different from the novel, and the novelist himself, Scott Spencer, has recommended that people avoid this film and satisfy themselves with reading his book. Certainly, in reading some synopses of the book and of the original film, the 2014 version changes a number of the emphases.

This time the young man is played by British Alex Pettyfer, who has had some success in recent times in American films like The Butler and Magic Mike. Here he is a strong character, unlike the original, and audiences will empathise with him, a rather principled young man from the wrong side of the tracks. The focus of emotional trouble is on Jade (Gabriella Wilde), finishing her high school, sad, along with her grieving family, at the death of her older brother, the shining light of the family who died of cancer. She has been quiet, confining herself to home and study, but sees David and is attracted by him and asks her parents for a graduation party so that she can invite him to. This is the beginning of endless love for them both.

All might have been well except that Jade’s father, expertly played by Bruce Greenwood, a single-minded father, distraught at the death of his favourite son, putting down his other son who never seems to be able to please him, and, to his father’s mockery, he is studying Communications. The father now places all his attention on Jade, wanting her to be a doctor, following in his footsteps. She is willing, until she falls in love with David, and wants to spend the summer vacation with him rather than going to a medical apprenticeship. Father not pleased, to say the least.

David does have Jade’s interests at heart, and is supported by his garage-working father, played by Robert Patrick. There are some fights, a fire disaster, which brings things to a head and, finally, the possibility of a future for David and Jade, a real beginning again for an endless love.

One thing to say about Endless Love is that unlike so many of the film is about young teenagers emerging from America, which tend to be fairly crass and sexist, this one advocates genuine feelings and wants to foster mutual respect in love and in families. Which is something in American films that we should not knock.

1. The popularity of the original form in the 1980s? The transition for the treatment in the 21st century: characters, crises, different tones?


2. The American town, the contrast between the rich and the pool? School, parties, jobs? The beauty of the countryside? The musical score, songs?

3. The title, love, depth, commitment?

4. Jade’s story: her age, place in the family, the strict parents, Keith and his easy-go-lucky style? Memories of her brother, his skills, father’s favourite, cancer, his father blaming himself and unable to save his son? His Rome as a shrine? The sense of loss for the family, the Jade? Not going out, studying and reading? Her graduation? Seeing David as a valet, the invitation to go for the ride, the stunt, the reactions? Her asking her parents for a party, inviting David? The bond between the two? Inviting him for the meal, her father’s being unpleasant? Coming back in the night, her initiating the sexual encounter? The consequences?

5. David, his age, ending school, the wrong side of the tracks, devoted to his father, the story of his mother leaving? His work of his father? High exam marks? Not going to college? The valet job, with his friend, taking the arrogant man’s car, the ride, with Jade? Being sacked? Attracted to Jade? Her father’s reaction? His being prepared to wait for the sexual encounter, her initiative? Fixing her father’s car? The father’s reaction?

6. The portrait of the parents, the strict father, as a doctor, expectations of his son, of Jade, of Keith, his disappointment in Keith? Married for 20 years to Anne? Going to the country, his kissing the neighbour, David seeing it? On the boat, the threats? A hard man, his expectations, alienating himself from his wife? Anger at Keith and Sabine for being in Christopher’s room, the records? Spurning Keith’s study in Communications? Anne, her patience, being a writer, published, David reading her book, signing it? Her love for her children? Grief for Christopher? Her being happy with Jade’s happiness and trying to persuade her to feel the same? Her pleading with him, going off to stay with Keith and Sabine?

7. Harry Elliott, a good father, hard-working, supportive, memories of his wife? His decision to sport David, even with the restraining order?

8. The visit of the country, Jade inviting David, Hugh being upset? His being persuaded to apologise?

9. The issue of Jade’s apprenticeship, Jade not wanting to go, David supporting her, the summer together?

10. Her leaving, David encountering Hugh, the taunting, David punching Hugh, getting the restraining order?

11. Jade going away, David and his feelings of anguish, Jenny and the past, the relationship, the escapade in this and Jenny ringing the police, everybody escaping, David staying behind, Hugh reluctantly bailing him and making a deal to not see Jade?

12. Jade at the airport, wanting to get through security, the discussions, hopes?

13. The fire, the candle in Christopher’s shrine? Hugh trying to get the trophies? David, going in, rescuing Hugh? Hugh and his acknowledgement of what
David had done? His breakdown, looking at his life, his prejudices? Ane and her leaving with Keith?

14. The couple together in the plane – and bound for endless love?

TRACKS

Australia, 2013, 112 minutes, Colour.
Mia Wasikowska, Adam Driver, John Flaus, Jennifer Tovey, Robert Coleby.
Directed by John Curran.

Tracks is the film version of Robyn Davidson’s book of 1978, detailing her 1977 trek from Alice Springs to the Indian Ocean, past Uluru, out into the deserts, encountering some small settlements as well as aboriginal women and men. She was 27 at the time and was sponsored by the National Geographic magazine. It was an outstanding achievement.

The film visualises the trek, inviting audiences to share something of the experience of Robyn Davidson, not an easy sitting back to watch a touristic episode, but rather to feel the heat, the desert rocks and sand, the isolation, the sometimes-monotony, the irritation at the photojournalists and their intrusions, the possibility of reflecting on what she was doing and its meaning.

This means that the writer, Marion Nelson, a first-time scriptwriter and director, John Curran, have to move between drawing the audiences in with spectacular photography (by Mandy Walker), a musical score by Garth and an interesting series of episodes during the trek a well as enabling the audience to experience the outer and the inner journey through the Australian deserts.

This also means that some audiences will be willing to surrender to what the film makers put before them. But it also means that some audiences will soon tire of the journey, find it less than interesting, possibly boring, and not find Tracks the engrossing film that they might have hoped for.

Mia Wasikowska, only 23 when she made this film, four years younger than Robyn Davidson herself, has had a distinguished career, even at a young age, from Alice in Wonderland to Jane Eyre, playing Australian characters and American characters. She communicates the ccharacter of Robyn Davidson, her determination, her willingness to spend long months in the outback with camel training, persuading her family that this was something that she must do, writing to National Geographic to enlist their financial support for the trek. Younger audiences might immediately identify with her. Older audiences will look at her with interest, perhaps remembering their younger adventurous days, or concerned with how this will all turn out for the young woman.

Before she sets out on her journey, she encounters a range of characters in the outback, especially Kurt, Rayner Boch, who works with her and the camels, and John Flaus as Sallay, who also trains and encourages her. Before she leaves, she meets Rick Smolan (Adam Driver), the photographer assigned to cover her journey. She is not too enthusiastic about him, realising that she likes to be by herself, away from built-up cities, out in the desert, out in nature, living her introverted journey.

Once she is on her journey, having been excluded from the camp at Ayer’s Rock, because of her camels, and camping outside - and the audience relishing the beauty of the rock with her - the film relies on the beauty and range of the changing landscapes, the people that she meets, an old white couple who welcome and encourage her, the aborigines, especially the women who chant and invite her to dance with them, the elder who accompanies her through the sacred sites (after Rick Smolan has secretly filmed men’s business but has been discovered and Robyn is to pay the penalty of his indiscretion by having to take a longer route around the sacred sites).

There are also dramatic episodes, the camels running away, beautiful drinking water, dry riverbeds, moments of despair. However, her attitude towards Rick Smolan changes, her allowing him to photograph her, sexual moments, and reliance on him to get rid of the photographers.

Tracks, of course, can serve as a symbolic journey for anyone, as we all move through our deserts, the isolation, and longings and ambitions, the moments of relief, the moments of challenge, the moments of despair.

1. The film based on a true story? On the book record of the track? The experiences of a young Australian woman at 27? The 1970s?


2. The adaptation, the challenge is to keep audience interest? In writing, directing, editing? The musical score and its moods?

3. Australia in the 1970s, the allusions to what was going on, Gough Whitlam…? The old traditions, change?

4. Mia Wasikowska as Robyn Davidson, a character, actions, interior life, her quest?

5. Robyn Davidson and her age, her Queensland background, the farm, the cattle? Her father and his work, appearance in the film? Her mother, dead, the memories? The flashbacks to Robyn’s childhood? The family visiting her before she left? Talking about the plan, their understanding? Her sister?

6. The importance of having her dog as a companion, throughout most of the journey, her sadness when the dog was killed by strychnine poison?

7. The plan, the journey, it’s plausibility? Difficulties, dangers, isolation, the possibility getting lost? Her accepting these conditions?

8. The plane with the camels, the German man and her work with him, his harsh manner, the woman? Training the camels? Her ease with the animals?, His background, training her, friendship, his advice, the rifle and the warning about oncoming bull camels? The months passing? The young man and his inability with the camels, her helping him to calm them, his selling her the camels? Her building up the provisions?

9. National Geographic, writing to them, the letter coming back, their acceptance? Rick Smolan and his arrival, with the friends, his return as photographer, his character, Robyn not liking him, posing for him and politically?

10. Going to Uluru, prevented entry with the camels, camping outside, the visual beauty of Uluru

11. the visuals of the journey, Robyn walking, 20 miles a day, leaving the camels, camping at night, night and the stars? The range of scenery, the mountains, the desert, the sand, rugged? The flowing stream? The dry bed? The kangaroo and its providing for the meal? The wild camels and her shooting? The snakes? Fears?

12. Rick Smolan and his arrival, the range of pictures, talking, the sexual encounter, Robyn relying on him, especially with the journalists and photographers?

13. The old couple, they’re welcome, their characters, help? Swimming in the dam? Washing?

14. The aborigines, the group of women, the dancing, inviting Robyn to dance with them? Rick and his photographing the secret meetings? The penalty, on Robyn, the longer journey? The aboriginal men, their help, the elder and his walking her through the sacred sites?

15. The photographers, the pressure on her? The journey and avoiding them? Her arrival, the lake, exhilaration?

16. The meaning of the journey for her, the audience? Symbolic and real? Her achievement?

CHINESE BOX

US, 1998, 99 minutes, Colour dot
Jeremy Irons, Gong Li, Ruben blades, Mackie Cheong, Jared Harris, Michael Hui.
Directed by Wayne Wang.

Chinese Box was written by Jean- Claude Carriere, the prolific screenwriter since 1961, with screenplays for top directors including Buñuel (Bell to shore, The Phantom of liberty, Diary of a Chambermaid) and as diverse as Taking of and. The film has been directed by Wayne Wang, born in Hong Kong and filming their but taking up residence in the United States with films like maid in Manhattan and Because of Win Dixie.

This film was made in the context of the handover of Hong Kong by the British to China in 1997. This background is filled in with information, images of the period, conversations in the dialogue. Ultimately, the ritual of handover is included in the film.

The story, however, focuses on an expatriate journalist, played by Jeremy Irons. He has proven himself a successful journalist and author but it is in something of a decline. His voice-over tells the story about himself, about his photographer friend Jim, Ruben Blades, who periodically comes to stay with him and shares his quest for images of the transition. But Jack is infatuated with a Chinese woman, played by Shang him lose star of the 1990s, Gong Li. She shown to have a shady background, has worked in a club in the bar, as a Chinese patron, Michael we, and has a relationship with Jack, on and off and enigmatic.

Along with the background of the handover, there is a great deal of attention to expatriate’s in Hong Kong and their interactions with each other, with the visitors from other countries, with the residence of Hong Kong themselves anticipating the handover.

With the handover long established, that part of the film is of historical interest. Later audiences will be focused on the story of Jack and his relationship with Vivien.

1. The film, topical at the time, with the hand over of Hong Kong by the British to China? 1997?


2. The preparations for the handover, the role of the British, the visuals of the surrender? The Chinese? New Year 1997?

3. The film is a story around this reality? Symbolic? The title? Musical score?

4. The film moving backwards and forwards in time? 1996-1997, the story, Jack, the presence of Jeremy Irons in this role? As a journalist, photos, his books? His interviews? The party, the guests? His relationship with Chang? The importance of Vivien in his life? Jim coming to stay in his apartment? The sense of realism?

5. Jack’s voice-over, his appearance, his life, this puzzles, his drinking, Vivien? His illness?

6. Jim, the stories, the photos?

7. Pre-1997, Jack, Vivien in the bar, the attraction, the patronage of Chang? Her love for Jack not? Marrying Chang? The past, the voters, her occupation, the girls?

8. Jean, the encounter, her disfigurement? Discussions, the cafe? Jack asking to do a story on her, her agreement? Avoiding human? Jack seeing her, the chase, in the back streets of Hong Kong, the story of her past, the family, at school, a love for William?

9. Jack arranging for William to come, his reaction to Jean, his not having memories about her, William construct and in her imagination? Taking, watching, Jim and his comments?

10. 1997, the discussions, the British, the expatriate, the role of China, the fears, economy and politics, change or not?

11. Jack and his collapse, going to the doctor, the tests, the news, his reactions?

12. The encounter with Vivien? The sexual relationship? How we’ll, how much in his imagination?

13. The finale for Hong Kong, the expatriates, staying at leaving, the British withdrawal and the picture of Prince Charles? The inhabitants of Hong Kong? The new foreigners? Corruption, new legislation, the ritual handover?

STALINGRAD

Russia, 2014, 130 minutes, Colour.
Thomas Kretschmann,
Directed by Feodor Bondarchuk.

This portrait of Stalingrad under siege from German troops does not purport to give the whole picture of the battle for Stalingrad. Further background can be seen from the 2000 Film, Enemies at the Gate, directed by Jean-Jcaues? Annaud.

This is a Russian production, an interpretation from the 21st century, looking back 70 years to the pivotal siege and battle which turned the tide in the east against Germany. As with pictures of the siege of Leningrad, this is a picture of Russian heroics.

Stalingrad relies more on its action and special effects, especially for those who watch the 3-D version, quite striking in its vivid visuals. And there is, of course, arousing musical score.

There is a strange opening for the film and conclusion, not what we might expect – and, dramatically, not really pertinent to the film itself. We are in Japan, after the tsunami, with a Russian crew helping in rescue. Some brash young Russians are not as respectful to the elders as they might be. One of them then starts to tell the story of Stalingrad, many of the details he received from his mother who is a central character in the film. He continues with his voice-over as the audience is led back into the past.

The characters are standard, perhaps even stereotyped. The Russians are valiant, the Germans are very much the enemy, a lot of arrogance and sneering. As the Russians cross the river and move into the occupied city, there are powerful action scenes at the Russians take possession of the building which enables them to halt the progress of the Germans.

A Russian hero is good with his men, completely dedicated. The German villain, clashes with the Colonel in charge, in a relationship with one of the local women, and despised for this on both sides. Ultimately, there is a confrontation between the two. The screenplay also offers a parallel between the two men and their relationships with women, the German using the woman, though with some affection, and the Russian finding a young girl in the building, and helping her to survive.

It is hard to pick in detail some of the Russian characters, though there is renowned singer amongst them who has an interlude of singing – which the Germans listen to. There is also a signals man, nickname Sissy, who is also attracted to the young woman in the building – and he is the father of the narrator.

Possibly not the kind of film one would choose to look at, but if the opportunity arises, it is a chance to see something of Stalingrad and the siege and realise the effect that it had on Russian morale and the loss of German morale.
This Is a Russian production, and interpretation.

1. A Russian production, the intended audience, Russians, the impact on Germans? The world audience? Audience knowledge of the role of the Battle of Stalingrad?

2. The situation, the Soviet Union entering the war, Germany turning on the Soviet Union, the attack on Stalingrad, the extent of the Eastern front, the drain on German forces, ammunition? The Germans isolated? The Russians fighting back, the resistance, the final victory and the return of the Germans to Berlin?

3. The significance of the framing sequences of the tsunami in Japan, the devastation, the visuals of the destruction, the crews of the rescue, the Russians helping? the older Russian and his criticisms of the younger? His beginning to tell the tale of Stalingrad, the stories he received from his mother? The end of the film and the return to the tsunami, praising the Russians and their abilities? How appropriate this framework for this film?

4. The staging of the fights, the river, the cliffs, the town, the buildings, the square? Strategies?

5. The action sequences, the choreography of the battles? The special effects? The widescreen? The impact of the 3-D processing? Making everything more vivid and alive? The musical score and its heroic tone?

6. The conventionality of the characters, the situations, the dialogue? The parallel between the two leaders and the two women? Hero and villain, freedom fighter and mistress?

7. The Russians, the voice-over, the explanations, the picture of the men, getting ready, the attack, on the river? The bombardment? Deaths? The going against the artillery? Taking the building? Settling in? Snipers, mortar attack, the canons?

8. The leader, as a character, as a person? The other members of the corps: Sissy and his work, the nickname? The opera singer and his success, conscripted? The crass soldier and his attitude towards the others? The other members of the group? How well-defined were the characters? In the situations?

9. The Russian woman, her age, stubborn, attractive to the men, the dangers, her safety, her birthday party, cake and candle? Her relationship with the leader, with Sissy? Her being pregnant? The voice-over and his being the son of the woman and Sissy?

10. The Germans, presented as sinister enemy, their strategies, the colonel and his arrogance, the German leader, his relationship with the woman, his being caught? Trying to save her? Defying the colonel? His aim to confront the Russian leader? The tanks, the canon? The fight within the building? His death?

11. The singer, the interlude with his performance, the German listening?

12. The local girl, prostitution, her relationship with the German, her being captured, on the march? Being saved, the final sequences? Her death?

13. The picture of the locals, trying to survive, food, work, the roundup, the marches out of the city, the executions?

14. The aftermath of these episodes, the months of the siege of Stalingrad? The Russians ultimately winning?

15. Russian history, memories, morale-boosting?