THE QUIET


US, 2005, 95 minutes, Colour.
Camille Bell, Elisha Cuthbert, Martin Donovan, Eddie Falco, Shawn Ashmore.
Directed by Jamie Babbit.

The Quiet is a small film, disturbing in its plot and its probing of incest and sexual abuse.

Camille Bell portrays Dot, a deaf-mute teenager, taken in by a family, the mother being a friend of her own mother. She settles into the house, despite the hostility of the daughter, Nina. She is ignored at school or mocked. However, she is partnered with Connor, Shawn Ashmore, in a science project which leads to a sexual encounter but, surprisingly, an ultimate antagonism and disillusionment on the part of Connor when he realises the truth and spoken frankly about himself to her, thinking she was deaf.

The other main focus is the relationship between Paul, Nina’s father (Martin Donovan) who seems a pillar of society and welcoming but is in a sexual relations with his daughter, exploiting her, changing moods, giving her gifts, insulting her. His wife is played by Eddie Falco, preoccupied at home with interior decorating, being contradicted publicly by her husband.

Eventually it is revealed that Dot can both speak and hear, makes friends with Nina and her anger and her desire to kill her father. The film is disturbing in its subject of incest and the abuse of a teenage daughter, in the violence in killing the father, in the two girls leaving town at the end and the mother taking the blame for the killing.

Camille Bell is effective as Dot. Elisha Cuthbert is Nina.

1. The title and expectations? A horror film? A different kind of horror?

2. The locations at home, at school? Similarities to high school dramas? Differences?

3. The atmosphere, the Mean Girls at school? The dining area, ignoring Dot? The dance? The musical score?

4. The introduction to Dot, deaf mute, a story, her father’s death in the accident, his not hearing the vehicle? Olivia friends with her mother, Olivia and Paul taking her in? The welcome? At school, being ignored, ridiculed, Nina and her mockery, her words, with the lipstick? Meals at home? Talk at the table? Dot being helped at school with the sign? With Connor as partner in the lab experiment? Playing the piano?

5. The family, her settling in, ordinary life, Nina and her rudeness, not wanting Dot in the house? Her going out, defying her parents? Paul and his seeming kindness, welcome? Olivia and her decorating, being tired, Paul contradicting her? The tensions, between husband and wife, Olivia and her sexual approach and being ignored by Paul?

6. Audience suspicions, Paul with Nina, Dot glimpsing? Paul and his power, domination, his relationship with his daughter, love, erotic, bringing the gifts? His double-standards and comments about morality? His language? His going into Dot’s room, the temptation, his leaving?

7. Nina, her life, unhappiness, the chat with her friends, the preoccupation about sex? The meals, going out? Gossip with her friends? With her father, the different reactions, being abused, wanting to kill him? Plans, telling her father she was pregnant, demanding the money? Talking with Dot, the sexual encounter, Dot and the piano and string, killing Paul? The upset? Calm? the dress for the dance, going to the dance, the aftermath, at the river? Leaving with Dot?

8. Dot, her character, the motivation for her behaviour, not saving her father, impassive in manner, observing people? Audiences suspecting she could hear and speak? Playing the piano? At school, with Connor? At home, the meals?, Arriving, pleasant, going out with him, the discussions, the sexual encounter, Connor frank about his sexual prowess? His inviting her to the dance, dancing, realising she could speak and hear, his anger with her, the humiliation in his talking with her?

9. The characters of the girls, their meanness, sexual preoccupations?

10. The death, Olivia and the police, her taking the blame, explaining what had happened, apologising to Nina?

11. The horror of sexual abuse, incest, a parent victimising his daughter? A disturbing film?

ACTION IN ARABIA

US, 1944, 66 minutes, Black and white.
George Sanders, Virginia Bruce, Gene Lockhart, Alan Napier, Robert Armstrong, Marcel Dalio.
Directed by Leonid Moguy.

The Arabia in the title of this film extends to the whole Arab world, as is mentioned, from Iraq to the countries of northern Africa. The action itself takes place in Damascus and its surroundings.

The film is interesting in the context of World War II and American cinema contribution to morale-boosting. George Sanders portrays a journalist who has worked in the different spheres of action in the war and comes to Damascus. He immediately finds suspicious circumstances, Nazis infiltrating and gathering the Arab tribes together to work on the side of the Axis. His travelling companion is soon murdered, he encounters an attractive woman who says she belongs to the Free French Movement – but he is suspicious. He also encounters a local informant, played by Gene Lockhart. Alan Napier appears as the owner of the very modern hotel but he is suspected of being a Nazi spy.

Damascus is presented in Hollywood style, markets and streets, plush hotels, foreign consulates as well as extraordinary lavish palaces of Arab leaders.

The film was produced by Maurice Geraghty, producer of the Falcon series and, in fact, the screenplay plays like a Falcon film with George Sanders reprising his role, on a seeming holiday, discovering clues that lead him into a mystery, murders, espionage, dangers for himself and, ultimately, saving the day.

Audiences since the 1960s are familiar with the Arab world from World War I to World War II through seeing Lawrence of Arabia. At this time Arabia was rather exotic, the fantasy worlds of small-budget action adventures. However, it was of interest in the war years, especially with the possibilities of the Arab tribes and their loyalties, the possibilities of sabotage if they sided with the Nazis, support if they sided with the Allies.

It is also interesting to see the presentation of the Free French.

Sanders is his usual suave self, though he does get injured a bit more than usual. He is also flirtatious, with Virginia Bruce, an ambiguous presence, but was part of the Free French. Gene Lockhart enjoys himself in his ambiguous role as the informer.

Films like this continue to be interesting given the conflicts and wars in the Arab world since the war years.

THE OBJECT OF MY AFFECTION

US, 1998, 111 minutes, Colour.
Jennifer Aniston, Paul Rudd, Nigel Hawthorne, Tim Daley, Alan Alda, Alison Janney, John Pankow, Bruce Altman, Steve Zahn.
Directed by Nicholas Hytner.


Jennifer Aniston has a great following for Friends. Here she gives an attractive performance as a young pregnant woman who becomes friends with a gay teacher. The film explores, on a light and optimistic level, the complexities of friendship, love, marriage, parenting and affection in today's world and their differing effects, especially because of sexual orientation.

The film is boosted by a strong cast: Paul Rudd as the teacher, Alan Alda as an agent, Nigel Hawthorne as a reviewer. There are touches of farce, touches of romantic comedy and an opening up to the popular audience of issues of sexuality by way of people's stories rather than simply by issues.

An 'if only' comedy.

1. A romantic comedy with a difference?

2. The sensibility of the 1990s, issues, gender, orientations, sexuality, marriage, partnership, family, love and friendship, children?

3. The New York City settings, Manhattan, Brooklyn? The variety of venues?

4. The cast, their popularity? Their careers?

5. The title, the implications, love, friendship? The nature of affection? The musical score?

6. The introduction to George, at school, working with the special kids, the concert and the performance, his help, the audience response? Sidney and Constance and their admiration for him? His relationship with Dr Jolley? The invitation to the party, the chatter, the namedropping, self-promotion?

7. His seeing Nina, her New York background? with the group, the girls, the talk, social work, her methods?

8. The dinner guests and their talk, Sidney and Constance, Constance’s criticisms of Nina? Step-sister? Nina and George, the effect on each other? Phone numbers?

9. George, the relationship with Dr Jolley, the hurt, rationalisations, his leaving, the break, the emotion? The background of the years?

10. George, moving, friendship with Nina, the apartment, settling in, the meals, the bond? Mutual likes? The developing friendship, affection, sharing? The importance of dancing? The movies? Their bed talk? Television?

11. Vince, his character, relationship with Nina, the law, talking, dominating? Clash with George? Nina and the separation? Vince’s visits? His fatherhood and his claims? His antagonism? Constance, arrangements, the child, the visits, Vince? The food, Constance in control? George’s reactions?

12. George, the pregnancy, his decision, the revelation of the pregnancy, the reactions, convincing, his wanting to move in? At the school, the fair?

13. Nina George, the proposal together, the boy with the ball, Vince’s anger?

14. Dr Jolley phoning, the invitation, the apology, the drive, the university, the break-up, Nina and in the train?

15. George and Nina, the gym, the prospects?

16. The discussions about orientation, the consequences? Love? Affection, children and raising them? If only…?

17. The theatre, Rodney and his work as critic, his relationships? His acerbic comments? His partner, Paul, George and the attraction? The relationship,
the details of their meetings, Nina and her reaction? Rodney and his reaction? Tolerant?

18. The Thanksgiving dinner, Rodney as a guest, the emotional effect of Rodney and Nina talking, the empathy?

19. Nina having to face the truth, George and affection and friendship, but not the love that she wanted? The difficulty of accepting this?

20. 1990s film facing issues of sexuality, orientation, love and friendship?

LILIAN’S STORY

Australia, 1996, minutes, Colour.
Ruth Cracknell, Barry Otto, Toni Collette, John Flaus, Fiona Press.
Directed by Jerzy Domaradzki.

The plot outline of Lilian's Story might be familiar from memories of Bea Miles of Sydney, the vagrant eccentric who proclaimed Shakespeare in the streets and who was forever getting into taxis and not paying (or so my memories go).

We are suddenly immersed in a story making its audience labour at understanding as it takes us into Lilian's memories, flashback glimpses of painful recall. Ruth Cracknell's forceful dominance as the older Lilian contrasts with Toni Collette's fragility and vulnerabilty as Lilian, younger. Barry Otto plays both the respected but brutal father and the emotionally impaired son. This is the core of Lilian's story: a precocious but repressed young woman is brutalised, verbally, physically, emotionally, sexually, by her father; her emotionally unstable mother disappears; her younger brother is ineffectual. She herself disappears into an institution for 40 lost years and emerges into the 90s, with something like an `awakening'. She now learns how to deal with the world, her past and to survive.

The film is like being given the pieces of a mosaic and having to put them together without the benefit of having any basic outline or design. The film is a challenge emotionally, and a confrontation about Australian family relationships, especially those that appear genteel yet are anything but.

Within Lilian's story there are many Lilian worlds and galleries of characters: moments of madness in an institution, violence and kindness among the prostitutes of King's Cross, the poets and the brutes who are taxi-drivers, the courts and prisons, vagrants and the buses, the wharf shelters and the palatial mansion that was her home. Lilian's Story, hard work though it may be, deserves close attention.

1. An Australian story? Sydney story? Based on fact? Adaptation of Kate Grenville’s novel?

2. The production values, the European sensibility, director, director of photography, composer?

3. The Sydney story, contemporary Sydney, in the city, the streets, the flats, Kings Cross, the girls, cafes? The institution? The court? The contrast with the past, the colour grading? The managing, the cliffs, the sea, the beach, atmosphere?

4. The two actresses and their performances? Complementary? The inter-cutting? Each illuminating the other?

5. The introduction to Lilian, the close-up of her face, the composition, her recital, Shakespeare? Age, appearance, tall and strong? Strong voice? Clashing with the authorities, with the head orderly? The defiance? Friends in the institution, the dining room, her recitations, their joining in? The departure?

6. Her aunt, taking her out, the end of 40 years in the institution, going to the new flat, settling in, Lilian’s reactions? John and his visit, their discussion?

7. Lilian, her behaviour, going out, friendship with the girls in the street? The men accosting them? Her reactions? Observations? Making friends with them, their characters, the group? Eating with them? The girls and their clients? Lilian and her performance of Shakespeare, collecting money? The audience’s growing, the dissatisfied customer who wanted something funny?

8. The taxis, her rides, not paying, the drivers, reactions?

9. Her violence, arrest, in jail, in the court, her father’s presence and his being ashamed?

10. The younger Lilian, considered unstable? Unstable or not? A father condemning her wild behaviour? The interactions with her father, the beatings and the collage of beatings at different ages and Lilian bending over for a beating in court? The sexual background, sensual, the assault? Looking in the mirror, naked? Her friendship with Frank, the talk on the beach, his love her, her father sending him away? Enclosed life? A fearful brother, seeing the abuse but not saying anything, running away? Being sent to the institution?

11. The character of her brother, young, seeing things, afraid? Later, timid, visiting the flat, his memories, his apology?

12. Frank, driving a taxi, Lilian and her ride? Frank’s place and tent, homeless? The discussions, the memories, his drinking? His character? Her reactions?

13. The inmate thinking she was the Blessed Virgin Mary, pregnant, her visit, Frank, Lilian helping with the birth?

14. Portrait of a disturbed woman, mental problems, eccentric, a victim? A future? And the fact that Bea Miles had happy final years?

THE FALCON IN SAN FRANCISCO

US, 1945, 66 minutes, Black-and-white.
Tom Conway, Rita Corday, Edward Brophy, Sharryn Moffat, Robert Armstrong.
Directed by Joseph H. Lewis.

The Falcon in San Francisco continues Tom Conway’s series of films as the Falcon. Beginning in 1943, he made a significant number of films, playing The Falcon in the same suave way in all of them.

This film, as with several others, has The Falcon starting out on a holiday but soon involved in a mysterious case. This time he is in company with his assistant, Goldie Locke, played by Edward Brophy. It is a characteristic of Falcon and Saint films to have the hero with this kind of sidekick, offering some humour and slapstick.

The Falcon finds himself on a train going for a holiday to San Francisco and encounters a stray dog and the little girl who owns him. She spins tall tales and speaks of a severe nurse - who is then murdered. The Falcon offers to take the little girl home and she gives him a false address. A witness on the train phones the police and The Falcon is arrested for an abduction. This is the beginning of a rather complicated case, involving Rita Corday (who appeared in the number of Falcon films) as the little girl’s older sister. The butler of the house is murdered and the older daughter goes mysteriously to meet the manager of the shipping line – and it is revealed that she is the owner.

The Falcon is also abducted by a mysterious femme fatale who has some henchmen with guns, as well as a rivalry with a fellow criminal.

The film has some interesting twists, especially with the older sister allegedly having a rendezvous with a lover but, in fact, with her father who is the manager of the company. The Falcon is suspicious of smuggling from South America on the ships and information about the husband of the dead nurse. He pretends to be working on the wharf, discovers silk being smuggled, goes to the manager who offers his support. But the satisfying final twist is that the manager/father is actually a criminal from the bootlegging days of prohibition. There is a shootout with various criminals ending up dead.

The film is more carefully made than many of its predecessors, with some San Francisco locations, and with some interesting direction (many of the shots films through rungs of chairs, bars, grilles, suggesting some kind of imprisonment). Movie buffs will want to see the film because it is directed by Joseph H. Lewis, director of many small-budget films up till this but about to make his classic My Name is Julia Ross and a succession of small films including another classic, Gun Crazy.

47 RONIN

US, 2013, 119 minutes, Colour.
Keanu Reeves, Hiroyuki Sanada.
Directed by Carl Rinsch.

If you would like a matinee adventure, colourful and often spectacular, with Samurai martial arts, and a touch of romance, then why not 47 Ronin?

The film was very costly and, unfortunately, reviews and box-office have not been kind to the film. On the other hand, ordinary audiences who do go and see it have generally been more than satisfied.

One of the difficulties for critics and for some of the public is that the star is Keanu Reeves. While he received acclaim for The Matrix series, most of the comment about him is that he has a rather wooden, often passive, screen presence. He is not an actor of huge emotions. Here he can capitalise on that screen persona. He portrays what everybody in the film refers to as a “half-breed”. That is, he is the son of a Japanese woman and a British father, stranded in Japan, brought up in the woods by a strange hybrid people, thought by many to be a Demon.

The screenplay is a variation, imaginative, on the famous Japanese legend of the 47 Ronin, a group of disgraced Samurai who band together to avenge the death of their leader who was executed by the Shogun for attacking a guest. The audience knows, however, that a shape-shifting Demon incited him to this action, working for his rival who wanted to take over his kingdom. The Demon is quite spectacular in her transformations, the special effects people working hard to see her as a wolf, as a presence threading through the palace rooms and, finally, as a fire-breathing dragon.

The half breed is punished along with the other Samurai and then sold into slavery. The daughter of the executed Lord is in love with him but is taken off by the rival and, after a year of mourning for her father, she is to be married to him.

The Ronin loyal to the Lord is imprisoned in a hole for a year. On his release, he decides that he will avenge the Lord – Samurai belief in a circle of vengeance for crime. Reconciliation and diplomacy are certainly not on the agenda of the Samurai. He goes in search of the half-breed, releases him, and rounds up the exiled Ronin.

The first part of the film is quite spectacular, forest locations and an enormous giant beast who pursues the Warriors through the forest until the half-breed kills it. There are mime and musical perofrmances in honour of the visiting Shogun. Colours are bright, costumes brilliant and a great deal of pageantry.

The second part of the film is rather grim, the training of the Samurai, the half-breed’s visits to the hybrid people with whom you grow up in order to get swords to be able to fight the enemy. This also has spectacular moments as the Ronin are tested, not to draw their swords, no matter what. Some do and suffer the consequences.

But, when the Ronin attack the villain, the Demon has anticipated it and there is a battle and a rout. It is the final fight, within the Palace, during another performance in honour of the couple about to marry, that brings the story to a vengeful, fight-filled climax – and the loyal captain fighting the villain to the death, and the half-breed confronting the dragon and destroying it.

47 Ronin does what it sets out to do and offers an entertainment for those who are fans of this kind of Japanese Samurai stories.

1. An action entertainment? Japanese Samurai traditions? The historical basis for this story? Important legend in the Japanese tradition?

2. The production values: the locations, the atmosphere of Japan, the period, feudal life, the castles, the forests? The rousing score? Pageantry, cover, costumes and decor?

3. Special effects, the beast, the Demon, the battles?

4. The focus on Kai, the half breed, the young boy, his escape, the cuts on his head, being found by Lord Osino, adopted? The young boy hostile to him? His growing up? Working for Lord Osino? His life, his work? Keanu Reeves and his screen presence, acting style, passivity? Serious intent?

5. Life in the community, the Lord, his daughter, a love for Kai? The rivalry with the young warrior? The episode of the beast, the drama of the chase, its destruction, size, Kai killing it, his rival taking the credit, the Lord accepting this version?

6. The wolf, the eyes, transforming into a woman, a Demon, advising Kira, power, shape-shifting? Evil?

7. Kira, his kingdom, accompanying the Shogun, the visit, his plans?

8. The Shogun, his entourage, the reception, the entertainment, a lavish performance, costumes and decor, a sense of peace? The fight with the champion, the Demon mesmerising the warrior? Kai and his taking the Warriors place? The fight, his helmet coming off? His being taken and beaten?

9. Lord Osino and his being bewitched, attacking Kiraia, being arrested, the humiliation, is not wanting to be hanged, the Shogun giving permission for Hari Kiri? His daughter watching his death?

10. Lord Oishi, his not believing Kai about the Demon? His apology? His pondering the situation, the Samurai all being disgraced, becoming Ronin? His decision not to attack? His being put in the hole for a year?

11. Kira, his power, tyrant towards the people, intending to marry Osino’s daughter, giving her a year for mourning her father?

12. Kai, as a slave, in the boats, the foreign colony? Oishi coming to rescue him, the fight and the escape? The rendezvous with all the Ronin, their abilities?

13. The issue of weapons, Kai taking them to the world in which he grew up, the strange creatures, the test, his warning for Oishi not to draw his sword, the group and their attack, their seeming deaths? Oishi not drawing his sword? Getting the weapons?

14. The first attack on Kira? The Demon learning of the attack, the warning, her presence, the Ronin being massacred?

15. The preparations for the marriage, Osino’s daughter and her hostility? The Demon talking with her, the confrontation?

16. Second attempt, the players going to entertain for the wedding, allowing the Ronin to enter with them, disguised, being part of the performance? The spectacle? Kira and his delight? The troops coming in, infiltrating, killing the guards?

17. The spectacle of the final battle? Oishi and his confrontation with Kira, the swords, the knives, death?

18. The Demon, materialising, as cloth weaving through the building, appearing as the giant dragon, the fight with Kai, his killing the Demon?

19. The restoration of order in the kingdoms? The happy union of Kai and Osino’s daughter?

THE FRONT

US, 2010, 90 minutes, Colour.
Andie Mac Dowell, Daniel Sunjata, Ashle Williams, Joe Grifasi, Dane De Haan, Diahann Carroll.
Directed by Tom Mc Loughlin.

The Front is based on a novel by Patricia Cornwell and adapted for the screen by John Pielmeier (Agnes of God) and directed by Tom Mc Loughlin. They were the team who brought the previous film from a Patricia Cornwell novel to the screen, At Risk.

Andie Mac Dowell is the tough and unscrupulous district attorney in Boston. Daniel Sunjata is a star detective. He teams with Ashley Williams as another detective whose leg has been amputated after an accident when she was supporting the district attorney. The film focuses also on Dane De Haan (Chronicle, Lawless) as a student with ambitions to be like his idol, the Daniel Sunjata character. Diahann Carroll appears as Sunjata’s grandmother as she did in the first film.

As in the first film, there is a threat to the district attorney and her campaign. There is a murder, echoes of the Boston Strangler, speculation that there were two stranglers. There is also another murder, a copycat which the police are investigating. The student, however, ingratiates himself with the district attorney, is revealed to be insane, aspiring to be the detective – murdering, causing his own downfall.

The film is interesting as a police investigation, a cat-and-mouse pursuit by police of a killer.

1. Patricia Cornwell, her novels, police investigations, mysteries? Adaptation for television?

2. The use of Boston, the city, Watertown area, the precincts, homes, class distinctions? The musical score?

3. The title, explanation, a variety of meanings?

4. The continuation of At Risk: Monique, her campaign and speeches, her personality, hard, her treatment of others, her being photographed and the clip on You Tube, sexuality, her promises? Win and his work? Supporting Monique, clashes? Roy and this being used by Monique? The governor and his relationship with her? The setup?

5. The background of Win’s parents, his grandmother, the murders, his being orphaned? The Boston Strangler, memories, discussions about methods, alibis? The murder from the past, the copycat murder? Other deaths? Investigations, comparisons?

6. Monique and her speech, her slogans, Win and his encounter with Cal? Cal talking with Monique? The photo in the rest room, YouTube?, her percentage points? The mayor, arranging the assignment, being photographed? Cal and his photographing Win and Stump? Photographing the grandmother?

7. Win and his investigation, his clash with Stump, her later explaining her story and the connection with Monique? Her owning a shop? The FBI agent, her posing as a living statue (and Win’s talking to her)? The discussions with Stump, Cal and her death? Stump and the clash of personalities with Win, their sexual relationship? Photographed? Working together, the discovery of the truth about Cal, the confrontation at the end, the bullet in her stump, the rescue?

8. Cal as a person, his age, his mother and her charity work, his killing her? His studies, his aims, Win and the souvenirs, the chair, the photos? The sexual relationship with Monique, her abandoning him? The FBI agent and her being outwitted with the gun? Cal as smart, murdering the old lady, copycat style? Photographing Win’s grandmother? The past murder, ringing the victim’s brother in England, assuming she was blind, his conclusions as to who did it? His explanations to Win – and Win proving him wrong?

9. Win, the visit to Zeffirelli, the discussions, Zeffirelli in the house, with the dead girl, Zeffirelli’s stroke, going to the hospital, the truth?

10. The various hypotheses about the old murder, the victim’s eyes, her not being blind, her boyfriend in England, coming to America, the sympathetic neighbour, Zeffirelli and her being a witness to his crimes? Her turning out the lights, not being blind, murdering her, the neighbour discovering her and being blamed, suicide?

11. The build-up to the confrontation, Monique and her being tied up, Win and his being tied to the bed? Cal, his explanations, his errors, his arrogance? The fight, his fall, shooting Stump in the leg, his death?

12. The ingredients for a popular television murder mystery police investigation?

FREE MONEY

US, 1998, 91 minutes, Colour.
Marlon Brando, Donald Sutherland, Charles Sheen, Thomas Hayden Church, Mira Sorvino, Remi Girard, Martin Sheen.
Directed by Yves Simoneau.

Free Money is a little heard of comedy, eccentric and often over the top.

Marlon Brando made the film at the age of 73 towards the end of his career. He plays a buffoon warden of a prison, with two adoring twin daughters, ruling the roost in his own way with the comments of religiosity. He also has yellow ginger hair and moustache. And he also has his considerable bulk. Brando allows himself a great deal of slapstick.

His two sons-in-law are played by Charlie Sheen (as Charles Sheen), and Thomas Haden Church. They are not so bright and under the thumb of the warden. An opportunity comes to rob a train, with used notes coming from Canada to the United States. The robbery is farcical even as it is successful. But there are consequences and Charlie Sheen finds himself in prison after spending the money in an obvious way. There is a plan for an escape, knocking out the warden, getting away in his truck. It almost works but there is a further police chase.

Also in the cast is Donald Sutherland as a local corrupt judge, a minor role in the film. His FBI agent daughter is played by Mira Sorvino, who plays her part straight and it is all the better for it, even if she is bashed on the head by Marlon Brando.

A final joke with Martin Sheen as the new warden and Brando a prisoner – memories of their roles in Apocalypse Now.

The film was directed by Yves Simoneau, director of a range of thrillers and dramas.

1. A generally unknown film? Yet, the star cast? Something of a cult comedy?

2. A last role for Marlon Brando? His comic style? At the end of his career?

3. The title? The robbery of the money on the train? The consequences?

4. The northern United States? The town? A certain isolation? The centre of the town, shops and garages? The prison? The court? The musical score?

5. The Swede, his presence, size, the colour of his hair and moustache? His dominance at home, his two daughters? Their news about pregnancy? His thunderous reaction? Encounter with the men, his reluctant presence at the wedding? His love for his daughters, their devotion to him, their returning home with their husbands? His laying down the law, one cooking and cleaning, the other repairs? His religiosity, no swearing, sins of fornication? His regulations in the house about sexual meeting? Punishment?

6. His role as the warden, in the jail, his underlings, the escapee, phoning the judge, shooting the criminal? The connivance of the judge? Their later huddle for conspiring?

7. His love of the truck, its being stolen, his reaction?

8. Bud and Larry, the relationship with the girls, the girls telling them they were pregnant, the weddings? The two not knowing each other, in the same house? The joke during the honeymoon night? Larry imitating the Swede’s voice? Useful later for the escape?

9. The bar, the guard on the train, the story of the money coming from Canada? The plan?

10. The plan in action, the vehicles, stuck in the mud, Larry in the car on the rails, the guards not noticing, playing cards, the crash, the explosion? Their not wanting to take the blame? The lame answers? The interrogation by the FBI agent? Bud and Larry, getting the money, the escape, getting back home? The rescue of the truck?

11. Larry, tentative, not so bright, criticising Bud for the plan going awry? Bud spending the money, the Swede seeing him? Contact with the judge? The arrest? Larry free?

12. The FBI agent, daughter of the judge, estrangement? Questioning of the Swede, his vague answers? Her coming to the court, to the prison to see Bud, trying to persuade him to incriminate the Swede? His refusal? His sentence? A speech in the court? Her father ousting her?

13. The judge, his role in the town, authority, collaboration with the Swede? Alienation from his daughter, meeting at the social? His condemnation of her in the court?

14. The daughters, wanting to get married, stories of the pregnancy, one of them not pregnant? Their flirting with other boys in the town? The Swede getting the quick divorce for Larry?

15. The brutality in prison, the giant fighting Bud, his losing his eye, Larry and the plan, knocking out the Swede, the announcements, in the truck, the pursuit by the police, the slapstick of the pursuit? The FBI agent at the end? The Swede putting them in the garbage truck? The Swede bashing the agent? Her letting Bud and Larry go?

16. The Swede in prison, the joke with Martin Sheen and Brando as the next warden?

17. The Butch Cassidy and Sundance Kid quotes, Bud and Larry at the end – and the new set of twins and their father?

A DANGEROUS PROFESSION

US, 1949, 83 minutes, Black and white.
George Raft, Pat O’ Brien, Ella Raines, Jim Backus, Bill Williams.
Directed by Ted Tetzlaff.

A Dangerous Profession is a small supporting feature, a star vehicle for George Raft after his career portraying criminals, with Pat O’ Brien, noticeably older, after his successful career in the 1930s. The female lead is Ella Raines, audiences expecting her to be a femme fatale – which she is not. There is a good role for Jim Backus as a dedicated detective.

Raft portrays a former policeman who has gone into the bail bond business in partnership with O’ Brien. When a case comes up that involves Ella Raines, with whom Raft has had a relationship, he reluctantly takes up the case and provides the bail. Most of the film involves his looking for the real criminal, leading to a showdown and a fight, but all ends well with the apprehension of the criminal, a reconciliation between the angry policeman and Raft, and Raft and Raines being together at the end.

The film was directed by Ted Tetzlaff, who directed a number of thrillers at this time including The Window.

1. Later filmed film noir? Crime, police, bail bondsmen, criminals, the touch of the femme fatale?

2. Los Angeles in the 1940s, courts, prison, bail bonds, hotels, clubs? Black and white photography? The musical score?

3. The title, bail bonds men, the police, clients and criminals, fraud, robberies, murder?

4. George Raft as Vince Kane, former policeman and successful, the decision to go into the bail bond business, his partnership with Joe Farley, his independence, gambling, flirting, the phone call from Nick, going to the apartment, seeing that it belonged to Lucy, his leaving the card?

5. The crime situation, the murder of the policeman, the apprehension of Barrett, prison, bail, his getting out, with Vince, friends, with Lucy, to the club, his promises, his leaving, being murdered?

6. Vince, in his office, Lucy and the application for bail? Her money and the refusal? Vince going to see her, the memories of the past, their encounter after the breakdown, her wanting a divorce, Vince not asking her to marry him?

7. Dawson coming to the office, the $12,000 for bail? Vince accepting, $9000 in debt to the company? Joe and his attitude, understanding Vince, critical of him? 25 years in the business, his integrity, releasing Vince? Being involved in the showdown?

8. Vince, going to Dawson’s office, seeing Gibney, his idiosyncrasy of letting people go before him through doors? Indication that he was the criminal? Going to the club, discussions with McKay? The shakedown, Vince wanting $50,000?

9. Nick, a good policeman, his voice-over, working with Vince, in the apartment? His disappointment in the bail situation, in Barrett escaping? His hold over Lucy?

10. Vince and his detection, realising the situation? At the club with McKay? With Farley? Taking Lucy to Farley’s house? Her moving from the hotel?

11. The showdown in his apartment, Lucy hiding, his leaving the message, the phone call, Nick in pursuit, the chase? The struggle with Gibney, is a rest? His arrest?

12. Farley wanting Vince to stay on, Nick satisfied, relationship with Lucy?

GREEN STREET/ HOOLIGANS/ GREEN STREET HOOLIGANS

US, 2005, 109 minutes, Colour.
Elijah Wood, Charlie Hunnam, Claire Forlani, Marc Warren, Geoff Bell, Leo Gregory, Henry Goodman, Rafe Spall.
Directed by Lexi Alexander.


No, definitely not an environmental documentary. The working title was ‘Hooligans’ and that would communicate instantly the topic and tone of the film. While Green Street sounds rather nice, it actually refers to a very British phenomenon, the gangs, called ‘firms’, who are fanatical followers of football (soccer) teams. The Green Street firm are London’s West Ham fanatics. The enemy is the Milwall firm.

This is the second football hooligan film in a year. In fact, Milwall was the centre of attention in 2004’s The Football Factory. These two films are complementary (definitely not complimentary). Green Street is written by a German woman, the director

Green Street intends to draw in non-British audiences by casting Elijah Wood (it is a bit like Frodo goes to the football and is corrupted). He is a journalism student at Harvard, son of a big-time, busy and neglectful editor, who is framed as a drug-dealer. He goes off to see his sister (Claire Danes) who has married an Englishman (Marc Warren). His brother (Charlie Hunnam) is the leader of the Green Street firm. The rather diminutive American is flattered at the attention he receives (despite a lot of mocking Americans), is surprised at the adrenalin rush he gets in participating in the danger and the violence. He is hooked.

Meantime, there is a bad history between West Ham and Milwall. The ageing leader of that firm saw his young son killed in one of the set-to’s and harbours hatred and revenge. As you would guess, he gets his chance with some disastrous consequences. These melees are all the more frightening because of the truly menacing and brutal presence of Geoff Bell (who appeared to the same effect in The Business) as the Milwall leader.

Like The Football Factory, this is a grim and unflattering look at a worldwide phenomenon. But it is a British phenomenon with causes international ruckuses, many fights, injuries and some deaths, leads to passport withdrawals and serious policing. Whether Green Street explains hooligans or not, it does give an alarming picture. (For fans who want to keep football on a pedestal, it would be much, much better to see the optimistic Goal!).

1. A very British film? British life? Football? Urban story? Gangs/firms?

2. American interest, the language of soccer? Casting of it Elijah Wood? the American scenes framing the film?

3. Matt, at Harvard, packing and being ousted, his not defending himself, his roommate and drugs, his roommate’s family and influence? The discussions with his father and his father’s office? offer to help? The end, the encounter with the roommate, his using drugs in the toilet, the discussion, Matt taping him?

4. Matt going to London, Shannon, his sister, meeting Steve, their baby? His not telling their father? His father, the answering machine, contact at Kabul? The New York Times?

5. The prologue, Pete and his firm at the station, the rivals on the other platform, mutual defiance, footballers’ cause, the racist threats, heading for violence? Setting up the scenario for the fights?

6. Pete, Steve as his brother, the visits, the talk, going to the match, anti-US, Steve wanting Matt to go, giving him money, not to be given to Pete? Pete asking for the money?

7. Matt, jetlag, yet fascinated, the firms and the members? The group, the policeman – the network? Steve as brother and his devotion to Pete? Matt learning, listening, keeping his diary, watching the matches, the involvement of the crowd, support, the clashes leading to violence?

8. Matt becoming part of the firm, the bond with Pete, watching him teach with the kids, another view of Pete? The other members of the gang? Shannon and her warnings? Steve and his past?

9. Everybody watching the draw, West Ham United versus Millwall?

10. The away game, going to the train, Matt warned not to go, his coming, getting out of the train, the truck, pretending that this was a movie truck, getting through the crowd at the station, the later buildup to the fight?

11. Bovver, going to Millwall, Hatcher and his son and his death, his wanting vengeance? Hatcher in the cafe, talking to Bovver, the Pakistani girl and her laughing, Hatcher’s brutal violence and assumption of authority?

12. Matt and his father, their discussions, Matt the father-son relationship, the father absent, the father wanting to do something, offering a contact at the Times? Their being seen, the assumptions that Matt was an undercover journalist?

13. Bovver, giving Hatcher the information, the setup? His later reactions, suffering the violence, Pete asking him to make up by getting the others away?

14. Steve, hearing about the rumble, his going to the pub, trying to warn Matt, the revelation about his past, the challenge, his having to go?

15. The build-up to the fight, Shannon coming in the car, the brutality of the fight, Steve and his being attacked, wounded, going to hospital? Pete, Matt helping, the fight, Hatcher and his brutality at Pete’s death?

16. Shannon at the hospital, her supporting him?

17. The experience from that, going home, his work as a journalist?

18. The build-up to sympathy for some of the firm members, the vividness of the fighting, the film supporting the firms and their outlooks or critical? Or both?