GUINEVERE

US, 1999, 105 minutes, Colour.
Sarah Poly, Stephen Rea, Jean Smart, Gina Gershon, Paul Dooley, Sandra Oh.
Directed by Audrey Wells.

Guinevere conjures up Camelot imagery, the relationship between Arthur and Guinevere and the breakdown of their relationship. In this interesting psychological drama of relationships and influence by writer-director, Audrey Wells, the older artist, Connie, played by Stephen Rea, names his young female protégés, Guinevere. He is quietly seductive in his manner, charming them to come to him, to agree to give five years of their lives to develop their particular art and devote themselves to a program of reading.

However, rather than being an Arthur, he is more of a Professor Higgins, drawing on the Pygmalion myth and the shaping of his young protégés.

Stephen Rea seems an unusual choice of casting for this role, a good actor, but always with a touch of the lugubrious. Sarah Polley, who had been acting since her childhood, shows the qualities of performance that will be seen in her later films. She also has a significant career as a director.

Jean Smart has quite a striking role as the young girl’s mother, a brittle lawyer, disdainfuhl of her husband, suspicious of Connie, and coming to confront him in his studio, a memorable and dramatic scene where she challenges is adequacy and his ability to relate only to younger women, also allowing herself a seductive attitude towards him.

The film has touches of fantasy, especially in the ending when a more mature young woman meets the other Guinevere’s and she responds to Connie’s request to guide him through the meaning of his life.

1. The title? Guinevere and Arthur? Possibilities of Camelot? Ideals? Reality?

2. The Pygmalion story, Connie and his trying to shape the girls into his ideal?

3. San Francisco, Los Angeles, the world of art? The limbs and blue and whites of the credits? Wealthy society, bohemian society? The score?

4. Harper’s story, the screen presence of Sarah Polley? The opening, at the wedding, drinking, doing jobs for her mother, not wanting to be photographed? The encounter with Connie, their talk, her self-image, not wanting any photos, his edging her out of the group photo?

5. Harper’s prospects, meals at home, the law talk, her fiddling with her bread? The brittle family manner? her friendship with Pat? Going to Connie, collecting the photos, meeting the former Guinevere? Looking at the photos, the special photo of her and its effect?

6. Connie as a person, his age, photographing weddings, his artwork, his book? bohemian lifestyle? Attracted to younger women, the sexual attraction, his own inadequacy with women with his own age? Harper’s mother and her visit, being provocative, seductive, her offering her theory, the challenge to Connie, his inadequacy? The age difference between him and her daughter? His hopes for the girls, his program of art and reading, dedication of five years? Sexuality and companionship? The other women and the effect? Meeting with his friends, discussions, ideas? His former dealer in Los Angeles? His not managing well, change of moods, but always coming back? Going to Los Angeles, the incident with his teeth, pawning his cameras, the dentist? His sense of failure, giving the cash to Harper and sending her away? The passing of four years, April as his Guinevere? His listening into the meeting of the women, their gift of the photo of themselves as group? His asking Harper for an image to die for? Her taking him through the light and corridor, each of the women in the windows, the particular gesture of relationship? Recapitulation of his life? Into the brightness and death?

7. Harper as a person, her age, turning 21, the joy of her party, fascinated by Connie, his calling her Guinevere, sharing with him? Moments of awkwardness, the decision to stay, the continued challenge to her, willing to give five years of her life? Harper with her family, the awkward meal with the
crackers and her mother adding ‘in bed’ to each of the sayings and her being crass?

8. Her parents, brittle, at the wedding, her brother-in-law? At the table, her mother’s visit to Connie? Connie’s outburst accusing her of being the same as her mother?

9. Billy, talking in sharing, her history, Harper confiding in her?

10. Four years later, Harper and her accomplishments with photography? Meeting Linda, Cindy, Billy, April, the discussion with April and Connie wanting Harper to support her? Jessica missing?

11. The theme of the old and young and their relationships? reality? Influence and influencing and shaping another? Allowing the other freedom? And a story of growing up into adult hood? The theme of admiration and awe?

THE OUTSIDERS

US, 1983, 91 minutes, Colour.
C. Thomas Howell, Ralph Macchio, Matt Dillon, Patrick Swayze, Emilio Estevez, Rob Lowe, Tom Cruise, Diane Lane, Leif Garrett, Tom Waits.
Directed by Francis Coppola.

The Outsiders was one of several films made from novels by S. E. Hinton, Susan Hinton, about the life of young people in Texas. Francis Ford Coppola also directed Rumble Fish. Tim Hunter directed Tex. Emilio Estevez directed That was Then, This is Now.

An outstanding feature of this film was the cast, so many of whom were to become significant actors, some movie stars, the most notable being Tom Cruise and Matt Dillon.

The film was told from the point of view of Ponyboy, played very effectively by C. Thomas Howell. The other main lead is the older friend and mentor, Matt Dillon. His older brother, protective though strict, is played by Patrick Swayze. His younger brother is played by Rob Lowe. Emilio Estevez and Tom Cruise play friends. But the other significant character is Johnny, isolated from his family, friendly with Ponyboy, and played by Ralph Macchio. The lead female in the cast is played by Diane Lane.

The film was photographed poetically, with an emphasis on skies, and quotations from poetry, including Robert Frost. Another literary feature is the reading of Gone with the Wind, and the photographic style reminiscent of the colour photography of the epic film.

The film is set in an Oklahoma town, on both sides of the tracks, with poor gangs on one side and a rich boys gang on the other. They come into conflict in several rumbles. But the significant event is the death of one of the wealthy boys which puts Ponyboy and Johnny on the run. As they give themselves up, a fire breaks out and the two boys perform heroic deeds in rescuing the children.

There is some nostalgia in the presentation of this way of life, but also the implied critique that it leads nowhere, exemplified by Ponyboy going to his journal, starting to write, and moving out of being trapped in this way of life.

Francis Ford Coppola had made an impact with many early films, especially with The Godfather and his Oscar for directing Godfather II. His great moment came with Apocalypse Now. During the 80s and 90s and into the 21st century he has had a mixed career, having success with such genre films as Bram Stoker’s Dracula and The Rainmaker from John Grisham’s novel.

In retrospect, The Outsiders is considered one of his classics.

1. The impact of the film in the 80s? Now considered a classic? The work of the director, his career? The cast and their later careers?


2. S. E. Hinton and her world, her novels and adaptations to the screen?

3. Oklahoma, the town, the north and the south and the different classes? The drive-in? Homes, streets, the bars? The scenes for the rumbles? The musical score?

4. The diorama style and Panavision for the natural beauty, the skies? Colour, widescreen, poetical? The references to Gone with the Wind and the similar visual style?

5. Nothing Gold Can Stay, the poem by Robert Frost, Ponyboy and his recitation? Johnny and his response? The theme song, Stay Gold, sung by Stevie Wonder?

6. Ponyboy and his beginning to write his story? C. Thomas Howell and his performance, age? His parents dying and his dreaming of the crash? Johnny and his friendship? His brother and his harshness, hitting him, the reconciliation and the embrace? His brother looking out for him? Dallas and his friendship, Ponyboy and Johnny hanging out with him, talk? Going to the drive-in, encounter with Cherry, Ponyboy being nice with her, their later meeting in the discussion about the rumble? Her respecting him, liking him, the talk after the clash with Bob, and not being able to talk with him at school because of the different gangs? His sleeping out, going home, the clash with his brother, Sodapop and his friendship? Two Bit and Steve and their friendship? The clashes with the Socs, the visuals of the fighting? Ponyboy and his being upset with his brother, running away with Johnny, getting to the playground, the Socs arriving, the fight, Johnny and his knife, Ponyboy recovering, they going to the bar, to Dallas, his friendship and advice? Going on the train, hiding in the church, Johnny buying the groceries, cutting and dying Ponyboy’s hair, playing cards, the days passing, Dallas arriving and his help? Their eating, their being hungry, Johnny and the decision to go to the police? The fire at the church, the heroism of the rescue, the burns, Johnny and the severity, Dallas and hospital, the preparation for the rumble, Cherry and her advice, Ponyboy and his polite discussions with Randy, their not wanting the rumble? The fight, going to the hospital, Johnny and his being glad that he saved the children, their life being worth more than his? The return of the book, Ponyboy reading Gone with the Wind, Johnny’s letter inside and his appreciating of beauty, sunsets, Frost’s poem?

7. Johnny, his age, alienated from his family, following Ponyboy, pleasant, at the drive-in, the confrontation with Bob and the Socs? Discovering poetry and beauty? Running away, the fight in the playground, using his knife, killing Bob? Going with Ponyboy? Seeing the fire, his heroism, the collapse of the roof, his being in hospital, the visits, his death? The letter within the book?

8. Daryl and Sodapop, the family, the home, Daryl and his responsibility, tensions, the bonds, the rumble?

9. Two Bits and Steve, work at the garage, turning up at the home, their friendship, eager to join in the rumble?

10. Cherry, with the Socs, her girlfriend, at the drive-in, a relationship with Bob and annoyance with him when he was drunk? The encounter with Dallas, his teasing her, her harsh reaction? Her liking him?

11. The Socs, the rich young men, at the drive-in, drinking, taunting he Greasers, the fight, Bob’s death, the running away? The final rumble?

12. The focus on adolescents compared with adults? The man owning the bar, the man at the fire and his admiration for the boys, the staff at the hospital?

13. American society, a past, basic goodness, yet issues of identity and gangs, rivalry, strong and poor families? An image of the midwest of the past?

HAWKING

UK, 2004, 90 minutes, Colour.
Benedict Cumberbatch, Michael Brandon, Lisa Dillon, Phoebe Nicholls, Adam Godley, Peter Firth.
Directed by Philip Martin.

Hawking is an interesting insight into Stephen Hawking. It limits itself to Hawking’s early years, his studies, his insights, his determination, especially when his motor neuron disease is diagnosed.
Errol Morris made a documentary about Hawking, A Brief History of Time. There have been many other documentaries and a forthcoming feature film about his life and career.

Benedict Cumberbatch gives a striking performance as the young Hawking – an indication that in succeeding years Cumberbatch would become a significant screen and television presence. Phoebe Nicholls and Adam Godley are his parents. Lisa Dillon portrays Jane, Hawking’s first wife of many decades. Peter Firth is Fred Hoyle, with whom Hawking was in conflict about the Big Bang.

The film has a dramatic device where two Nobel Science Prize winners are being interviewed, intercut with Hawking’s story, especially about the energy which resulted from the Big Bang.

The film requires audience attention, especially in its presentation of scientific and philosophical ideas.

1. Hawking’s reputation? Science, the media? His motor-neuron disease? His long life?

2. The era of the 1960s, the early 60s? Hawking at 21, his family, his life and studies, meeting with Jane, his birthday celebration, his collapse, his illness, his father wanting him to have a task before he died?

3. The UK, Cambridge, the University, the Royal Society, we creation of the period? The musical score – and Wagner?

4. The title, the focus on Hawking? Benedict Cumberbatch and his impersonation, performance? Appearance, manner, his drive and achievement?

5. The portrait of Hawking, his love of science, talk about science, his studies, preparation for his thesis, his topic, his writing? His relationship with his parents, their love and care? Jane, the invitation to the party, looking at the stars? And not liking Wagner? His collapse, hospital, the tests, the doctors and their opinions? Motor-neuron disease? Progressing more rapidly in the young? His father and his being a doctor? The degeneration? Hawking and his watching Fred Hoyle on television, issues of the universe, the continuity of the universe? His discussion with his friends, the Professor, his getting the task and the supervision? Study, formulas on the blackboard? Reading Hoyle’s paper? At the Royal Society? His contradicting Hoyle? his meeting Roger Penrose, their discussions, sharing, on the train, the woman and the reversing of time, the chalk on the platform? Leading to the awareness of an explosion, the Big Bang theory? His thesis, his supervisor commenting on it, an interpretation of beauty on Einstein’s theories? His physical degeneration, collapse at the theatre, Jane and her support, his proposal? Her having time to think? The taxi at Cambridge, his being inarticulate, her intervention? And demanding a room with access at Cambridge? His prospects?

6. The final information on each of the scientists? The Nobel Prize winners of 1978 and the ‘hiss’ from the Big Bang? Hoyle, Roger Penrose, Hawking?

7. The television interview with the two Americans, recurring throughout the film? The characters, history, Jews in Germany, the death trains, the escape to England, to America, getting a life, a hard life but success? The collaboration of the two? Playing the recorder? Answering the questions of the interviewers? Playing the sound – the remnant of the energy of the Big Bang?

8. Fred Hoyle, a pioneer, his papers, his assistant, Hawking reading the paper, his reaction at the Royal Society? The later encounters with Hoyle?

9. The professor, his wife and family, Hawking’s father and his plea, a task, writing the thesis, the supervision, the discussion, the professor’s response and admiration?

10. Roger Penrose, talking with children, his enthusiasm, Hawking hearing him, sharing ideas, on the railway platform? Hoyle asking where the fossil of the Big Bang was? The American scientists providing the answer?

11. Hawking’s personal life, his relations with his parents, their care, with the doctors and their diagnoses, with Jane, her love and support? 25 years with Jane and then his divorce and re-marriage?

12. The fact that Hawking lived a long life?

SHORT TERM 12

US, 2013, 96 minutes, Colour.
Brie Larson, John Gallagher Jr, Keith Stanfield, Kaitlin Dever, Rami Malek.
Directed by Destin Cretton.

While this is a small, independent film, it has much to commend it.

The setting is a small institution, for short term internees, children 12 plus. At the beginning of the film, some of the staff stand around and one of them tells an embarrassing story about chasing one of the youngsters. There are many stories told throughout the film, and at the end, the staff are standing around and listening to yet another story.

Some of the stories are very funny, some have their sad, even tragic side.

Brie Larsen and John Gallagher Jr portray Grace and Mason, two of the staff who work in direct contact with the kids. They are also a couple. But Grace is in charge, with Mason very agreeable in working with her. A new member of staff, Nate, is introduced with the stories.

It means that there are two strands of the film intercutting each other. The first is the story of Grace and Mason, their love for each other, pregnancy and the issue of whether there should be a termination, Mason acknowledging his foster parents and the influence they had on him, and the gradual revelation of the very difficult childhood that Grace endured. The actors seem very natural in their roles and communicate their personalities and their problems to the audience.

The other strand is, of course, the stories of some of the children in the institution. One of the main characters is Marcus, an African American about to turn 18, down on life, yet stimulated by music and rap. Mason is particularly helpful to Marcus, listening, playing the drums, sharing his aspirations. The other principal character is Jadyn, a bitter young girl, prone to cutting herself, daughter of a wealthy businessmen who fails to turn up at the time of her birthday, which leads to her wanting to get out. It is Grace who relates well to her, putting up with her critical comments, and her not wanting to be involved with the other children, yet having a capacity for drawing. Ultimately, she communicates her life and her emotions, especially with her father, to Grace in a story of a shark and its devouring friendship with an octopus. After she intervenes for Jadyn, Grace is able to tell her own very difficult life story to Jadyn.

A lot of the film is ordinary day life at the institution, the meetings and notifications, meals, birthday party, yet the tragedy of attempted suicide. The party sequence where Mason and all the other foster children of a Hispanic couple join together is an optimistic and welcome relief from the day-by-day troubles and joys of the institution.

Father Edward Flanagan, the founder of Boys Town, said that there was no such thing as a bad boy. Short Term 12, operates on a 21st century variation of this motto – that there is no such thing as a bad person and that friendship, support and love can gradually break through any shell that wounded persons protect themselves with. This is quite a humane and moving film.

1. The critical acclaim, the awards, the impact, serious and comic?

2. Institutions for children in need, the 21st century style? The institution, interiors, officers, meeting rooms, the students’ rooms, the grounds? Apartments? The party? The mansion? Realism? The musical score?

3. The title, the institution, for the children, the range of staff, the floor staff, the professionals? Help? Clashes in the staff?

4. The opening with the telling of the story, Mason and his following the boy, the embarrassing accident…? Everybody laughing? The end with the story about Marcus? And stories in between?

5. Introduction to Grace, the significance of her name, her interactions with Mason? Riding the bike, arriving, the talk, ease, introducing Nate? The group chasing Sam, catching him? Rules about not touching anyone on the street? The meeting, decisions for Marcus party? His wanting his head shaved?

6. Establishing the personalities of the staff? Their work? Jess and the team? The doctor and his psychological role? Management? Audiences identifying with staff and with students?

7. Introduction to Luis, checking on him, his clashes with Marcus, especially at the baseball and the strikes? The character of Marcus, his age, love of music, sharing it with Mason, the rap and Mason playing? Sam, his toys – and that later they were taken from him for therapy sake, Nate giving him one back? The doctor introducing Jadyn her character, story, tough, her look, the room, the posters on the wall, the penis? The drawing? At the meeting, not making attachments, nothing personal? Cutting herself? Cutting the word ‘why’ into her wrist? Her father not turning up, her birthday, the students giving the cards, later putting them on the wall? Being moved, the cakes and the candles? Talking with Grace, telling her the story of the octopus and its arms being eaten by the shark – what friends are for! leaving, Grace following her, the house, the key under the mat, Grace returning, the baseball bat, the father in his room, talking with Jadyn and, Jadyn and listening intently to Grace’s story?

8. Grace, her mother and all her men friends and Grace drawing them, delaying them in going to her mother? Mother’s death? Living with her father, the abuse, the explanations in court? His jail sentence? His imminent release? A love of her work, the students, love from Mason, their mutual drawing, his cooking, angry with the doctor about Jadyn and not being able to do anything? Breaking his lamp? saying no to Mason, the angry confrontation, the abortion? Jadyn and influencing her?

9. Nate, his faux pas at the beginning, the toy for Sam, his work on the staff, Grace reassuring him? Jess and her role in the staff?

10. The doctor, management, not being able to follow up on Jadyn’s father, Grace and her anger, being fired?

11. Mason, pleasant, in love with Grace, at work, at home, the meals, his love for her? The party at the foster parents, his speech, tribute, the dancing?

12. Grace, going to the gynaecologist, her pregnancy, decisions, her own background and keeping the baby, the previous pregnancy to her father? Her telling Mason that she was pregnant, his needing a moment, his happy response? The clash with Grace, the possibility of an abortion, and not being able to be with her? Her return, change of heart, getting onto the couch with Mason? The ultrasound and her delight? Grace going to the psychiatrist, her being urged to talk?

13. Marcus, the blood, his suicide attempt, getting Luis to help, his been taken to hospital, the news that he would survive?

14. Marcus and his story, the romantic touch, Mason telling the story, and Sam running out of the house again and having to catch him?

15. An emotional film, belief that every human being has goodness in them?

A DOG OF FLANDERS

US, 1999, 96 minutes, Colour.
Jack Warden, Jon Voight, Jeremy James Kissner, Jesse James, Steven Hartley, Andrew Bignell, James Garde, Cheryl Ladd.
Directed by Kevin Brodie.

A Dog of Flanders has been filmed many times, based on a story by the English-born writer, Ouida, author of Under Two Flags and Moths. It was filmed as early as 1914 with later versions in 1922, a popular Hollywood version in 1959, a manga version and this film of 1999.

Like the 1959 film it used Belgian locations and Antwerp. It is quite a colourful production, reproducing the cathedral, the town square and the costumes and decor of the 19th century.

The film is about a young boy, Nello (played by Jeremy James Kissner and Jesse James) who lives with his grandfather (Jack Warden) and, eventually, a large dog which they find wounded by the roadside. The young boy, like his mother, is able to sketch well and draws the attention of an art teacher, Jon Voight. There are several English actors in the cast, like Steven Hartley, as well as a cameo for Cheryl Ladd. A number of Flemish actors and actresses are in the cast.

The film is not so much about the dog as about the boy, his dead mother, his grandfather, his friendship with a local girl, his falling out with her father because of his poverty, accused of setting fire to a barn, hounded by the townspeople after the death of his grandfather. There is fanciful sequence at the end when he takes refuge in the cathedral, is visited by Peter Paul Rubens, the painter of Antwerp, praised highly in the film. It is a fantasy sequence, Nello thinking that he has died, sees his mother and grandfather again, gets wonderful advice from Rubens – only to find that he is still alive and receives the acclamation of the townspeople.

1. The film for children? For adults? The family? the dog? Themes?

2. The title, the setting, Belgium, Antwerp, the towns, the squares, the mills, the outskirts? The seasons? The musical score?

3. The theme of art, sketches, art teachers, Peter Paul Rubens, his painting in the Cathedral? The discussion about Rubens and his career? The fantasy at the end, his coming to life, showing Nello the painting, taking him out of the Cathedral?

4. Nello’s mother, the opening credits, walking through the blizzard, going to her father, her death, bequeathing the sketches? Keeping the baby’s father secret?

5. Nello’s story, with his grandfather, carting the milk, the customers, William and his friendship? Nello’s age, the bond with Alouise, the drawings, her posing, playing together, love for Alouise, his prospects? Poverty? The stories of his mother?

6. The dog, the cruel owner, leaving it by the wayside, Nello reviving it, at home, later meeting the owner, the fight with Michel, the owner’s death?

7. The town square, Nello meeting Michel, the other art teacher and his pupil? Going to the cathedral to see the Rubens, the priest, wanting money, his anger at the dog’s presence? Michel and his support? The later contest and the winner?

8. Nicholas, his background, the mill, suspicious of Nello, love for Alouise, tolerating the friendship, later forbidding it, for Alouise’s prospects? Nello’s grandfather making the doll for her birthday, Nello bringing it? the night of the fire, his being blamed, anger, the town against him? Nicholas believing the landowner? The maid finally telling the truth? Nello finding the purse in the snow, restoring it, leaving the house, wandering the city, people searching for him?

9. The dog, big, the breed, left for dead, revived, with the cart, continually with Nello? Nello leaving him with Nicholas in the family, his going with Nicholas to search for Nello?

10. Alouise, nice, her mother, having Nello’s mother’s secret? Alouise with her father? Millie and her role in the house? Alouise’s friendship with Nello, going to the scene which his mother sketched, posing for him?

11. William, genial, drinking the milk, helping Nello after the accusation?

12. Michel, as a teacher, wealth, his advice and coaching for Nello, going to Rome, his return? His speech at the contest but his vote not prevailing?

13. Grandfather, at home, his daughter, helping with the fire, his death, the funeral?

14. The Cathedral, Nello and Rubens, Nello’s dying, the talk about the heart and painting, Rubens knowing all about him, encouraging him, everybody advising to paint from the heart? Seeing his mother and grandfather? His funeral? Michel coming back, acknowledging that he was Nello’s father?

15. The fantasy, Nello’s revival, his life restored, finding his father?

THIN ICE

US, 2011, 93 minutes, Colour.
Greg Kinnear, Alan Arkin, Billy Cruddup, David Harbour, Lea Thompson, Bob Balaban.
Directed by Jill Sprecher.

Thin Ice is an entertaining con story.

However, it had distribution difficulties. Director Jill Sprecher, writing the screenplay with her sister Karen, made a film of two hours. The distributors decided to cut 20 minutes or so from the film, to make the pace faster. And the director wanted her name removed but her contract prevented this. Yet, the reduced film is quite entertaining in its way. The original title was The Convincer.

This is the story of an insurance agent, Mickey (Greg Kinnear) rather unscrupulous in his targeting clients, and eventually finding a client whom he could manipulate – and who had in his possession a violin worth up to $1 million. He cultivates the client, played very effectively by Alan Arkiin. With this, Mickey is edging out one of his contractors, a seemingly simple and honest man, played by David Harbour.

Then things begin to go awry. Enter Billy Crudup as Randy, an installer of security systems and alarms. Add a killing and the disposal of the corpse in the ice and its needing to be cut up, we find a situation where Mickey is out of his depth, with Randy always threatening him. There are complications with the violin, a replacement by a substitute, the quote from its value going up and up.

Ultimately, Mickey is the victim of a most elaborate scam with everybody in net on it. Which means entertaining revelations.

Though this film is quite interesting and entertaining, it would be interesting to see the complete film, The Convincer.

1. An entertaining film? Drama? Thriller? Cautionary tale?

2. The film edited down from its original form? The effect?

3. The locations, Florida and the sunshine and conventions, retirement? The snow and winters of Wisconsin? The locations in hotels, offices, the farmhouse, lakes and forests? The musical score?

4. The title, the literal meaning with the corpse? Mickey and his skating on thin ice throughout his life?

5. Mickey story? Greg Kinnear? Insurance, at the convention, a conman, his talking about making conversations, asking the time, moving the conversation into insurance issues? Targeting people?

6. The voice-over, the lecture, the conversations, talk about accidents? The conference? Meeting Bob? The issue of the job? Undercutting his boss? Bob agreeing? The awards?

7. The woman in the bar, drinking, talking, going to the room, the expense of the minibar, the sexual encounter, stealing his wallet, playing the casino with his card, the earing being returned? His need for cash, Bob helping him out? The job prospect?

8. His life, alone, separated from his wife, seeing her at work, her son, at the office, the assistant, giving her work, the raise? Mickey’s prospects?

9. Going with Bob to see Gorvey? Gorvey and his age, on the farm, his accent, the house, the dog, his TV, the insurance, the policy issues? Mickey and his visits, cutting Bob out? Gorvey becoming dependent on Mickey, the phone calls, fixing the TV? Frank and his neighbourliness, help? Randy coming for the alarm system, going in, the issue of the violin? Randy wanting to steal the clock? Frank coming in, Randy killing him, the blood, wrapping him in the tent, taking him to the ice, cutting through the ice, cutting him up, disposing of the body? Mickey, his alarm, simply wanting to get in to get the violin, his lies? Randy taking the photo, his hold over Mickey? Gorvey and his trip? Bob meeting him at the station?

10. Gorvey and his character, credible, the farm, his sister stuff in house, her death, the television, ups and downs with the policy, the information about the violin, the substitution, Gorvey wanting to go to Austria? Mickey and his spiel? The dog running away, Mickey finding the dog by the wayside?

11. The violin expert, his visit, the letters? Mickey visiting him, the down payment? The substitute violin? The appraisals and the rising value?

12. Randy, in prison, his character, rough, installing the alarm, trying to steal the clock, Mickey wanting to re-enter, giving him $20? Frank and his intrusion, his death? Randy and the disposal of the body? Mickey and the confrontation? Anxiety?

13. The later information, the spreading of the information Frank is the killer, the police, the discovery this false ID, his disappearance?

14. Mickey, his being puzzled, the police and the enquiries?

15. The revelation of the solution, the scam, everybody in on it, the woman at the casino, Bob, Frank, Gorvey, Randy, the violin expert? The real owners of the house coming home?

16. Mickey, with his wife, the earing coming from the casino, her leaving him? His secretary and her improvement? His decision to go to Florida and start again – and the spiel, talking to the potential customer?

5th AVENUE GIRL

US, 1939, 83 minutes, Black and white.
Ginger Rogers, Walter Connolly, Veree Teasdale, Tim Holt, James Ellison, Louis Calhern.
Directed by Gregory La Cava.

5th Avenue Girl was directed by Gregory La Cava, a former cartoonist, director of many short films in the 1920s, moving into features in the 1930s including, at this time, My Man Godfrey and Stage Door. He made a number of the screwball comedies of the 1930s including this film – but it has some more serious overtones.

Ginger Rogers is very good (though a bit too much the same throughout) as the unemployed young woman who encounters a rich company executive and agrees to go to his home with a contract to work for him, for a possible reconciliation with his alienated family. The executive is played by Walter Connolly, effective and this kind of role. Veree Teasdale is his somewhat snobbish wife. Tim Holt is his young son – too young for this role and not the least bit convincing in falling in love with Ginger Rogers. There is support from Franklin Pangborn in a typical role as a butler and Louis Calhern in a brief role as the doctor.

The film comes at the time of the New Deal, the aftermath of the Depression, and a time when people toyed with socialist ideas. A film of its time but quite entertaining to watch in retrospect.

1. The screwball comedy traditions of the 1930s? The style, the characters, the issues, interactions? This screenplay with a bit more seriousness in tone?

2. 1939, the black-and-white photography, the atmosphere of New York City? The musical score?

3. The title, the focus on the girl, the nature of 5th Avenue and wealth, contrasting with unemployment? The sub-text with the chauffeur spouting communist ideas?

4. The introduction to Mr Borden, his company, the making of pumps, the board meeting, his frustrations, plans? his leaving, the birthday gift of the tie, some brightness?

5. The press information about his wife, going to Reno, her companions?

6. His going to the park, contemplating the tree, the advice from the butler, people staring at the tree? The encounter with Mary, following her, the park bench? The conversations? His inviting her home, the dinner, his birthday, seeing his wife and her companion, dancing, the champagne, waking up at home? Mary in the house? His black eye, the taxi driver, the butler’s black eye?

7. His contract with Mary, the family assuming that he wanted to marry her? Her playing the part?

8. Mary and her character, Ginger Rogers style, rather one-note in her sardonic remarks, support of Mr Borden?

9. The tradition of stories were a stranger comes into the house, interacts with everyone, transforms them? Mary and her fulfilment of this role?

10. The wife, her exasperation with her husband, falling out of love, her companions, the gossip, the prospect of a divorce? At home, the wealth, her tantrums? With her children and controlling them? The reaction to Mary, advising them to be friendly towards her? Discussions with her, not fearing her, Mary and her common sense, her preparing the beef stew for her husband, the meal, the reconciliation?

11. Tim, young, irresponsible, antagonism towards Mary, his going to the office, getting some sense of the business, discussions with his father? The attraction to Mary – but few scenes to show his transition to falling in love with her, antagonism on the park bench, reconciliation on the porch?

12. Katherine, young, in love with the chauffeur, getting Mary’s help, later attacking her, her concern for Michael, his communist principles, annoying everyone in the kitchen, his finally succumbing, Mary slapping him, the hasty wedding?

13. The butler, his observations, the kitchen staff? Interactions with Michael?

14. A happy family – and a new romance?

DRINKING BUDDIES

US, 2013, 90 minutes, Colour.
Olivia Wilde, Jake Johnson, Anna Kendrick, Ron Livingston, Ti West, Jason Sudeikis, Joe Swanberg.
Directed by Joe Swanberg.

Drinking Buddies is a small, independent film, written and directed by Joe Swanberg (who appears in this film as the cantankerous driver fighting with Luke, who is helping to move his friends, Kate’s, furniture).

The action takes place over a couple of weeks, focusing on Kate (Olivia Wilde) who works as secretary and part-manager at a beer factory. She is good at her job, liaising with other companies, making sales, continually on the phone. But she is also asked to do other jobs, like preparing a social party for the company and prospective customers. At work, she has a good friend in Luke (Jake Johnson) who works on the floor of the factory. They joke together, have lunches together, and join other workers in having a beer after work.

They are all drinking buddies, and a genial look at drinking buddies rather than just watching gatherings to have drink after drink. These people have their drink, enjoy the conversation, enjoy the company, crack jokes, and build up a good spirit in their factory.

The film also shows two sets of relationships. Kate is involved with recording executive Chris (Ron Livingston) who seems to get on well with Kate and she with him. The other pair is Luke and his partner, Jill (Anna Kendrick). Jill is a Special Ed teacher, committed to her work. And committed to Luke.

The two couples go together for a vocation to the mountains. On a hike, Chris is attracted to Jill, having admired her for her work and dedication, and they kiss. That’s all. But, of course, there are repercussions.

Jill goes away to sort out her relationship with Chris. In the meantime, Luke enjoys Kate’s company, helps her to clean up the apartment she is leaving, helps her with the removal of her goods and furniture – though he cuts his hand with a nail and she has to call in some of the other men from the factory to help her. This does not please Luke and they fall out about their plans for dinner after their work.

The final scene is very low key, action rather than words, but a gently pleasing end to this story of work and relationships in the lives of the various buddies, drinking or not.

1. An independent film, small-budget? Slice of life? The blend of the serious and humorous?

2. The title, the tone? The drinking scenes, work, friends? Easy friendships?

3. The city, the beer factory, offices, the party, homes, bars, apartments, the holiday house in the country? The musical score?

4. Kate’s story, Olivia Wilde and her presence? Age, experience, at work, the phone calls and liaisons, the invitations to the party, the preparation, the party itself? Her boss and his giving her jobs? Discussions? The relationship with Chris, love, the affair, eight months? His different life? Hers? taking him to the party, connections, friendship with Luke and Jill?

5. Chris, his life, recordings, his manner, relationship, at home, Kate into spending the night, going to the party, the drinks, she busy during the party? Going to the late for the holiday? The two couples? The hike was Jill, sitting, the kiss? Leading to the separation?

6. Luke, his type, appearance, at work, friends with Kate, the drinks and jokes, lunches, buddies? His relationship with Jill, his commitment? His wisecracks? Go on holiday? At home, Jill packing, going on the trip? Going to help Kate, cleaning the house, eating, spending the night, the moving, helping, the nail in his hand, his reactions? The clash at the end, David and his help, Kate wanting to drink with them? The fight with the angry driver? His not liking Dave and the others, the clash, the mutual hurt?

7. Relationships, friendships, sharing, sexual relationships, platonic relationships?

8. Jill, the return from the holiday, herb weeping, confessing the truth to Luke, strengthening their relationship will not?

9. The final lunch, sharing the chips and banana – and a pleasing ending, that friendships can overcome hurts?

INSIDE LLEWYN DAVIS

US, 2013, 103 minutes, Colour.
Oscar Isaac, Carey Mulligan, John Goodman, Justin Timberlake, F. Murray Abraham,
Directed by Joel and Ethan Coen.

‘Inside Llewyn Davis’ is the title of the recently-released album of folk songs from the central character, Llewyn Davis. But the film intends for us to go beyond the music, to go exploring inside the character and psyche of Davis, perhaps surprised at some of the things we find there, but also disappointed in that there is not so much to find. And Davis himself, during the film, has to go inside himself, seeking the truth about himself, also disappointed in what he finds, with people thinking that he is a loser. And in many ways, he really is.

This is a film from the Coen Brothers, who have been making excellent films fairly consistently for almost 30 years. With this one they won the Grand Jury Prize in Cannes 2013. It has received several further nominations and awards.

The setting is 1961, New York City, the time of the emergence of the folk music that was to characterise the early part of the 1960s, the movement, pushed by the experience of the Vietnam war, which led to many of the popular singers, Arlo Guthrie, Bob Dylan, Joan Baez, Peter Paul and Mary (whose 500 Miles is performed during the film). At the beginning, Davis is singing a ballad, about life, about death, about love, about regrets – with forlorn lyrics. By the end of the film, when he sings the ballad again, we realise and, perhaps, he realises, that he is come full circle but that it is a very narrow circle.

Oscar Isaac has received great praise for his performance. He has a wide range of films behind him, The Nativity Story (as Joseph) Drive, down, and as Jose Ramos Horta in Balibo, but he also has a strong future ahead of him.

Davis wanders New York, gets some small gigs in a club, goes to visit his friends only to find that Jean (Cary Mulligan) is pregnant and he wants to get money to pay for an abortion for her. Her husband, Jim (Justin Timberlake), is unaware of this and offers Davis an opportunity to do a record of a comic song in praise of the President, John F.Kennedy. Davis also catches hospitality from these friends and from a Jewish professor in upper New York City. They help him but he seems unable to help himself.

The film also features the strong presence of a cat, owned by the Professor, but accidentally locked out of his apartment, with the elevator driver refusing to take care of him and Oscar having to carry him around the city, almost losing him in the subway. We focus on the cat, perhaps a symbol of Llewyn Davis himself, getting lost, being found again (or, perhaps, not).

There is also something of the picaresque about Davis’s journey, hitching a ride to Chicago hoping to get some recognition and performance dates, with John Goodman in the back seat, larger-than-life, with sardonic observations and wisecracks about music. In Chicago he meets an entrepreneur, F.Murray Abraham, who does some plain talking to Davis.

The other option that Davis has is to go back to the merchant navy where he is known, especially as the son of his father also in that navy. There seems to be little love lost between father and son and Davis goes wandering again. He is rude in his dealings with others, ridiculing some of the other singers, leading to his being beaten up, twice.

And, at the end, there he is in the same place, singing the same song, the same forlorn lyrics, which have book ended Inside Llewyn Davis as well as his own attempted self-exploration.

The look and the tone of the film are greyish. There is a certain glumness, bleakness about the characters and the story. But this does not mean that this is not a very good film, that it is not an interesting film – rather it is a slice of life, a visit to a particular time and place, a memoir of the music of the period and what it meant. The visit inside Llewyn Davis is both challenging and effective.

1. Acclaim for the film, performances, music? Awards? The work of the Coen brothers? Their perspective on life, comical, bleak?

2. A 1960s story, New York City, music, folk music, its emergence, the songs and their still being well known, the singers, their styles, performances, in clubs, recordings, the audiences, a folk music culture? A tribute to the singers of the period?

3. New York City in the 1960s, the apartments, clubs, the security and insecurity of the singers? Chicago and the venues?

4. The range of music and songs, Oscar Isaac and the opening song, setting the tone, used at the end? The songs throughout the film? Jenny and Jim, the Peter Paul and Mary 500 Miles, the comic song about the Kennedys, the singer from Arkansas? Singers, agents, entrepreneurs, clubs, audiences?

5. Llewyn Davis, Oscar Isaac’s performance? Age, experience, at sea, the reputation of his father and people referring to it and his reactions, later visiting
his father, his father in the home, communicating or not?

6. Llewyn Davis as a singer, his gifts, the gigs, his records, his partner and his suicide, missing him, people telling him he was no good alone? The Chicago entrepreneur telling him he didn’t connect with the audience well? His moving from place to place, crashing in people’s homes, his being bashed outside the club, and this recurring at the end – and the husband of a woman from Arkansas? Going to the apartment of the Professor, interactions with cat, the cat getting out, the lift driver refusing to look after it, on the subway, its getting loose and retrieving it, Jenny and her reaction, Jim as pleasant, Jenny as pregnant, the secret, the paternity, not only Jim and himself but the manager of the club? The issue of abortion, Llewyn finding the money, the doctor and the money on account for the abortion two years earlier, its not happening, the woman and the baby surviving and going back home to Akron? Llewyn and his drifting from place to place, meeting Troy, the military type, Llewyn’s reaction to him? The Peter, Paul and Mary song? Going to the recording, the comic Kennedy song? His life, borrowing cash, going to Chicago, the encounter with Goodman and his chauffeur on the way? The episodes, the collapse in the toilet? In Chicago, the interview with the entrepreneur, his not being hired? Getting the lift home, the young man wanting to be a passenger while Llewyn drove, the turn to Akron, his not following it, hitting the animal on the road? Visiting Jenny, thinking she had the abortion, away for a short amount of time? Going to the Professor, the meal, asking him to sing, his being rude to the professor’s wife, his later return, the apology, going to the club, drinking, insulting the woman singing? Being thrown out? His being bashed? Returning to the club, singing the original song again? How much further had he travelled in his own life?

7. The character of Jenny, her anger with him, her marriage to Jim, loving him, yet the affairs, her pregnancy, the issue of the paternity, singing? Her exasperation?

8. Jim, a nice man, friends with Llewyn, singing, getting him the recording gig? Not suspecting his relationship with Jenny?

9. Goodman, an eccentric character, his chauffeur looking after him, the talk along the way, his cynical remarks, comic remarks, his turn in the toilet and the revival?

10. The entrepreneur in Chicago, the interview, the straight talk, not employing Llewyn?

11. The professor, his wife, nice, friendly, Jewish background, the wife and her talk about Llewyn’s partner and his death, Llewyn’s anger, insulting her, her weeping? His return? His apology, her apology? Then the wrong cat?

12. The important of the cat, comic, getting out of the house, Llewyn actually caring for it, in the street, in the subway, losing it, finding the other cat – and the wrong cat?

13. Troy, the sympathetic young man, the conversation, the military, his getting out, planning a career, his successful singing, Llewyn watching him eat breakfast, going along the street? The praise of Troy by the entrepreneur in Chicago?

14. An immersion in a particular time, place and culture?

THE WOLF OF WALL STREET

US, 2013, 175 minutes, Colour.
Leonardo Di Caprio, Jonah Hill, Margot Robbie, Rob Reiner, Jean Desjardin, Jon Bernthal, Matthew Mc Connaughey, Jon Favreau, Joanna Lumley.
Directed by Martin Scorsese.


Fascinating and repellent.

There is something mesmerising about films which portray the wheeler dealers of big finance, especially on Wall Street. In the 1980s, Oliver Stone gave us the archetypal insider dealer, Gordon Gecko (who is mentioned in passing in this screenplay). Other films which led us into the world of finance and sales include Glengary Glen Ross, based on David Mamet’s play, and the world of young dealers in Boiler Room. While 2013’s American Hustle is about fraud, it is still based on the premise of getting money as the most important quest in life. The miss quote from the Letter of James, ‘money is the root of all evil’, actually reads ‘the love of money is the root of all evil’. And the behaviour of Jordan Belfort and the other brokers in The Wolf of Wall Street certainly illustrate this dictum. So here is Martin Scorsese’s take on this world, his fifth collaboration with Leonardo DiCaprio?.

There has been quite some controversy about this film, some claiming that it glorified this self-centred, warped and sometimes degrading world. Those who defend it say it is ‘a cautionary tale’, not an exhortation to be another Jordan Belfort. Some audiences have been disgusted by several orgiastic interludes but out of a film that runs for 175 minutes, they are comparatively brief and are meant to illustrate the way of life that the central character, Jordan Belfort, has become accustomed to.

In this kind of cautionary tale, there is always the possibility, especially in the early part of the film, that some members of the audience, especially ambitious men, might identify with this kind of behaviour. But, as Jordan’s father reminds him early in the film and he neglects to remember it, chickens come home to roost. Nothing succeeds like excess – until it catches up with you.

Leonardo DiCaprio? has won some awards for his performance as Jordan Belfort. This time he is something of a combination of his landowner in Django Unchained and the great Gatsby. Starting as a naive young man with ambitions, he is overwhelmed by the energy and frenzy of the brokers on Wall Street, listening attentively to his mentor or, a very effective small cameo from Matthew McConaughey?, who glorifies the exhilaration of making money, egged on by cocaine, alcohol and womanising. It is not long before Jordan is not only part of this world but a leader.

Everything might have collapsed after the Stock Exchange failure of October 1987. Jordan goes on the road giving talks about making money but his wife urges him to follow up and ad and he discovers a small company, dealing in small shares and almost instantly takes it over, recruiting a group of avaricious men who are not the greatest intellects but have killer instincts for their job. He is pursued by a young man, Don (Jonah Hill) who gradually becomes his right hand man, not only in work, but in self-indulgence and a willingness for debauchery.

These themes sound serious but, in fact, the tone taken is rather comic, often sardonic and ironic, sometimes, as with a prolonged scene where Jordan and Don indulge in pills which take time to take effect, and Jordan, affected by them, has to crawl along a hall and fall down steps to get to his car and drive it under this influence – which does lead to a crisis with the police, with his wife, and his daughter.

It is a long film, prolonged at times, but it shows the ambition and self-delusion of a would-be highflier, ignoring realities, including investigation by the FBI, opening accounts in Switzerland with the aid of his wife’s aunt (an unexpected cameo by Joanna Lumley) which unexpectedly leads to more crises and a reckless voyage in the Mediterranean in the lavish yacht he has bought for and named after his wife, his second wife, Naomi (Australian Margot Robbie). The Swiss banker is played by Jean Desjardin, Oscar-winner for The Artist.

Often it is said that this is an amoral world and, indeed, it is. But on the evidence of The Wolf of Wall Street, it is an immoral world, recklessly so, exploitative lease so. But this is not to say that it is advocating this kind of world – it is presenting it in a way that is both fascinating and repellent.

1. The impact of the film? Awards? Critique and controversy? Drama and comedy?

2. Based on a true story, the 1980s, the decade of Gordon Gecko? The collapse of 1987, re-building, new success? Excess and failure? A cautionary tale?

3. The accusation that the film-makers were glorifying this way of life? Does depicting it mean glorifying it? Making it attractive? But making it attractive until the accountability at the end?

4. Leonardo Di Caprio as Jordan Belfort, age, within his family, his ambitions, going to Wall Street at 22? The introduction to the floor, his boss and his language, expectations? Answering phones? His naivete, wide-eyed? Mark Hanna and his taking him under his wing, the talk, the restaurant, the high life-style, explanations, the interlude with the humming, the cocktails, the cocaine, the quest of money? The 1980s and greed?

5. Jordan’s introduction to the film, his continued voice-over throughout, looking straight at the audience? His boasting, his wedding, his marriage, wealth, excessive drugs, drink, women, the helicopter and his getting home to his mansion?

6. His journey, any values at the outset? Morals? The American secular worldview? Success and getting approval through success? Before 1987, his success, money, explanation, the victims on the phone, his way of life, the collapse?

7. At home with his wife, giving talks about making money? The ads, his wife’s urging him on, the visit to the small company, shady, the small businesses they dealt with? His demonstration on the phone, his plausibility, leading customers on, their becoming victims, willing victims? His plan and taking over the company, gathering the range of friends, their being assertive but not particularly brainy? The range of characters, the glasses, the hairpiece, Brad…? Don, his job, hearing about Jordan, pursuing him, persuading him to take him on, his being employed, the set up?

8. The loyalty of the staff to Jordan, a kind of Hitler-syndrome, his powers of persuasion, his speeches, rousing them up, they’re responding, calling out, loyalties? His expanding his company and the number of people employed, hiring some, firing others who are not paying attention, the woman to whom he gave the $25,000 gift, her gratitude towards him?

9. The workplace, the success, the increasing indulgence, the sequences in the office, the women, the drink, drugs, crude and crass, the exhibitionist in the elevator? This becoming a lifestyle for Jordan and the company?

10. The character of Donny, his wife, his betrayals, greed and gross? Continually faithful to Jordan? His clash with Brad, the big mistake, Jordan forgiving him, providing the old drugs and the repercussions with him on the phone?

11. Meeting Naomi, their talking, seductive, the affair, prolonged, his being caught in the car by his wife, the divorce?

12. His life with Naomi, the wedding ceremony? Her character, love, indulgence? The house and Jordan’s boasting? The lavish yacht? Time passing, the daughter, his betrayal and Naomi’s anger with him?

13. His father, support, the Mad Max Syndrome, seeing it illustrated, bursting into anger and then calm? His continued support of his son, yet warning him
about the dangers?

14. The FBI agents, the pursuit of Jordan, the surveillance, their visiting the yacht, all smiles, the fruit drinks, the greater tension, Jordan ordering them off the yacht, condemning their subway style of life?

15. The test case, Don’s friend and issues, the demonstration and the staff, their fickle reaction, the pursuit of the company, ownership, it’s later coming undone, the friend and his selling his shares?

16. The lawyers, the advice and warnings, the documents, dealings, the investigations and the responses?

17. The comedy throughout the film, especially in the sequence with the slow-burning pills, the phone being tapped and the warning, Jordan going to the
club for the phone, the influence of the drugs, crawling along the hall, falling down the steps, driving the car, his boast that nothing happened – and the police showing him the wreck and the flashback to all the damage?

18. The incident with Donny and Brad, delivering the money, Donny and his anger at Brad, the fight, the police watching, the case with the money opening, Brad arrested, keeping quiet about Donny? Welcome back – but the offhand remark that he would be soon dead?

19. Jordan making mistakes, the investigations, going to Italy, the yacht, the captain warning against the storm, his need to get to Switzerland, the effect of the storm, disaster?

20. The Swiss situation, Aunt Emma and her visit, her agreeing to help, the mutual flirting, sexual encounter? Opening the Swiss account? The Swiss manager, smooth talk with Jordan, the account, the wife and the money being taped to her, her family and the transfer of money through Europe, the deposit in the bank? Emma’s death? Invitation to Jordan, forging accounts? The irony of the Swiss man arrested in the United States?

21. Jordan, the deterioration of his relationship with Naomi, the final sexual encounter, his angry reaction, leaving, his taking the child, in the car, the garage?

22. The agents, the arrest, the interviews about deals, persuading him to wear the wire, writing the warning to Donny on the serviette?

23. His giving up names? his decision to stay with the firm, the acclamation and blind loyalty? The collapse? Prison?

24. His giving lectures again, in New Zealand, the memory of the technique of selling the pen, the ineffectual ambitions of the Kiwis?

25. Serious, comic, fascinating and repellent?