HENRY’S CRIME

US, 2008, 108 minutes,Colour.
Keanu Reeves, Vera Farmiga, James Caan Khan, Judy Greer, Fisher Stevens, Peter Stormare, Danny Hoch.
Directed by Malcolm Vennville.

Henry’s Crime is a slightly oddball concoction but endearing nonetheless.

Keanu Reeves gives one of his passive performances again which suits the initial action but he becomes more alive as the film moves on. Henry works at a toll, a deadpan life, living with someone who supports him but wants to be pregnant and, ultimately leaves him. When a school friend appears with an associate who is sick, he is pressurised into being the getaway driver for a bank robbery, then arrested by the bank’s security guard, not revealing the identities of the others and being sentenced to prison for three years.

In prison, he encounters Max, James Caan in a very engaging performance as someone who prefers to be in jail but is a conman and is persuaded by Henry to get out of jail to help him with the robbery of the bank for which he was arrested. He is told that he has done the time. Therefore, he decides to do the crime. He has discovered a tunnel between the bank and the theatre and, after being run down by the star, Julie, Vera Farmiga, he visits the theatre and becomes involved with her. Max, in the meantime ingratiates himself with the people at the theatre and they plan to dig through the wall and into the vault of the bank.

The interesting thing about the screenplay is that the performers are staging Chekhov’s The Cherry Orchard – in Buffalo. The themes of Chekhov’s play about the upstart, the money, falling in love, the reaction of the owner of the Cherry Orchard, become anchors for parallel action in the robbing of the bank while Henry is becoming part of the theatre ensemble.

Keanu Reeves fits his role very well. James Caan is very good as Max. And there is a bonus with Peter Stormare as the eccentric Russian director of the play.

The film was directed by Malcolm Venville who also directed 44 inches.

1. The title, the irony of Henry and his crimes, innocent and guilty?

2. The combination of drama, crime, romance, theatre? The musical score?

3. The choice of Checkhov’s The Cherry Orchard for performance, for background for the contemporary plot? The original and the staging, the anchoring of the story in the plot and characters? Playing them out on stage and during the robbery?

4. Buffalo locations, the city, the toll and the bridge, homes, the theatre, the bank, the streets, Niagara Falls?

5. The set-up, Henry and Keanu Reeves, his impassive style? Working on the toll, going home, breakfast, the discussions with Debbie, her wanting to be pregnant? His passive responses? Vibes and his intrusion in the house? With Joe and his being sick? Pressuring Henry, his driving the car, the robbery, security guard and arresting him, the interrogation, his not revealing the truth, in court, the sentence?

6. In prison, the routines, going in, his cell, being with Max, Max and his character, talking, asking him questions, about his dream? Helping him with the meals, the dining room? With the other prisoners? Six months passing? Judy and her visit to the prison, leaving him? Another year? His behaviour in prison, not liking it, eventually free?

7. The theme of not doing the crime but doing the time – and therefore doing the crime? Sufficient as a motivation?

8. Alone, settling down, looking at the bank, Julie running him over, getting him up, the security guard and his help? Having the cup of coffee, the discussion, Julie leaving? Henry seeing the poster about the bank and the tunnel? His decision? Going to the theatre, seeing Julie, watching her perform? His decision and going to the prison, talking with Max, persuading him to get out?

9. Max is a character, his age, his stories, his liking prison, not wanting to get out, the parole board and his spinning exaggerated stories? Getting out, no car, wanting to go back in, sharing the apartment? Going to the theatre, his talk, talk about performance, his look of nostalgia, persuading the stage director to give him a tour, eliciting the information, the location of the tunnel? His volunteering to help at the theatre? Explanations to Julie about fraud and using ‘confidence man’?

10. Julie, her character, cold, her career, rehearsal and performances, angers, clashes with the director? running over Henry, glad that he did not sue, the visits, having the meal, talking, his revealing the plan, her involvement? The relationship, sex, her considering it casual? Max and his observations?

11. Joe, moving in with Debbie, grateful that Henry did not reveal his name? His job, the Korean plastics? Hopes, Debbie pregnant? His drinking, needing
the money, agreeing to dig, the progress of the robbery?

12. The plan, Henry to be in the play, getting rid of the star, auditions, the reaction of the director, Henry making it personal, being hired? His presence at the rehearsals? Acting with Julie?

13. The deadline for the robbery, the security guard and his information, the illness of his wife, his resentments about no loan, his helping with the information? Vibes turning up, Max and his reaction, disdain? The gun? Vibes and his work? His plan to rob everyone, pulling the gun, their overcoming him, tying him up and leaving him in in the vault?

14. The parallels with the play, the actual robbery, going through into the vault, packing the money, the car?

15. Henry, the clash, his being shot, the escape, his decision to get out of the car? Leaving Max?

16. His return to the performance, the reaction of the director, the audience participating and giving advice, Julie and her reaction? His saying he loved her?

17. The end with the curtain coming down on their kissing – the future?

WIR SIND DIE NACHT/ WE ARE THE NIGHT

Germany, 2010, 98 minutes, Colour.
Nina Hollis, Jennifer Ulrich, Karoline Herfuth, Max Riernelt.
Directed by Denis Gansel.

We are The Night was written and directed by Denis Ganwel, director of the very interesting films, The Wave and The Fourth State.

The film’s main appeal will be to those who like the vampire films, this one a variation on the theme with a group of female vampires. While some historical background is given about their eternal life and their eternal search for a mate, the action takes place in Berlin in the 21st century, especially at night.

Distinguished German actress, Nina Hollis (Yella, Jerichow, Barbara, Gold) is Louise, the leader of the group, who finds her soul-mate in a homeless girl, Lena. Lena resists at first but is transformed into a vampire. Her conflict is with the young policeman who pursued her when she was a pickpocket on the streets and has begun to fall in love with her. He is wounded in a pursuit and has to make a choice about his future, on earth, or with Lena.

1. A German vampire film? A vampire film with a difference? Contemporary? Women?

2. The Berlin setting, days and nights, more action in the nights? The historical background, the vampires in the 18th century, the visuals? The 21st century, the plane and its interior, shoppers’ behaviour and the deaths? the clubs, the homes? The police precincts? The streets and crime? The bridge? Night and darkness, the sun and its power on the vampires? The musical score in contemporary songs?

3. Louise as the leader of the vampires, a past history, the introduction and the talk about searching for the perfect mate? Louise and her group, going to Paris, the shopping, Charlotte and her reading the book, Nora and her music and noisiness? Their life as vampires? The explanation of the elimination of the male vampires?

4. Lena, her disguise, the attack on the man in the street, robbing him, the pursuit by the police, her eluding them, sitting on the bridge, Thomas talking to her, recognising her, her escape? Her spoiling the sting on the pimps? The later deaths in the prison?

5. Louise, rescuing Lena, menacing her, eventually transforming her? Lena and her fear, being bitten, the blood, sleeping, distaste of food, the bath and her being healed, her complexion, her head? Becoming part of the vampire group?

6. Thomas, is police work, his superior officer, Thomas not having a private life, the attraction towards Lena, the contact with her, her flight, her desperate phone call to him, coming to her rescue, the finale and the confrontation, his being wounded, his having to make a decision, vanishing with her? The police officer, his wishing him well?

7. The club, the sensuality, sexuality? Lena and her ambitions? Nora, the music? Charlotte and her continued reading? Norah and her being burnt by the sun? Louise not rescuing her? Charlotte and her decision to die by the sun?

8. Lena and Louise, the struggle, Louise out of the building, catching fire?

9. An interesting vampire story, variation on the themes?

DON’T TORTURE A DUCKLING/ COME SI SEVIZIA UN PAPERINO

Italy, 1972, 102 minutes, Colour.
Florinda Bolkan, Barbara Bouchet, Thomas Milian, Irene Pappas, Marc Porel, Georges Wilsdon.
Directed by Lucio Fulci.

Don’t Torture are Duckling is considered one of the best films by prolific director Lucio Fulci, who moved from the giallo (Lizard in a Woman’s Skin) to rather more explicit horror films in the 1980s. He is often compared to Dario Argento.

This film captures the atmosphere of an Italian village in the mountains, the autostrada passing by, television coming in, yet very much stuck in the traditions of the past, especially religion and superstition.

Several boys are murdered and various characters are under suspicion. There is suspicious witch played by Florinda Bolkan. There is a young woman, provocatively sexy in the village and with the boys, overcoming drug addiction, played by Barbara Bouchet. There is also the man who is mentally disabled and mocked by the boys. There is some suspicion at the end about the mother of the parish priest, Irene Pappas in a few scenes.

It is surprising to find such big international names in the production.

Thomas Milian and portrays a journalist coming from the outside who continues his investigations and ultimately has to confront the murderer, a highly melodramatic sequence on the edge of a mountain cliff. And with the special effect of the murderer falling to his death, with flashbacks illustrating his life and motives as he falls.

Very much of its times and of Italian style – and with a very offputting American dubbing, making the film seem more American than it should be.

1. The popularity of the Italian giallo in the 1960s and 1970s? This film considered one of the best?

2. Italian sensibilities, crime, horror, religion and superstition, morality and sexual issues, police work, the media, the role of the church?

3. The title, the final explanation?

4. Life in the village, isolation, homes, police work, the church, the parish priest, children and sport? The surrounding countryside, the mountains? The scenes of cars on the autostrada? The musical score?

5. The opening, the witch, alone, the children, the bones, the graves, the dolls and pins, the overtones of voodoo? Her place in the village? Under suspicion? Relationship with Francesco? His being reclusive, interest in magic? No co-operating with the polilce? The child and its death? Her arrest, questioning, her sentencing the children to death, but not killing them, her being freed, the brutality of the attack, her death at the side of the autostrada and cars hurrying by?

6. The boy watching the cars, warning the others, the arrival of the prostitutes, the conversations, with the men in the house, Giuseppe and his watching, the boys mocking him, his own spying? His arrest, the phoning and the blackmail, the small amount causing suspicion? The distraught parents and the funeral, police interrogations?The fact that he buried the boys but did not kill them?

7. The boys, on the lookout, the inappropriate behaviour? Michele at home, his parents? The girl upstairs, naked, her sexual advances, his response? His own room, the drawings? His parent watching television, his going out alone, in the countryside, his murder? The range of the boys, playing sport, friends with the priest, the range of deaths, offscreen, the final killing on screen?

8. The police, the officer, the interviews, the theories, on the sites of the killings, the interactions with the journalists?

9. The journalist, coming in, on the site, his questions, staying, discussions with the police, theories? His discussions with the priest? The girl and her cigarette lighter? Questioning her? The little girl who was mute, her mother? Suspicions, the couple going to the mountains, seeing the mother, seeing the priest with the little girl, the fight on the cliff, the tactics, the priest’s death?

10. The priest, his mother, sport with the boys, in the church, confessions, bonds with the children? The fact that there was no molestation?

11. His mother, odd, living with him, protecting him? The mute daughter? The dolls and breaking their heads? Locking her in? The mother’s fears?

12. The climax, the priest, his madness, his mother calling out? His motives of preserving the boys from future sin, the reverse of molestation? The role of religion? In comparisons with the people, their superstitions, their fears of voodoo?

13. The priest and the vicious struggle on the cliff? Falling to his death, the long fall and the flashbacks of his life?

14. The combination of themes, the murder mystery, the solution, the motives?

THE BIRTH OF THE BLUES

US, 1941, 91 minutes, Black and white.
Bing Crosby Mary Martin Jack Teagarden, Brian Donlevy, J Carroll Naish, Rochester, Cecil Kellaway.
Directed by Victor Scherzinger.

The Birth of the Blues is a Hollywood tribute to the origins of the music which came from Memphis and New Orleans at the end of the 19th century. It is also a star vehicle for Bing Crosby and Mary Martin, Bing about to win an Oscar three years later for Going my Way. And Mary Martin was about to star on Broadway in South Pacific, followed by other musicals and The Sound of Music. It is also featured role for black comedian Rochester, who often appeared with Jack Benny.

The film provides opportunity for Bing Crosby to sing a number of popular songs of the period as well as the blues and a blues version of Wait Till the Sun Shines, Nellie.

The plot is predictable enough, though the prologue is interesting with the young white boy playing with the black musicians and dancers in Basin Street, New Orleans, and being spanked by his father. When he grows up, he continues this connection, having his own band, playing the new music which is not always appreciated by the audiences. Mary Martin arrives on the scene, looking like a musical star rather than someone impoverished – and she brings a little girl with her, who seems to be aping Shirley Temple’s style. Eventually the band gets its opportunity, thanks to Mary Martin, and they are a success. They had dreams of going to Chicago. But, before they go, there are entanglements with a local boss played by J.Carol Naish.

The film looks old-fashioned but is an interesting look at the perspective of the 1940s about popular music and its origins, tributes to the band leaders of the time and the musicians like Louis Armstrong and Duke Ellington – and a reminder of the prejudice against the music, the inherent racism in comments like that it was the music of the ‘darkies’.

1. An entertaining musical of the early 1940s? The spirit of the previous decades in its style, themes, music?

2. A star vehicle for Bing Crosby, Mary Martin, Jack Teagarden, Rochester?

3. The title, audience interest in the history of the blues, the African American traditions, rhythms, beat, the instruments, the singers and dancers? The title song at beginning and end?

4. A tribute to the blues players, origins in the black community? The white musicians taking it on, learning from the blacks? The unpopularity at the time, people unable to understand and appreciate the rhythms, ‘just tuning up’? The disdainful comments about the darkies? Racism, in the south?

5. The range of songs, the blues, By the Light of the Silvery Moon, Melancholy Baby, the songs performed in the clubs, the variations on Wait Till the Shines, Nellie?

6. The opening in New Orleans, the father and his son, the son playing with the blacks, enjoying the company, riffing with them, Louis and his help, the father and his spankings? Jeff and his love for the music?

7. The transition to the expected story? Jeff and his friends, playing together, Louis at home? Hearing that there was a cornet player in jail, rounding up his friends, the truck, talking with Memphis, planning to get the money?

8. The arrival of Betty Lou, the horse rearing at the music, the driver wanting money, Jeff intervening, delivering Betty Lou to her grandfather, her return, with a little girl, Aunt Phoebe? Jeff trying to get the money to send her away? Deciding to stay, the room, Jeff sharing the room with Memphis? The other members of the band?

9. The attempts at playing, the theatre, the audience not understanding the music and walking out? Being sacked? Other attempts? Betty Lou and her idea, going to Blackie, the audition, Jeff hearing Memphis talk to her about her success and being employed?

10. Their going to the restaurant, Blackie employing them, success? Their going to the rival restaurant, Wait till the Sun Shines, Nellie, the thugs the fight? The possibility of going to Chicago, Louis and the telegram?

11. Memphis, attraction to Betty Lou, their talks, his approaches? Jeff and his moods? Betty Lou in love with him?

12. The little girl, her comedy lines, the dancing, the Shirley Temple style?

13. The attempt to get to Chicago, the thugs coming, Memphis and his distracting the thugs with drink, playing the record, everybody getting away? Blackie’s arrival, the shooting and the thugs killing their boss by mistake?

14. And that, according to Paramount Studios, was the birth of the blues. The final tribute to the players and band leaders, especially led by Duke Ellington and Louis Armstrong, and the other big band conductors of the 30s and 40s?

JESSE STONE: THIN ICE

US, 2009, 88 minutes, Colour.
Tom Selleck, Kathy Baker, Kohl Sudoth, Leslie Hope, William Devane, Stephen Mac Hattie, Camryn Manheim.
Directed by Robert Harmon.

Thin Ice was one of the later contributions to the Jesse Stone series of telemovies starring Tom Selleck. Most of them were directed by Robert Harmon.

Over the series, the characters have become familiar to audiences, especially that of Tom Selleck as Jesse Stone, with his alcohol problem, his ex-wife and her contact, his leaving Los Angeles and setting up in Massachusetts, his last chance at a job.

Familiar characters appear, a sub-plot with Commander Healy, played by Stephen Mac Hattie, who is wounded in an attack, a revenge shooting, which Stone follows through despite orders. This includes an investigation with Internal Affairs, the investigator played by Leslie Hope, and an affair with her. It also means visits to the mobster, Gino Fish, who has appeared in many of the films, William Sadler. Then there are the familiar visits to his therapist, Dr Dix, William Devane.

The title indicates the main theme, an investigation of an abducted baby, with a card sent from Paradise to say that the baby is loved. The mother, Camryn Manheim, pleads her cause to the police, Stone saying that it could not be solved, Rose, Kathy Baker, wanting to follow up. And the case is sadly resolved.

There were more Stone telemovies to follow.

1. The continuing success of the Jesse Stone series, Tom Selleck and his presence, the supporting cast? Life in Paradise? Crime-solving?

2. Audiences familiar with the town of Paradise, the police precincts, Stone’s home, the council chambers? The surroundings, the sea, the highways? The comparisons with Boston, the city streets, buildings, mobster headquarters, hospitals…? The musical score?

3. The title, solved at the end, the young boy and his abduction, death?

4. The Commander Healy story? Jesse with Healy and the stakeout, the story of Healy’s nephew, his affair with the music teacher, and his later playing for his uncle in the hospital? The attack, the shooting? Healy wounded, Stone shot, returning fire? Healy in hospital, recovering? Forbidding Stone to pursue the case? Stone and his discussions with Greenstreet, getting the photo? His discussions with Gino Fish and the confirmation of the names? The alibi for the shooter? Stone and his method of setting people up? The meeting with Sister John, the contemporary nun in lay clothes, working with the girls, shrewdness, giving him the information, accepting his invitation to lunch? The confrontation with the shooter in the club, taunting him, parole and his alibi, his luring him to the apartment block, the discussions with Suit, apprehending the shooter, tying him up, leaving the gun, phoning to complain that the building was being robbed? Keeping within the letter of the law?

5. The interviews with Sydney Greenstreet? Her role in internal affairs, the sexual innuendo? Her knowing about him? Their discussion about the
respective spouses? The affair, the effect on each? his return to her, her threatening him if he went outside the law?

6. Stone and his trouble with the city council, the interview with the councillor’s son-in-law, rejecting him? The interview, the councillor who liked movies, the other member silent, the threats, the investigation, the letter suspending him? The issue of fines for speeding, his cutting down the tree and exposing the sign, fewer fines?

7. Rose, her presence in the office, friendship with Stone, exasperation with him? Suit, his name for Stone, wanting to do extra work, surveillance in Boston, the issue of the missing child, his contribution?

8. The visit from Mrs Blue, the story of her missing child, the media, her husband protecting her, the five-year anniversary and the media enquiries? Her husband not letting her know, leaving him? The postcard from Paradise? A visit to the office, her plea, the issue of all the mail she received? Stone and his saying that it was impossible to recover the child? And lacking the resources? Rose and her listening, wanting to do something? Stone and his enquiries, the doctor and the information? Rose and the box of letters, his going to the bus station to meet Mrs Blue?

9. The speculations, Suit and his contribution to enquiries at the schools, the kindergartens? The information about the boy and his birth date? Visiting the mother, the enquiry about the car, talking with the neighbours? The return, Stephanie and her knowing that they would call, taking them to the baby’s room, the story of his death, the thin ice?

10. The sub-plot with Dr Dix, Stone and the ring from his wife, moving in with her boyfriend? Ringing Dr Dix, going to visit, their therapy, $180 an hour? Dix’s personality, the past with the police force, his resigning, smoking? The later visit, the discussions? Stone taking Dix for dinner?

11. The finale, Stone and his suspension? His going on the bus to Albuquerque to see Mrs Blue?

JESSE STONE: BENEFIT OF THE DOUBT

US, 2012, 100 minutes, Colour.
Tom Selleck, Kathy Baker, Kohl Suddoth, Saul Rubinek Stephen Mc Hattie?, William Devane, William Sadler.
Directed by Robert Harmon.

Jesse Stone: Benefit of the Doubt is the eighth in the series of telemovies based on the character created by Robert Parker. It follows Innocents Lost.
After three years of being deprived of his job as police chief in Paradise, Jesse Stone is asked by the council to resume his job. He finds that Rose and Suitcase have resigned. They were at odds with the new chief. However, the film opens with the new chief and his assistant being killed by a bomb.
Tom Selleck is at home in the role of Jesse Stone, hard-bitten in his way, still drinking, in relationship with Hasty’s secretary, still going to his therapist, William Devane, and collaborating with the regional chief, Stephen Mc Hattie?. He also pays a visit to the Boston gangster, Gino Fish, William Sadler. Audiences will be at home with the characters.

Jesse Stone pursues his hunches while collecting evidence. He has much more to do with Hasty in this film, and there are some plot developments about the role of Hasty and audiences might not have anticipated.

As with most of the films, it is directed by Robert Harmon.

1. The popularity of the Jesse Stone films? The presence of Tom Selleck? Police work and a small town? Murder mysteries?

2. The settings of Paradise, the credits and the ocean, the town, streets, offices, police centre? The surroundings, Stone’s house? The trips to Boston, to
the police, to Gino Fish? Musical score?

3. The opening, Chief Butler, discussions about his work, with his associate, fired by Stone? The sudden explosion? The corpses, the money in the boot of
the car? Suspicion that the chief was corrupt? His father-in-law norm, president of the town council, re-instating Stone, wanting the case solved?

4. Stone and his pleasure in being re-instated? The office empty? Rose and the phone call, her disappointment with Jesse, reluctant to return? Contact with Suitcase, working with his father, thinking about a different life, his return at the end?

5. The chief from Boston, discussions with Jesse, interactions, responsibilities? Clues, hunches, evidence? The long relationship?

6. Jesse going to see his therapist, the long relationship, the discussions, Jesse’s breakthroughs? Encouragement?

7. Hasty, ever-present, his initial information, at his office, willing to help, his attraction towards Thelma and discussing this with Jesse, Jesse’s hypotheses, Hasty and Fish being his boss, the ship, the sniper, his escape?

8. Arthur, sniper, following Jesse, Jesse turning the tables on him, the warnings? In the ship, trying to kill Jesse, cat and mouse, Jesse shooting him?

9. The visit and Gino Fish, Amanda and the discussions, Fish’s lifestyle, his men, giving some information, the new perspective that Hasty was his boss?

10. At the club, Thelma, her song, the relationship with Jesse?

11. A satisfying contribution to the series?

THE WET PARADE

US, 1932, 118 minutes, Black and white.
Dorothy Jordan, Neil Hamilton, Lewis Stone, Walter Houston, Robert Young, Myrna Loy, Wallace Ford.
Directed by Victor Fleming.

The Wet Parade is a high-production MGM film of 1932, the year that Grand Hotel won the Oscar.

The theme is alcohol and prohibition, its plot set is in both the South and the North, the contrasting ways of life, especially with the black servants and the racism compared with the gangsters of the North. Prohibition had been in place for some years, the 1920s had seen the effects of bootlegging.

Commentators ask whether this is a film for Prohibition and/or for moderate drinking. The drama is played out in the two fathers and their collapse, Lewis Stone and a highly melodramatic Walter Huston. Dorothy Jordan and Neil Hamilton did not have the successful careers on screen that newcomers, Robert Young and Myrna Loy did. There is a curiosity casting in Jimmy Durante as an agent, playing his comic self in a serious role. The screenplay was written by John Lee Mahin, writer of Quo Vadis, Heaven Knows, Mr Allison. The uncredited director was Victor Fleming, director of Gone with the Wind and The Wizard of Oz.

1. Alcohol, prohibition? 1930s perspective? The experience of the 1920s? The US, World War I, prohibition, bootlegging?

2. Production values, strong cast, MGM production, director, score?

3. The title, alcohol, and Prohibition?

4. The story in the South? The setting, the blacks, the whites, racism? Work? Servants? And wealth? Maggie May, a life, writer, her father and his cronies, the drinking, collapse, concern, promises and failure, the DTs, his death?

5. The contrast with the North, the hotel, poverty, the clients, arrogance, Kip and his mother, the South, his father, Maggie May, his father and his dealings and his drinking, death?

6. The clubs, wealth, drinking, Eileen, the life?

7. Prohibition, the countdown, decadence, changes in behaviour?

8. The political issues, the police, bootlicking and the companies?

9. Kip, Maggie, the relationship, possibility for a life, plans?

10. Jimmy Durante as the agent, early in his career, disguise, his usual self, his final words?

11. Club, the set-ups, the raid?

12. How much was the film support for prohibition, or for moderate drinking? Its presentation of Prohibition gangsters? The repercussions on American society?

SEVEN DAYS IN UTOPIA

US, 2011, 95 minutes, Colour.
Robert Duvall, Lucas Black, Melissa Leo, Kathy Baker, Brian Geraghty.
Directed by Matthew Dean Russell.

Seven Days in Utopia is a golf film, entertaining enough for non-golfers, but playing to the interests and experience of golfers. It is based on a novel by David L. Cook: Golf’s Sacred Journey, Seven Days at the Links of Utopia. He also wrote the screenplay.

The film also has a Christian basis, perhaps influenced by the number of films made by more Evangelical Christians after the success of The Passion of the Christ. There is Church-going, grace before meals, and some conversations which include understandings of God and some very hostile anti-religious blogs on the IMDb.

Lucas Black, in a more restrained role from those he usually does, plays a young golfer whose father has trained him from childhood and is his caddy. Failing in the tournament and breaking his clubs, he storms off and comes to a T Junction in the road, a town to the right, a town to the left. The town on the right is Utopia and that is the choice he makes. However, in his anger, he almost runs into a bull and drives off the road into a field, destroying his car.

The people of Utopia are particularly welcoming, Melissa Leo in a gentle and restrained role as the manager of the diner, Kathy Baker as the manager of the hotel. But the main reason for this film is Robert Duval, over 80, still his same screen persona, chuckling, respectful and cook calling people Sir, a reformed alcoholic who had driven away his wife, but had come to Utopia, found people friendly, given up the drinking. He takes pity on the young golfer, remembering his own career, and over the week takes him for a wide range of lessons, not always with golf clubs, sometimes painting his imagination of the flight of the ball, putting hoops into holes, controlled fly-fishing, doing exercises…

At the end of the week, a much changed man, more in control of himself and his angers, acknowledging his reaction to his father, he is entered into Texas tournament where he plays against a strong T.K. Choi, even to at the last hole, using all that he has learnt: see, feel, trust.

A good-natured film and a pleasure to see Robert Duval at his age, still a substantial presence on screen.

1. A golf film? Inspirational film?

2. The Christian dimensions, the language of God in prayer, church? Title and its tone? Hope?

3. The Texas settings, the open roads, Utopia itself, the small town, the diner, the motel, the golf courses, the river? Realism? The musical score?

4. Luke, playing golf, his anger, breaking his clubs, his father walking away, driving away, the choice of towns at the T-junction, distracted, the bull, crashing the car?

5. Meeting Johnny, driving with him, talking, going to the diner, meeting Lily, her daughter, Jake and his friends? Mabel at the hotel, straight talking? An impression of Utopia?

6. Luke’s character, anger, the flashbacks to his father training him, his father’s domination? His talent, his ambition? His discussions with Johnny?

7. Johnny story, champion, his photos and trophies in his room, Luke examining them? Johnny’s drinking, his wife, her leaving? His coming to Utopia, deciding to stay?

8. The fair, Lily’s daughter, the competition with Jake, and Luke winning?

9. Johnny and his offer, the experiences: the fly-fishing and control, sketching the scene and the travelling of the golf ball, accuracy and throwing into the holes, sense of balance, the different clubs? Seeing, feeling, trusting?

10. Jake, nasty, with Lily’s daughter, flirting, her rejection, the competition with the holes, being beaten at the fair, his change of heart?

11. Johnny as peacemaker between the young men?

12. The girl, being a horse whisperer, Luke going riding with her, the bonds between them?

13. Johnny, entering Luke in the competition? Johnny going to church? The soundness of this advice, Christian principles?

14. The competition, the actual golfer in the competition, Luke putting into practice what Johnny taught him, the initial failure? His father and his talking with him, the reconciliation? Luke and his winning?

ONE HUNDRED AND ONE DALMATIANS

US, 1961, 79 minutes, Colour.
Voices: Rod Taylor, Betty Lou Gerson.
Directed by Clyde Geronimi, Hamilton Luske.

Classic Disney animation. With Snow White and the Seven Dwarfs in the thirties and the subsequent classics of the forties, for example Pinocchio and Bambi, the Disney studios established a standard for animation films and audience expectations. In the fifties they had mixed successes with such films as Alice In Wonderland, Lady And The Tramp, Sleeping Beauty - the latter of which was made in Technirama. It was not the expected box office success. However, this film at the beginning of the sixties, was a great success. Later animation ventures of the studios were a combination with live action in Mary Poppins and then The Jungle Book. After Disney's death such films as The Aristocats, Robin Hood and The Rescuers were released.

This film is entertaining in its presentation of animals - in relation to humans (and the humans mirroring their pets!). Rod Taylor leads the human voices. There in an excellent wicked witch characterization in the character of Cruella de Ville? surely a distant relative of the witch in Snow White. The Sherman Brothers contributed the songs - they were to contribute many songs to many musicals over the next decade and had great success, especially with Mary Poppins.

1. The appeal of the Disney film? The qualities of the animation? Audience expectation of humour sentiment plot, style?

2. The styles of animation - realism, layout, human characteristics, animals, English voices? The balance between dogs and humans? The humour of the animation - the paralleling of the dogs and humans? The style of the voices? The music and the songs? The quality of the credits sequence and the indications of potential for animation?

3. The adventure aspects of the plot combined with romance, escape, humour? The echoes of the war escape stories and their being made explicit with such characters as the Colonel? The younger audience identifying with the pets, the peril, the escape, heroism? Adult audiences - with memories of war films and escape films?

4. Pongo as hero, his narrative, his personality? His introduction to his pets, the humans! Roger and Anita mirroring Pongo and Perdita? The quick elaboration of the situation, the observations on Roger and his musical career, the love for Anita? Pongo's acting as hero, suitor. husband father rescuer? A good and likable Disney hero?

5. Roger and Anita as nice human beings - but subordinate to Pongo and Perdita? The dogs elaborating the meeting of the two, the falling in the water, the wedding (and the commitment of Pongo and Perdita at the back of the church)? The birth of the babies and the tender sequence of the young puppy thought dead but still alive? Roger and Anita and their concern about the disappearance of the puppies?

6. Cruella de Ville as villainess? Her initial appearance, the car, the furs, the phone? Her voice? Physical appearance? The song and its lyrics? Her driving, chasing, smoking? The crashes? Her intensity of purpose, betrayal of friendship, cruelty to animals? Her henchmen? The final chases and her defeat? Cruella as the witch character?

7. Jasper and Horace: Thugs, their drinking? The nanny and the dognapping? Their being fools in their work, guarding, chasing and comeuppance?

8. The sequences of Pongo and Perdita at home - the parallel of the human situation? The puppies watching television, the dog hero and the parody of the western, the advertisement for genuine Krunchies? The humorous parallel with Jasper and Horace watching the T.V. programme "What's My Crime?" and the humour of the screen play and dialogue?

9. The device of the Twilight Bark? The range of dogs shown and their helping? The network and the links throughout the countryside? The range of voices used for personalities? The Colonel, the Horse, Tibbs? Their appearance and voices, participation in the rescue an well as seeing them in their homes? Tibbs and his help, the rescue, the balance? Pongo and Perdita and their journey to the rescue?

11. The details of the escape, the help of the Horse, the Labrador? The importance of the soot disguise and its being discovered?

12. The build-up to the climax, the chase, the happy ending? Audiences being satisfied?

13. The atmosphere of delight and enjoyment, fantasy and reality? The humorous parallel of humans and pets, for example the early sequence of the women mirroring the dogs and vice versa, walking along the park?

14. The basic human themes that audiences respond to, heroes and heroines, loss, challenge, rescue and escape? The status of the film as a Disney classic?

ONEGIN

UK, 1999, 106 minutes, Colour.
Ralph Fiennes, Liv Tyler, Toby Stephens, Lena Headey, Harriet Walter, Simon Mc Burney, Irene Worth, Alun Armstrong.
Directed by Martha Fiennes.

Onegin is the central character from Alexander Pushkin’s poem, the subject of a number of books as well as Tchaikovsky’s opera, Eugene Onegin.

This film has been directed by Martha Fiennes, sister of Ralph and Joseph Fiennes. Ralph Fiennes is the star and gives an impressive performance, especially for a character who is melancholic, jaded by St Petersburg society, ephemeral in his relationships. The film is stylish in its presentation of Russian society and its lifestyle.

When Onegin inherits a property from his uncle in the country, he comes across a family and is attracted to one of the daughters, Tatiana, Liv Tyler. In the meantime his friend, Toby Stephens, is in love with the other daughter, Lena Heady. Their ambitious mother is played by Harriet Walter.

Misunderstandings lead to a duel and the death of his friend and his decision to depart Russia and tour the world. In the meantime, Tatiana has married even though she still loves Onegin.

When he eventually returns, he discovers Tatiana married and bound to honour her husband. There is nothing left to him but resignation and accepting his fate.

1. A film version of Pushkin? 19th-century Russia? Life in Russia, city, countryside? 19th-century perspectives, tradition, winds of change? An apt portrait of Russian society?

2. The production, the Fiennes family and their involvement, acting, direction, musical school?

3. The re-creation of St Petersburg, the beauty of the city, the buildings, the river? The interiors and affluence? The countryside? Fields, homes, isolation from the city?

4. The introduction to Onegin, his place in society, his age, experience, sense of boredom, and innovation, ennui, his friends and discussions, music, wealth, relationships, morose? His future?

5. The reading of his uncle’s will, the inheritance, his visit, his friendship with Vladimir, Vladimir and his poetry? Visiting the house, meeting the staff, the servants, the issue of the serfs and their freedom, local reactions against such freedom?

6. Meeting the family, the mother and her traditions, her marriage, arrangement, confined to the country, making do with it? concerned for her daughters? The welcome? The discussions with his friend, the introduction to his fiancee?

7. The two daughters, Olga, Tatiana, the contrast between the two? At home? Olga extroverted, her fiance, going to the dance, her exuberance? The contrast with Tatiana, introverted, reading the books, borrowing them?

8. Onegin and his clash with his friend, Vladimir feeling insulted, the issue of his fiancee? The challenge to the duel? Onegin not believing in duels, his reluctant acceptance? Going to the site, the challenge from Vladimir and his agent? The rituals of the duel? The paces, the turning, the shooting, Vladimir killed? The effect on Onegin?

9. Tatiana, falling in love with Onegin, writing the letter, Onegin’s caution in reply, his not wanting to be tied down, to one woman, his not being able to imagine marriage for himself? The tension between the two? The effect of the duel? Tatiana and her quiet passion?

10. Onegin and his travel, the passing of the years, the change, changes in society, return to St Petersburg?

11. Meeting his cousin, the bond between the two, seeing Tatiana at the reception, discovering that she was his cousin’s wife, the effect?

12. Tatiana, age, change, traditions and her submission to her husband, yet her love for Onegin, then meeting, declarations, his yearning and needs, a decision?

13. Onegin, his experience, finally falling in love, lost, melancholia?

14. The family, the visit to the old Countess, her manner, her advice?

15. An atmospheric film, study and portrait of a character? A British interpretation of Russia in the 19th-century?