THE RAILWAY MAN

Australia/UK, 2013, 116 minutes, Colour.
Colin Firth, Nicole Kidman, Jeremy Irvine, Stellan Skarsgaard.
Directed by Jonathan Teplitsky.

The railway man

A film that can be recommended – with the caution that it has many harrowing moments.

The advertising for the film seems to indicate that this is a film about the Thai- Burma railway during World War II. It is, but it is much more than that. The main action takes place during the 1980s.

The film opens with a group of ageing former soldiers sitting in a veterans club in a Scottish town by the sea. One of the characters is Eric Lomax, a veteran of the Thai-Burma? railway. But, he is also a railway man in the present, a love for trains, a seemingly encyclopaedic knowledge of the intricacies of British rail, stations, times, timetables, possibilities for connections. He suddenly rushes out of the club telling the other men that he has a puzzle to solve.

There is a flashback to one of his trips, his missing a connection but working out another, explaining this to the rather quiet and bemused woman who is sitting opposite him in the train. They begin a conversation, he giving information of the history of the town about which she is talking. There is something of an attraction but he has to hurry from the train for his connection. He realises later that he is drawn to her and calculates that he would be able to meet the train she had told him about at Edinburgh station. There is an attraction, love, and a wedding.

In the early months of their wedding, Eric has a nightmare, his adult self back in the prison camp, being hustled into the black hole. He wakes screaming which terrifies his wife, Patti. But he cannot communicate anything of his war experiences to her.

The screenplay, based on the Eric Lomax’s book about his experiences, introduces one of his friends from the camp, Finlay, who is able to take her through his version and memories of the experiences. This begins a series of flashbacks to Eric during the fall of Singapore, the Japanese round-up, the cramming of prisoners on the trains, arrival at the site of the building of the railway as well as many scenes in the camp, the brutal work in the heat, the humiliation of the officers, the beatings. Eric is able to build a radio from scavenged parts which give some contact to the outside world for the prisoners. But this is short lived.

Eric has developed a hatred of the Japanese, a brooding hatred which he shares with Finlay. And the question is raised: can Eric goes through life with the bitterness and the hatred?

The latter part of the film deals with Eric and his emotional dilemmas in the 1980s, including a visit to the site of the camp and an encounter with the translator in the camp. Since the story of Eric Lomax and his book have been quite widely publicised, it is not revealing too much to say that the theme of the latter part of the film is a purging of hatred and a movement towards reconciliation. ‘The hatred must stop.’

The film has been written by Frank Cottrell Boyce, writer for many films of Michael Winterbottom and of the Catholic-themed story of a little boy and his visions of saints, Millions. It has been directed in classic style by Australian, Jonathan Teplitsky (Burning Man). Colin Firth has proven himself a strong and substantial actor over the years and his interpretation of Eric Lomax offers one of his best performances, both direct and subtle. Nicole Kidman plays his wife, unglamorous but with charm and empathy. Stellan Starsgaard is Finlay. And Hiroyuki Sanada has some very strong and moving moments as the translator, Nagase.

Because the Thai- Burma railway played a significant role in Australian involvement in World War II, the film is of particular interest. But, its theme of cruelty and torture, its theme of bitterness and feelings of vengeance, its theme of asking when hatred must stop and reconciliation be fostered, make it a very moving and significant film.

1. The film based on a true story? Stories of war in Asia? The prison camps? Thailand? The railway and the river Kwai?

2. The issue of coming to terms with wall, with hostility, with cruelty and torture? The destruction of lives? The tormented memories and nightmares?

3. The quote: Man’s inhumanity to man transformed into Man’s humanity to man? The hate must stop?

4. The 1980s, United Kingdom, the Scottish coast, the transitions to Singapore, to Thailand? The 1940s? The intercutting of these worlds in the narrative of the 1980s?

5. The introduction to Eric, at the veterans’ club, the old soldiers sitting, talking, remembering and trying not to remember? His love of trains, his knowledge of all the stations and lines, connections? Announcing that he had a problem to solve?

6. His travelling, knowing everything about the trains, in the carriage with Patti, the ticket collector and the explanation of connections, his having maps, timetables, she explaining her situation to him, giving him maps? His knowledge of the towns and their histories? Discussions, but the bond between the two? Her personality, quietly graceful, vivacity? His leaving?

7. Back at the club, solving the puzzle, downing everything, realising what he should do, using his knowledge, going to Edinburgh, at the station, meeting Patti, her partly being surprised, their love, the details of the wedding, the procession, the veterans and their salute?

8. The picture of Eric and Patti an ordinary life, at home, friends, the soldiers?

9. The introduction to Eric’s dreams, his 1980s-self back in the past, being interned in the hole? The Japanese interpreter? His writhing on the floor? Talk, hostile to Patti, her not knowing what to do, wanting to help, quiet desperation?

10. The introduction of the flashbacks, the fall of Singapore, the group of British soldiers, signals, engineers, the surrender, they’re destroying their machinery, their being rounded up, lined up and the joking with 1 to 10+, Jack, Queen, King, Ace? The Japanese and their reaction, brutality, ashamed that the men did not have the valour to commit suicide? Herded onto the trains, the locals offering water and their being pushed away, the guards hitting the hands reaching out? the arrival, the cutting, the hard labour, the cruelty of the overseers, the reference to hard work up the line? The nature of the work, the heat, the British officer and his emotional collapse, being beaten?

11. The small-group, Eric, Finlay, Thompson and the others, the skills for means of getting the various bits of equipment, Eric constructing the radio, listening to the BBC, the delight of listening to the music, getting the information, passing it on?

12. Their being taken, lined up, the man chosen and brutally beaten, Eric volunteering and his being beaten?

13. Finlay, his own experience of the war, silently coping, meeting with Patti, his being very careful, explaining Eric’s reluctance, his telling the story, his own memories of admiring Eric, the mystery of what happened in the black hole? His showing Eric the photo of the interpreter and his work at the Museum at the river Kwai? Urging revenge? His packing, going on the trip, hanging himself from the railway bridge?

14. Eric and his suspicions of Patti and Finlay, his walking on the beach, keeping to himself, looking at his packed case on the empty bed?

15. Reaction to the article, his motivation, Finlay and his urging, his decision to go?

16. Eric packing, going, arriving in Thailand, wandering around, going to the museum, the site of the camp, the reconstruction in the grounds, especially of the cages? His memory of people in the cages, of himself? His watching the guide, listening? The interpreter, his role, meeting people and tourists, going to the building? After the tour, Eric confronting him, his interrogating Nagase, memories of the reversed roles? Hs being questioned, resisting, Nagase indicating to the captain that Eric would not reveal the information? Nagase recognising Eric, saying that he was waiting for the day? The conversation, the interpretations of the past, Eric and his bluntness, making Nagase say crime and murder? Eric’s desperation? The memories of the black hole, the commander, the interpreter, the thugs and the water torture? The interpreter watching?

17. Eric, the bat, setting up Nagase’s arm, but not hitting him? Nagase and his resignation, expecting the day, Eric and the knife? Going out?

18. Nagase and the allies taking the camp, lining up the Japanese, his saving himself, offering translation? His explanation of his beginning to understand, Japanese lies, his returning to the camp, making pilgrimages, never forgetting Eric, his work of atonement, work for reconciliation?

19. Eric back in Scotland, walking along the beach, Patti watching him, their talking, the effect of his visit? His asking her to accompany him? Their arrival in Thailand, the climb up the hill, Patti saying she would not have survived, his reassurance, going into the cutting, seeing Nagase?

20. Nagase bowing, saying that he had never forgotten, Eric’s impact on him, their quietly talking, the camera standing back so that the audience saw but did not hear? Reconciliation? The scene of Eric standing on the bridge looking at the river, throwing the knife away? His final statement that the hate had to stop?

21. The emotional effect of this experience for Eric and Patti? For Nagase? The audience?

22. A World War II story, but a story about all wars and about all enmities?

BLACKFISH

US, 2013, 80 minutes, Colour.
Directed by Gabriel Cowperthwaite.

Save the whale!

This has been an environmentalist cry for many decades, to save the whales in the ocean, to protest against Japanese whalers in the Southern Ocean, other whaling nations, and the concern about beached whales and those in captivity, the Free Willy syndrome. The Free Willy films offer child-friendly stories. The documentary, The Cove, offers grim facts from Japan.

Blackfish is in this vein, it shows its skill as a documentary by enticing the audience with scenes from Sea World in Florida, the antics of whales and porpoises in the theme parks, with commentary from several of the trainers who worked in Sea World in the past. For a moment, for the unwary, it looks as if this might be an advertisement for Sea World and other parks.

It is not.

After being led, or lulled, into some sympathy, we then get the facts from the point of view of the writer and the director. We are informed that there have been several deaths of trainers in different theme parks and we are shown footage of those tragedies. However, the main focus is on the death of a trainer in 2010, Dawn Brancheau, the lack of information from the Sea World management and the excuses, the blame on human error and the trainer, the lack of information for the media about the whale itself, its history, and what really happens to whales and their psyches, so to speak, because of their captivity, restrictions, training and punishments, and their performances.

The witnesses who are interviewed for the film seem to be a credible and creditable group. They fill in the background of their ambitions when they join SeaWorld?, employment and the development of their talents, the exhilaration of being in the water with the whales. Now, they offer some criticism of the management of the theme parks as well as the captivity of the whales. While Sea World declined to be interviewed for the film, some footage is shown of the management in court cases, the film very critical of their testimony and deflection of blame and responsibility. There are also one or other experts who are of the opinion that the whales are not harmed by their being captured, trained and performing.

As a counter to this, there are some sequences of the capturing of the whales, especially the young whales and taking them for sale to the theme parks and rough treatment in some failed European parks.

The main attention is given to the death of the trainer in 2010, a great deal of footage available to show what happened, for an interpretation of the behaviour of the whale, as a counter-criticism to management. And a great deal of sympathy from other trainers for this young woman who died unexpectedly.

The whale in question, Tilikum, becomes something of the star of the show at about the halfway point, but also becoming the villain who kills. Explanations and visuals are offered about his capture, his early career, his dangerous behaviour, his being sold on to Sea World, his training, his performances, his violent action against the trainer. The conclusion that the screenplay draws is that it is wrong to take the whales from the ocean and their life and freedom, and to confine them in such narrow surroundings, and using deprivation of food as a means of training. It is affirmed that this makes the whales very dangerous, despite audiences delighting in their tricks, leaps, diving.

While, in some ways, this film is preaching to the converted, and the unconverted will maintain that whales in captivity are quite safe, not harmed, and not a real threat to the trainers, this is a film which might make a number of converts to the cause of the whales, save the whales, in its appeal to the audiences and their sensibilities and sensitivities.

DELIVERY MAN

US, 2013, 105 minutes, Colour.
Vince Vaughn, Chris Pratt, Cobie Smulders.
Directed by Ken Scott

Delivery Man is a star vehicle for Vince Vaughn. For many, Vaughn is an acquired taste for his comedies, many of which are fairly broad. He made an impact in such films as Swingers and The Wedding Crashers. While he has appeared in several serious films, the films themselves are not quite so memorable even though he is a distinctive presence.

This time he might be more memorable especially given the nature of the screenplay. Delivery Man is based on a screenplay and an original French-Canadian? film, Starbuck, written and directed by Ken Scott. Scott has now made an American version.

The opening of the film seems typical Vince Vaughn comedy, his being presented as a likeable loser, David Wozniak, an irresponsible man. He works for his father and with his brothers in meat company, he doing the deliveries but always getting waylaid, getting parking fines, even getting his truck towed away when he should have been delivering baseball basketball jerseys to his father. He also owes $80,000 for a loan in a company that failed and thugs are after him. If the film continued in this vein, it might have just been an average film.

Then, the key plot element is reserved revealed. David gave over 600 sperm donations to a clinic in the 1990s. It was a way of raising money. The name used on the documents kept his anonymity and was Starbuck. Now a group of the children from the donations have instituted a lawsuit for him to come out of his anonymity. He has the friendship and help of his lawyer Brett (Chris Pratt) who struggles with children of his own and is keen on preserving David’s anonymity and getting him damages.

What happens is that David starts to investigate the lives of some of the children, papering his wall with the official documents about the 533. He discovers a struggling actor who finds a job; he works with a young addicted woman and gets her to promise to go to her job in Bloomingdales; he supports a busker in the street, sees another son as a tour guide and listens to him frequently, even in the rain, and there is pathos when he finds that one of the sons is severely disabled, going to visit him, not knowing what to say, but forming a bond.

One day he follows one of the children, a gay man, who leads him to a meeting of the children where he suggests to them, still anonymously, that what they have discovered is a whole range of brothers and sisters and that they should be joyful about this. Ultimately there is a court case, reasons being put forward for his anonymity and his preservation of privacy as well is the reasons for the revelation for the sake of the children to know something about themselves and their parentage.

Of course, there are ethical issues in the whole sperm donation issue and how it was handled by the clinic. But given that the situation has arisen, there are ethical questions about what David should do and what the children have a right to. The film does gather together the various arguments and it ends with a heart answer over a head answer. And, in real life, which is more important?

1. The title, the delivery in David’s job, the delivery of the children?

2. An American urban story, life in the city, the streets, the shops and abattoirs, buildings, deliveries, the different venues to meet the children, the hospital? Realism, if the story seems surreal, for David and for the audience?

3. The basic premise, sperm donation, over 600 in a short period, the clinic using the sperm and the result of 533 children? The film showing the children, their lawsuit? The absent parents?

4. Introduction to David, a seeming loser, Vince Vaughn and his screen presence, the story of his family, his father coming from Poland, his father, the $10? Starting poor, the company, meat, the brothers working in the shop, the shop itself, the range of deliveries, having their baseball team, David and his getting the jerseys, the fines, the truck towed away? Only himself in the uniform in the photo? His relationship with Emma, casual, discovering that she was pregnant? Her urging him to get a life? Brett, his friends, the lawsuit, his own children, the ironic comment with the scenes with him and his children and his observations about having children? David, his owing the money, the thugs arriving, in the bath? The phone calls and his inability to borrow from anyone?

5. His prospects, the 533 children, the sheets, putting them on his wall, the discussions with Brett and the lawsuit, his wanting anonymity? The prospect of damages?

6. His beginning to see the children, the effect on him, the young actor getting the job, the addict and the pizza delivery, his concern, taking her to hospital, a promise to go to Bloomingdales and fulfilling it, the lifeguard and his jumping into the pool, the busker and supporting him on the street, the tour guide, even in the rain with no customers?

7. Following the gay man, his meeting the girl, discovering himself at the meeting about himself, his name Starbuck, his getting up, urged to speak, reminding them that they had discovered that they were brothers and sisters? Viggo confronting him, his interest in philosophy, books of quotations, wanting to stay with David, the long stay, David feeling desperate, inviting him to the baseball game and his ineptitude?

8. Emma, her character, pregnancy, asking David to come to the scan, the effect on him?

9. Brett and his speech for the claim, the children listening, their ironic comments?

10. In court, the range of children, the arguments, the reasons given on each side, the judgment?

11. Brett, the television interview, blurting out David’s name, his mother’s reaction to his excusing himself that he was David’s partner?

12. David’s father, not supporting him, calling him to him, the revelation, the story of the family, the $10, and his giving him his inheritance in cash to pay the debts? David forgoing the money from the case?

13. David, typing out the message, the revelation of who was Starbuck, the reactions, going to the hospital, the birth of his daughter, the gifts from all the children?

14. Meeting the children, the group hug?

15. The basic ethical issues, in vitro fertilisation, the place of the parents? The responsibility of the donor? David finding himself in the situation with the children and dealing with it?

FROZEN

US, 2013, 108 minutes, Colour.
Voices of: Idina Menzel, Kristin Bell, Jonathan Groff, Josh Gad, Robert Pine.
Directed by Chris Buck and Jennifer Lee.

Frozen is a Disney film, adapting the story, The Snow Queen, by Hans Christian Andersen. Almost 25 years ago, Disney Studios had a breakthrough with their adaptation of Andersen’s The Little Mermaid. Frozen has received quite some critical acclaim and nominations for animation awards and it will be interesting to see whether it enters into public consciousness as did The Little Mermaid.

This is certainly a wintry film. While it opens in sunshine, and life in a country where there is activity and trade, ruled over by a benign king and queen, it soon moves to the grim cold. The reason for this is the character of Elsa, one of the daughters of the deceased king and queen. She has a cold personality but also has powers to transform a sunny experience into ice and cold. Her sister, Anna, loves her but is forced out of the kingdom.

A little unfortunately for us, Elsa disappears from the film until much later while the focus is on Anna, one of those feisty Disney heroines who can irritate audiences with her tough manner, no difficulty in delivering a few punches, while she could be a little bit more charming. We accompany her on her adventures, and meeting up with a pleasant young man Kristoff (not always the brightest!) who is an ice carrier and has quite an agreeable reindeer called Sven. Children’s audiences will probably enjoy the snowman, Olaf, who keeps losing his shape as well as his carrot nose, but parent audiences might find him just that little bit hard to take. And then there are some rocks who turn in out to be trolls. Better is the huge, very huge snowman who pursues Anna and Kristoff.

There are several songs throughout the film, perhaps Disney studios having in mind to turn it into a theatrical musical as they have with Beauty and the Beast and The Lion King. There is a mixture of adventure and comedy.

Ultimately, we are back at the kingdom with Elsa defending herself with her powers, transforming rooms with extraordinarily visual ice barriers. And then there is Anna, getting colder and colder, hoping that a kiss from the foreign emissary, Hans, will be a sign of true love and leading to peace in the kingdom – and summer. While that, of course, does work out, it does not happen in the way we might have predicted, but it does mean that Elsa and Anna are reunited and there is always Kristoff for Anna to fall back on.

This is the kind of film that will appeal predominantly to a female audience, but there is enough action and comedy that might attract the boys in the audience. And parents probably won’t mind it at all.

1. A family entertainment? For girls, for boys?

2. Based on the story of The Snow Queen by Hans Christian Andersen?

3. Disney animation, the characters and the traditional style, comic characters, landscapes, the city, the winter, the summer? The Voice cast?

4. The film as a musical? The songs, the lyrics, illustrating characters and situations? The musical score?

5. The setting, the town, trade, activity, the delegation? Hans and the betrothal?

6. The two sisters, their relationship, Elsa and the power? The parents, their love, their death? The aftermath?

7. Elsa, her character, her powers, winter, her isolation, defending herself, the exile of Anna? The visuals of her blockades of ice and snow?

8. Anna, love for Elsa, leaving? Wandering, the encounter with Kristoff, the diggers of ice, the ice carrier? Travelling with Kristoff and Sven? The comical reindeer? Meeting Olaf? The comic adventures? The pursuit, the huge snow creature, coming to the cliff, the rope going down, its being cut, falling in the snow, the continued pursuit?

9. Kristoff, working with the ice, nice, a bit slow, the attraction to Anna, no family, hurrying to the rocks and there becoming trolls? Then the trolls and their being festive, matchmaking trolls?

10. Sven as a character, the adventures, encouraging Kristoff, the last ride?

11. Olaf, his shape, the carrot nose, the traditional snow man, his adventures, falling apart, comic quips, with Anna, the fire, his melting? The end and his having his own drift of snow?

12. Anna, returning to Elsa, her liking Kristoff, trust in Hans, tough, fisticuffs, the travels, a response to Hans, his not kissing her, her going to Elsa, frozen, the room, Hans and his not kissing her, Kristoff coming to help, going to Kristoff, saving Elsa, the heart that could melt ice? Love for another person?

13. The authorities the town, Hans and his story, his shock at finding Anna alive, the attempt to kill Elsa, Anna saving, the snow melting, love?

14. Elsa, her change, the restoration, the ousting of the false traders?

15. Creating the ice rink, skating, and everybody happy?

THE BOOK THIEF

US/Germany, 2013, 131 minutes, Colour.
Geoffrey Rush, Emma Watson, Sophie Nelisse, Nico Liersch,
Directed by Brian Percival.

The novel, The Book Thief, by Sydney author, Marcus drew sack, has become an international best-seller. Now comes the screen adaptation, and interpretation of stories of German citizens at the outbreak of World War II and during the war. The author has explained that he heard these stories while he was growing up from members of his own family.

For decades, audiences have tended to look at films about this period from the point of view of the Holocaust, the persecution of the Jews, their round-up, the sufferings in the concentration camps, the grim aftermath. While these issues are present in this film, they are not always to the forefront. Rather, this is the story of a young German girl whose parents belong to the Communist Party and who has had to flee with her mother and younger brother from Nazi persecution. On the train, her little brother dies and they have to stop for his burial. Afterwards, the mother cannot support her daughter and the girl, Liesel (Sophie Nelisse) is driven away to Stuttgart to a foster family.

The episodes from 1938 to 1945 are seen through her eyes.

The film is fortunate to have Geoffrey Rush portraying the foster father, Hans, a genial man who is kind to Liesel, helping her with her reading, even to putting a dictionary of new words on the basement wall. The mother, Rosa, is played impressively by Emily Watson, a very stern woman, continually commenting on her husband’s behaviour, critical of the girl, a tough German exterior but something of her heart as revealed by the end of the film.

Ordinary life seems very ordinary in the town, Liesel going to school, though humiliated and bullied about her lack of ability to read. The young boy next door, Rudi, becomes her best friend over the years. We see them in Nazi uniforms at school, singing patriotic songs – though both Liesel and Rudi, considering their experiences, take a hearty dislike to Hitler. Rudi is a strong runner and has great admiration for Jesse Owens, even putting black polish on his face to imitate his idol.

We see a glimpse of Kristallnacht and the smashing of the shop windows and the taking away of the Jews. In fact, the family shelters a young Jewish man whose father had saved Hans’s life in World War I. They undergo great hardships as the young man is sheltered for several years, but there are some light moments, especially when snow comes and they build a snowman in the basement and have a snow fight.

With the title of the book, we appreciate that books are important for Liesel, a book she picked up at the graveside of her brother, collecting a burnt book after a fanatic book-burning in the city square, befriending the wife of the mayor, who still grieves her son’s death in World War I, and gives Liesel access to the many books in the in their library. There is a delight in reading, delight in words, Liesel describing the weather to Max who is sheltering – and his gift of a book for her to write in.

Despite the sufferings, the people in the city carry on as best they can, with their deprivations, ultimately having to take shelter during the bombardments – where Liesel is able to create a story which draws the attention of the frightened people. These ordinary people are comparatively isolated from the war, though Hans is conscripted, and do not have access to the information about what is going on in the wider Germany.

The film is narrated by Death, humanised as his voice-over (by Roger Allam) describes his attitude towards people, their souls, their experience of death, taking them to the next world. This is especially important at the end of the film and the issue of survivors of the Allied bombardments.

The film has a pervasive sense of humanity, even in the experience of suffering. Death finally says he is ‘haunted by humans’.

1. The popularity of the original novel? The adaptation? The author, recounting family stories?

2. Germany, 1938-1945? Ordinary Germans, the perspectives on Jews and Communists, on the Holocaust? From the young girl’s perspective? The Germans not knowing what was happening, knowing, the isolation of the community, lack of communications? Kristallnacht? The roundup of the Jews? The Communist? Individuals defending the Jews, hiding them? Conscription for ordinary Germans, older men?

3. The title, Liesel, the books that she took, a love of reading, words, vocabulary? Taking the book from the grave site, from the burning of the books, the books in the library, the gift from Max, the book in the river and its being rescued by Rudi?

4. Death, the voice-over, the tone of the comment, the clouds, the personal touch, death as an individual, taking of the little boy in the train, hovering over Germany, the bombings and the description of the deaths of the families? Rudi? Not taking Liesel? telling the modern story about Liesel’s life? Death saying he was haunted by humans?

5. On the train, the little boy, Liesel, the mother, Communist background, fleeing? The death of the boy, the sadness of the burial? The gravedigger’s book and Liesel taking it? In the car travelling to the family?

6. The arrival, Stuttgart, Hans and his pleasantness, Rosa and her harshness, rebukes? Liesel’s room, keeping silent, not liking the soup? Singing in her room, Hans playing the accordion? Hans and Rosa as her parents? Her prospects?

7. Rudi, living next door, nice, arriving to take her to school, talking, in class, Liesel and the fight with Frank, the teacher, wanting her to write her name, putting Xs on the board, racing with Rudi, a draw, the issue of the kiss?

8. Hans, love the Liesel, helping her to read, in the basement, the dictionary and words on the wall?

9. The experience of Kristallnacht, the visualising of the smashing of the shops, Jewish fears? Hans and here’s altering the Jewish signs and the painted names?

10. The children, their Nazi uniforms, acquire, singing the patriotic songs, Heil Hitler? The outbreak of war, the excitement, the two years of war?

11. Liesel, growing up, ordinary life, friendship with the Steiner’s next-door, with Rudi as best friend?

12. Steiner, his being conscripted, the effect on the family?

13. The book burning, Liesel and her watching, taking the book, the Mayor’s wife watching, taking the laundry to the house, the wife knowing Liesel liked books, taking her to the library, reading, the story of her son killed in World War I, the stern attitude of her husband and stopping the laundry?

14. Max, his mother, the German soldier kindly warning him, is leaving home, is arriving at the house, sick, in bed, the soup and his vomiting, Liesel and her friendship, the secrecy about him being there? Reading the books to him?

15. Shortage of food, sharing it with Max, concealing him, hunger? Rosa and her growing kindness? Moving Max to the basement? Liesel, stealing the book from the library, Rudi watching her, knowing that the family was concealing Max, Frank passing by, the fight, the book going into the river, Rudi rescuing it, Liesel afraid that he had died?

16. Max, illness, the snowman in the basement, the snow fight, Rosa joining in, Max and his temperature, fever, getting better? His asking Liesel to describe the day and her images of the weather, the sun, the silver oyster? Rosa going to the school, seeming to reprimand Liesel, telling her the good news of Max’s recovery?

17. Rudi, Jesse Owens, painting himself black, running, his defeating Frank, Frank tripping him? The military watching him and offering him a scholarship for special training?

18. Hans, the search in the basement, hiding Max, Rosa and Liesel handling the situation? The jokes about Rosa and her scolding Hans? Hans and his being conscripted, in action, wounded, his return?

19. The bonds between the members of the family? Death telling the story of Liesel living into the 21st century?

20. A German war story, the background of the Holocaust, persecution of the Jews, the role of ordinary Germans, the role of the Nazis and the party, the experience of World War II in German city?

THE BAMBOO BLONDE

US, 1946, 67 minutes, Black and white.
Frances Langford, Russell Wade, Ralph Edwards, Iris Adrian.
Directed by Anthony Mann.

The main reason for seeing The Bamboo Blonde is that it was directed by Anthony Mann who, in the 1950s, directed a series of westerns which have had great acclaim, several starring James Stewart who also appeared in his Bend of the River, Strategic Air Command and The Glen Miller at Story. In the 1960s he directed bigger budget, more spectacular films like Cimmaron, the The Fall of the Roman Empire. He had been directing small budget films from 1939 time until his big breakthrough with Winchester 73.

This brief film is very typical of its time, appearing at the end of World War II while showing some of the exploits of America during the war in the Pacific. It is also one of those wartime romances. It begins with an interviewer, considerably less qualified than the interviewer in Citizen Kane, who irritatingly interrogates the CEO of a cosmetics company called the Bamboo Blonde. The CEO tells the story which appears in flashbacks (and sometimes, unfortunatley, returns to the interviewer).

The focus is on a bomber, Patrick Ransom (Russell Wade) who is not so well liked by his men – and they trick him into going to a nightclub which is out of bounds for the military. But this gives them the opportunity to meet the lounge singer there, Louise (Frances Langford). He is rather shy, she a little cautious. She accompanies him to the airport and his men assume that she is his girlfriend. Going into action, they paint her on the side of the plane and name her and the plane The Bamboo Blonde. Their hit success rate changes and they become national celebrities and are called back for Bond Tours. Louise is invited to join them and romance blossoms.

There has to be some complication and it is in the form of Jane Greer as the fiancee of Patrick Ransom. She is malicious to the nth degree and has a number of scenes trying to disrupt everything. She almost succeeds as regards Louise – but Patrick, ever faithful, comes to the rescue.

Frances Langford is bright and has a number of songs. She accompanied Bob Hope on many of his USO tours with the troops.

Allowing for the styles of the time, this is a pleasantly bouncy comedy romance with acknowledgement of wartime action.

THE WOMAN ON PIER 13 (I MARRIED A COMMUNIST))

US, 1949, 73 minutes, Black and white garden is
Robert Ryan, Laraine Day, John Agar, Thomas Gómez, Janis Carter, Richard Rober.
Directed by Robert Stevenson.

The Woman on Pier 13 was made in the atmosphere of wariness of communism, the establishing of the Iron Curtain in 1948, and the house of un-American activities interrogations of the period. This led to the blacklist and later to the Mc Carthy hearings.

The film takes a stand on communism, seeing the Communist Party as having developed into a totalitarian organisation, working outside the law, using violence, undermining the status quo – in this case on the wharves and with big companies.

Robert Ryan plays a successful businessman who has come up through the ranks and through the unions but who is revealed to have been a formidable former member of the Communist Party when young. He comes up against a former lover, Christine (Janis Carter) who is jealous and wants to undermine him .She is controlled by a ruthless leader, Vanning (Thomas Gómez) who blackmails Ryan into taking expenses at meetings against the unions and against his companies. Also in the picture is Ryan’s wife, Nan ( Laraine Day), and also her brother, David (John Agar). Christine falls in love with David and he with her, enabling her to brainwashing him with ultimate dire results.

The film plays like something of a film noir. It was directed by Robert Stevenson who began his career in England with such films as Sanders of the River, Tom Brown Schooldays, but moved to the United States at in the 40s with popular films ranging from Jane Eyre to To the Ends of the Earth. He started to work with the Disney studios in the 1950s and made 19 films for Disney, including Mary Poppins, Bedknobs and Broomsticks, Blackbeard’s Ghost. He worked exclusively for Disney from 1960 until the late 1970s.

1. An anti-Communist film noir of the late 1940s? Its place in the anti-Communist attitudes of the United States at the time? Un- American hearings, later the Mc Carthy enquiries and the blacklist?

2. American patriotism at the time? Anti- Communist fears? The role of the unions? The roles of big companies? The infiltration of Communist ideas into the unions?
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3. Black-and-white photography, brief running time, the elements of the thriller?

4. The American cities, wharves and unions, companies and business offices? The musical score?

5. Brad, marrying Nan, the honeymoon, in love? His background, work within the unions, being accepted into business corporations, his diplomatic role, fostering friendly relationships?

6. The revelation about his past life, Frank Johnson, the meeting with Vanning, the interrogation, the threats, the blackmail, the death and Frank’s involvement, the ruining of his career?

7. Vanning , his hold over Brad, Brad and his changing tack, sabotaging the discussions? On edge? His not telling Nan? Her reaction, concern?

8. David, the younger brother, getting a job, meeting Christine, falling in love, her hold over him, brainwashing, his speeches and the Communist line, Vanning and his organising his death? Jim and his past with Nan, working for the unions, his not understanding Brad’s change?

9. Christine, the magazine, talking with Nan and Brad, the revelation of the past, the Communist affiliations, her setting her sight on David, wanting to transform him, falling in love, their being together, resisting the criticism of Brad and Nan? Her going to Seattle, Vanning and his hold over her, her reaction to David’s death, the arranged suicide?

10. The killers, the fair at the pier, then going, her cosying up to the killer, going out, getting information, Vanning finding out, taking her to the pier? Brad, his concern, Christine’s death, tracking down Nan?

11. The confrontations, the shootings, like a gangster thriller? Brad and Nan, using their wits, Brad injured? The truth? the future?

THE SAINTS VACATION

UK, 1943, 70 minutes, Black and white
Hugh Sinclair, Sally Gray, Cecil Parker.
Directed by Lesley Fenton.

The Saint’s Vacation is a brief story of Simon Templar, the Saint, created by novelist Leslie Charteris. This film is not as interesting as the films with George Sanders, a smooth and suave presence compared with this film’s Hugh Sinclair, dapper and debonair, but without the panache of George Sanders.

The film has some comic touches, especially with Templar’s friend, Monty, with whom he goes on vacation. The journalists don’t believe him and one of them, Mary Logan (Sally Gray) follows him by plane to the continent. Before long, they are all involved in a car pursuit, a mysterious box, murders and shootings. This is a hush-hush situation with the invention of a music box which has a code base for an electrical circuit, for improving a listening device. (It seems somewhat amazing to think how primitive these inventions seem to be in light of surveillance techniques of the latter part of the 20th century and into the 21st century.)

Cecil Parker, before he took on his range of dithering character roles, is the Germanic villain, pursuing the box, murdering the courier, continually confronting Templar. In fact, the box changes hands many times throughout the film. Also in the scene is a mysterious woman who turns out to be working for British government agencies.

The film gives the opportunity for an interpretation of the Saint as the gentleman detective, working outside the police investigations, but solving mysteries with some ease but not without danger.

The film is of historical interest, the style of supporting features in the 1930s and 40s, drawing on popular detective novels of the period. But this film is especially interesting because it was co-written by the novelist himself, Leslie Charteris.

HONEYMOON

US, 1947, 80 minutes, Black and white.
Shirley Temple, Franchot Tone, Guy Madison, Gene Lockhart.
Directed by William Keighley.

Shirley Temple made this film when she was 19. She had been making films for over a decade, one of the most acclaimed stars of the 1930s, extraordinarily popular. She worked with many stars, could act, sing, dance, do comedy, do tears… And, of course, people saw her as cute.

She took on more adult roles, especially in Since You Went Away in 1944. However, while she was a pleasant screen presence, the public seemed to like her as a little girl rather than as an adult. She was to make half a dozen more films after Honeymoon and starred in John Fords Fort Apache.

This is the slightest of films and reflects the kind of film that was popular in post-war United States. Shirley Temple plays a young girl from Minnesota who meets up with a serviceman, Guy Madison, and arranges to meet him in Mexico where they will be married. His plane is delayed, she is stuck at the airport – but immediately shows her very self-confident and sassy style by making demands on everyone, especially the official at the American consulate, played by Franchot Tone. He is also the butt of a lot of physical pratfalls.

He is a rather good sport in this film, putting up with an increasingly irritatingly aggressive Shirley, all demands and then a few apologies, meeting her fiance who turns up unexpectedly, in the meantime having problems with his own fiancee, a musician from Mexico, and her demanding father, who are keeping an eye on him and are puzzled by his continual attentions to Shirley.

It is interesting to see that this film was written by celebrated writer-director, Garson Kanin, and the story came from Vicki Baum, author of Grand Hotel and Hotel Berlin.

This is a film which may likely entertain but is more of historical interest, especially for Shirley Temple as she began her adult career, soon to give it up and achieved great success as a diplomat.

IF YOU KNEW SUSIE

US, 1948, 90 minutes, Black and white.
Eddie Cantor, Joan Davis, Allyn Joslyn, Charles Dingle, Sheldon Leonard, Bobby Driscoll.
Directed by Gordon Douglas.

If You Knew Susie is a light-hearted comedy with music. It is a film of its time – or before its time, pre-World War II. It is a tribute to vaudeville and burlesque and a nostalgic look back. It actually starts with white singers and dancers in black-face, which seems rather embarrassing in retrospect.

However, it is a cheerful film, especially with the comedy of Joan Davies, who can sing, dance, has good comic timing as well as an ability to mug. She had a career on stage, on screen and in the 1950s, on television. But top billing is given to Eddie Cantor, a very popular entertainer of the first half of the 20th century – some years after this film there was a biography film, The Eddie Cantor Story, starring Keefe Brasselle.

While Cantor was popular on stage and in some films, he does not make quite such an impression now. He could sing popular songs like the title for this film, but had a limited manner, a lot of hand-clapping and a kind of running-jumping on the spot. And this recurs often during this film.

It starts with the performance, the farewell to show business, the hopes of the family to settle down, mother and father with two children. When Cantor impersonates Paul Revere in a commemorative ride, he takes the opportunity to advertise a new inn which will serve colonial food. The mayor is dead against this and forbids the townspeople to come. He has a snobby attitude towards the Parker family and insist that their letter about an ancestors assisting of George Washington is a fake. When the Parkers decide to sell their house, they find a document authenticating their claim.

Most of the rest of the film is set in Washington where the couple go to verify the claim. There is a great deal of comedy about bureaucracy in Washington as the claim is investigated and found to be authentic, an enormous amount of accumulated interest bringing the national debt to the Parkers of some billions. They are helped in their search by a conman, Allyn Joslyn, who accommodates them in his editor’s luxury apartment, then persuades the editor that they have a top story, then persuades him that they are a top story when their claim is denied. The headlines against them make life difficult and they are embarrassed. Their helper decides to set up an abduction so that they will get headlines again – but the plan is overheard by rival gangsters who take them on. There is some drama as well as some comedy with the gangsters – and a touch of the Damon Runyon style with one of their guards who is over-eager to hurt them and to bump them off.

When the Parkers withdraw their claim to the money, they return home happily, meet up with their children and grandma again, and the son of the mayor who is in love with the daughter (and to have an opportunity to sing and dance in the middle of the film). The inn opens, everybody patronises it, and all is well.

Of interest, the son is played by Bobby Driscoll, on loan from Disney, who is to appear in The Window as well as be Jim Hawkins in Treasure Island. The film is directed by Gordon Douglas, a veteran from 1935 who came into his own and with more up-market films in the 1960s and 1970s.