MURDERERS ROW

US, 1966, 105 minutes, Colour.
Dean Martin, Ann- Margret, Karl Malden, Camilla Sparv, James Gregory.
Directed by Henry Levin.

Murderers Row is the second of the Matt Helm series. They were popular in the mid-1960s, spoofs of the James Bond films. Laid-back Dean Martin is the world’s greatest spy! In retrospect, they are very tongue-in-cheek and seem particularly dated in costumes and decor, language, music, songs and style of dancing – which form a large part of this film. There were four films in the series, the first, The Silencers. This film was followed by The Ambushers and The Wrecking Crew.

Karl Malden, giving a rather camp performance, is not an entirely credible equivalent of Blofeld. His assistant, a glamorous Camilla Sparv, has very little to do but slink around. To this extent, she is the opposite of Suzie, in the lively sex-kitten phase of her career, twists and twists and gyrates on the dance floor. And there are a couple of Dean Martin songs.

The plot is rather perfunctory, a plan to use solar power and its rays to destroy Washington DC. spies are killed and it is thought that Matt Helm has also been killed – but he survives and his commission is to rescue the inventor of the solar ray and to find the villains. He goes about this in the most lackadaisical way, charming people, suddenly getting into fights which, looking at the fight choreography, it is amazing that he could win! He tangles with Ann Margaret who turns out to be the daughter of the scientist. There is also another strong-man villain with a metal plate in his head which does not help him when he is overtaken by a large magnet!

The performances are not particularly good, which may be the fault of the director and many of the confrontations and, even the climax, are not as effective as they might be, even though the film is a spoof.

1. The 1960s popularity of the James Bond films, the number of spoofs including the Matt Helm series? Effective in their time? Now?

2. The colour and verve of the 1960s, the music, the dancing, the comedy?

3. The plausibility of the plot, the solar ray, the villain trying to get it, the kidnapping of the doctor, his holding out with the formula, being threatened with the death of his daughter, his collaborating, but the failure of the plot? The villain, his hiring assassins, getting rid of spies, Matt Helm not dying, his not realising this? In Monte Carlo, his police guard, the strong-man with the iron plate in his head? Coco, his assistant?

4. Matt Helm, the photography, Miss January, trying to kill him, his surviving? On the hit list? Identified with the whiskey glass in his hand? His being commissioned by Washington? Going to Monte Carlo, infiltrating, meeting Suzie, the dance, the death of her friend, the accusation, Coco not identifying him, the villains rage? Suzie saying he was not the killer?

5. Suzie, her friend Billy, the swinging set, her trying to find her father?

6. Matt Helm and his encounter with the villain at the police station, going to meet him, the interrogation in the high crane, his giving the right answers, the information that he was a thug from Chicago, his offering to help? Suzie and her confusion?

7. The group from Washington, the spy in the group, his death, giving the information?

8. The fights, Helm and the iron-plated villain, the fight, is being put in the machine?

9. Suzie and her father, change of heart, with the policeman, sabotaging the machine, Helm getting out of the filter? The comedy with the gun and its slow release, with the policeman, and the irony of the villain being killed by such a trick?

10. A not very well-made film, but a spoof entertainment?

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?

JACK REACHER

US, 2012, 134 minutes, Colour.
Tom Cruise, Rosamund Pike, Richard Jenkins, Werner Herzog, David Oyelowo, Robert Duvall, Jai Courtney.
Directed by Christopher Mac Quarrie.

Many of Lee Child’s readers of the Jack Reacher novels (including this reviewer), know that he is a former military policeman, now a loner, who continually gets caught up in other people’s problems despite himself. He is tough, laconic (though also sardonic), standing at five feet six and weighing 250 pounds or so.

So, who thought of having Tom Cruise (a foot or so shorter and some years older) for the screen version of Jack Reacher? Writer-director, Christopher Mac Quarrie wrote The Usual Suspects.

Despite strong misgivings, I will admit that Tom Cruise is not too bad at all. Lee Child himself remarked that in the books Jack Reacher is like a sledgehammer whereas in the film, he will be more like a scalpel. Maybe. Tom Cruise does get the opportunity to go the sledgehammer route. The main difficulty is not his height but that, despite many Mission Impossible actioners, his face does not look as lived in as Jack Reacher’s should be. Despite the long career, Tom Cruise still has touches of the baby-face.

One other thing for Reacher readers. This film version of One Shot is a pretty good adaptation of the novel. The first ten minutes or so are exact, with a lot of detail, which can reassure hesitant readers. Needless to say, a number of characters are shed, but the core of the novel is faithfully followed for screen action rather than merely being literal.

For those not familiar with the novels and character, Jack Reacher should prove an interesting, even intelligent, mystery action thriller.

A shooter who has shot five victims in the city centre is arrested and asks for Jack Reacher. It is assumed that he is to witness to the character of the shooter. Not at all. The two have a difficult history. This baffles the shooter’s lawyer (Rosamund Pike), the DA (Richard Jenkins) who happens to be the lawyer’s father, and the chief of police (British Shakespearean actor, David Oyelowo).

This is one of those things are not what they seem tales and it is interesting to see where incidents and clues lead us. Some lead to a veteran shooter, played with his pleasing customary bluff by Robert Duvall, and to a mysterious Russian who is played, capitalising on his sinister voice and accent, by celebrated director, Werner Herzog.

While Jack Reacher does have some fights and Cruise makes them credible enough, there is a car chase, probably the visual equivalent of the physicality of fists, kicks and blows.

We probably won’t mind if this is the beginning of a movie franchise – but Mr Cruise is now venturing into his 50s as should be the literary Jack Reacher.

1. The popularity of Lee Child’s books? Jack Reacher as a tough and popular action hero, a loner, police work, detection, shrewd, engaging yet threatening? Screen presence and performance by Tom Cruise?

2. The Pittsburgh setting, the opening, the river and its environment, the city, the police and the departments, homes and apartments, clubs, the old homes, the Zec and his home, the streets, the rifle range, the venue for the shootout at the end? The musical score?

3. The title, the focus on Reacher, Reacher and his background, the title of the novel, One Shot? Its meaning?

4. Barr, driving, the traffic cone, the coin in the meter, the six shots, the detail of each?

5. Barr, the police and investigation, the DA? Roden and his clashing with Helen, her choosing to defend Barr?

6. Barr, his background, the arrest, his being bashed, in a coma, his message to get Reacher? Reacher and his arrival, but his wanting to Barr rather than save him? Helen and Roden and their surprise? Emerson, his participation in the investigation? The significance of the flashbacks and Barr and his story, wanting to shoot, frustrated, shooting the men and the fact that they were connected with the American government? The cover-up?

7. Reacher and his confronting Helen, the information, her reaction, going to the bus, his return, his saying that Barr was not guilty? Not an open and shut case?

8. Reacher going to the bar, the encounter with Sandy, the setup, the young men picking the fight, out in the street, the challenge, Reacher and his fighting skills? Reacher going to the car repairs, the office, the figure of the man, Sandy and her work, her fears, her relationship with her boyfriend, Reacher taking her car, the boyfriend’s mother, the drugs, phone call? His death? In the river? Sandy and her being killed? Reacher at the river? The thugs and his fight with them?

9. Emerson as detective, as a personality, his work, discussing the investigation with Reacher?

10. Roden, his concern, the possibility that he was in league with the Zec? The possibility that the detective was in league? the reality and the revelation in the elevator?

11. Reacher being followed, Charlie and the men, their being spotted, their plans? Zec and his control, his background story, the prisoner, his fingers being destroyed, his ambitions? Confronting the driver and urging him to cut off his fingers? Unable to? His being shot?

12. The investigation of each of the victims? The visualising of their stories, the detective work, seeing the families, Helen and her going to visit the husband, her making a mistake? The man and the woman and the flowers, the affair? The babysitter? The Hispanic woman and her son and trying to help him? The woman and her company, the lawsuits, getting the documentation about this lawsuits, her being the true target of the killings? The one shot?

13. The investigation about the rifle ranges, Barr and his practice, having a friend? Reacher going out to the range, chatting with the owner, Reacher being recognised by his shooting reputation, the photo, Barr being flattered, set up by Charlie? Charlie as the shooter? The owner, his help, his poor sight, Reacher getting him for the confrontation, driving the truck, shooting, the tactics? His enjoying the fight?

14. Zec and his ambitions, ruthlessness, Werner Herzog and his voice, his look, talking, ruthless? The background of prison, his fingers? His confidence? Emerson and the connection? The build-up to the confrontation, in his office, waiting, capturing Helen? With Emerson?

15. The siege, the tactics, Charlie and the others defending? Reacher and his coming to the office, Emerson holding Helen, Reacher shooting nonetheless? The rescue? Roden and Helen?

16. Reacher and his skill in detection, Helen and her reaction, Reacher and his leaving and going onto new adventures?

17. A successful adaptation of a novel, and a higher class action film than usual?

DIANA

UK, 2013, 113 minutes, Colour.
Naomi Watts, Naveen Andrews, Douglas Hodge, Geraldine James, Juliet Stevenson, Art Malik.
Directed by Oliver Hirschbiegel.

Diana, Princess of Wales, was always a controversial figure, especially during the last three years of her life. She had separated from Prince Charles and was trying to live her own life, bitter at her treatment by Charles and the royal family, desperate to have more contact with her children, needy in terms of relationships. She moved into the public arena with different charitable causes and her concern about issues of land mines. And she was hounded by the paparazzi.

She was beloved by many people, called the Princess of Hearts, the object of an outpouring of national grief at her death, the subject of conspiracy theories concerning the manner of her death.

The screenplay for this film is based on a book by Kate Snell and is really a speculation about Diana’s relationship with the Pakistani heart surgeon, Hasnat Khan. He has remained silent about the relationship, so the material in this film is a story, imagined in detail, of love and frustration. Ultimately, Dodi Fayed is introduced but there is a strange ambiguity in the latter part of the film about Diana’s relationship with him.

The film offers a sympathetic portrait of Diana, especially as played by Naomi Watts, who does not always look like Diana but is able to give an impersonation, with accent, body language, especially the flirtatious tilt of the head in speaking to people and in giving interviews. She seems to be a asking to be loved.

For those devoted to Diana, the sympathetic portrait may please, but going behind the scenes as well as into scenes of her intimacy with the doctor may seem too intrusive.

For those not devoted to Diana or who are neutral about her, the film does offer a dramatisation of her loneliness and her need for a relationship. It also dramatises the relentless regimentation of her life and appointments, the continual scrutiny by royal officials of what she said and what she did (especially the famous interview with Martin Bashir), and the perennial hounding by reporters and paparazzi, the callous behaviour towards her, the impertinent questioning, the never ending need for yet another photo.

But what is mysterious is Diana’s treatment of some special reporters and photographers after her separation from Hasnat Khan. She phones a reporter, allows him to take secret photographs of her, including kissing Dodi Fayad which then appear in the papers. How much was defiance? How much was a manipulation? How much was getting back at Hasnat Khan? In the great scheme of things does this really matter? How important is it have those who idolise Diana?

Naveen Andrews is particularly serious, even stolid, devoted to his work, as Dr. Khan. The credibility of his meeting Diana, the continued association, their attachment and falling in love is real enough. As is her meeting with Dr. Christian Barnard to arrange a job outside the country, something she really wanted to do, escape from England, while still seeing her children. She goes to Australia for a memorial for Dr. Victor Chang. She goes to Boston for heart foundation social. She goes to Angola to campaign about land mines.

There is also an interesting sequence where she goes to Pakistan to meet the doctor’s family, happily received by many of them, feeling at home with the extended family and the children, listening to the complaints of the doctor’s mother about the sad experiences of partition. Could living outside England have really been possible? But the doctor, with reluctance, opts for his own privacy as well as maintaining his practice.
Which means that the film serves as a biopic, but without the guarantees that the details and the insights are actual because Diana is long dead and the doctor silent. Much of the treatment is in the style of popular magazines or popular television programs. But it is not quite enough for a valid and useful study of Diana, not enough insights into her personality.

1. Audience response to Diana, Princess of Wales? In her lifetime? In her death? The passing years?

2. The quality of this biography? Serious? For the popular audience? A life: marriage, children, difficulties, separation from Prince Charles, Camilla, the consequences?

3. The film starting with her death, a picture of her last hours, in the hotel, in Paris? Relationships? Dodi Fayed? The car, the paparazzi, the pursuit, the crash? The visuals?

4. The framework: the death, recreating the last hours, seen in the light of her death?

5. The screenplay, speculation about her direct relationship with the doctor? Meeting, the interactions, at the hospital, friendliness, the relationship? Going out to meetings? Her disguise, the week, going to the quiet cafe? Love? The consequences for her, going to Pakistan to meet the family, fitting in and enjoying the visit? The fact that these details were private, and the filmmakers having to imagine what they might have been like?

6. Naomi Watts as Diana, her look, manner, speech, the inclined head, the flirtatious manner? Calculating? Her devotion to causes, the visits, taking the children, becoming a celebrity, the publicity? What might have been her future?

7. Her women friends? Calling on them for advice? Psychological help?

8. The situation, Charles, at the airport, seeing her children, not seeing them often, relationship with the Royal family, feeling rejected? Her status as Princess, the separation, the preparation for the interview with Martin Bashir, the interview, her talking about a third person in the marriage? The effect of the speech?

9. Her friends and the contrast with her minders? Her relationship with them, their supervision, the shock at hearing the Bashir speech? Her controlled life, timetables, activities, meeting people, exercising her charm? Public and private life? The effect on her?

10. The doctor, his character, his skills, work, at the hospital, the encounters with him, her intrusion into his life, his liking her, her liking him, the meetings, the cafe, the affair? Who needs? His needs? His reputation, professionalism? The reactions? Her trying to get him a job? The visit to Pakistan, the family, the meals, the dancing, religion, the speculation on this private visit?

11. Pakistan, her going, the family, the characters, talk, celebrations, her being prepared to live this kind of life? Religious issues? The anti-British stances of some of the family?

12. Dodi Fayed, going out with him, poses on the boat, Diana ringing the editors, telling them about the photos, their publishing them? The effect? Why?

13. Her life, her achievement, liked or not? The tragic aspects? Her impact on British life, the Royal family, the ethos of Britain, especially in her death and the mourning?

LAST VEGAS

US, 2013, 111 minutes, Colour.
Michael Douglas, Robert De Niro, Morgan Freeman, Kevin Kline, Mary Steenburgen, Romany Malco, Roger Bart, Joanna Cassidy.
Directed by John Turtletaub.

There have been a number of films in recent years, especially from the United Kingdom, that are targeted to middle-aged and older audiences, especially women. These are the films that husbands accede to because of their wives’ choice. This is one where the wives may have to accede, enjoying the presence of the stars, perhaps, rather than enjoying the story and the macho behaviour. But they may enjoy some of the geriatric jokes at the expense of the men.

The premise is amusing enough. We are introduced to The Flatbush Four, a group of boys, friends from the old days (that is back in the 1950s), whose photos we see during the credits and whose exploits are dramatised in the film’s prologue, just to give us an idea of the kind of boys these characters used to be, somewhat tough, good friends, and two of them in love with the same girl. But here they are, as the film notes, 58 years later.

The smartest and the most financially successful of the four, Billy, played with suave confidence by Michael Douglas, has decided to get married, to his assistant who is 32 years younger than himself. He decides to have a bachelor party at Las Vegas and invites his friends. He phones each of them, who automatically think that a phone call from the others indicates prostate trouble or some other kind of health predicament. They decide to go. Kevin Kline is Sam, married for 40 years, going to health exercises with his wife, but the marriage having fallen flat. He wants to go for some excitement and his wife gives him a condom to take with him but does not want to know anything that might happen in Las Vegas. He phones Archie, Morgan Freeman, twice-divorced, having suffered some strokes, living with his son and his granddaughter. He also decides to go. But the problem is Paddy, who lives in New York, Robert De Niro, who is upset with Billy who did not attend his wife’s funeral when he expected him to as well as to give the eulogy. He does not want to go to Las Vegas and is not exactly happy when he finds out what it is all about.

The film spend some time in partying scenes, which are somewhat like the spring break kinds of capers, trying to pick up girls, judging a bikini beauty contest (which Robert De Niro does not really seem to be enjoying from the look on his face), doing some gambling (at which Archie is particularly successful), and, of course, the loud partying. Someone remarked that it looked like The Hangover for the elderly.

One of the more interesting aspects of the film is the story of the men encountering a lounge singer, Diana, a former lawyer, played very attractively and warmly by Mary Steenburgen. She befriends the group, and the screenplay arranges it that both Billy and Paddy are attracted to her, just as the two of them were attracted to Sophie when they were young and she had to choose. Actually, it is in these scenes that Robert De Niro comes more into his own, better at the dramatic side of things rather than the comic. Michael Douglas is able to handle both. And there is always the problem of whether he should be marrying the younger woman and whether he loves her or not. And there is that ambiguous issue of the condoms in Sam’s pocket, building up to a sequence where, as is so often in American films which raise sexual issues, edifying choices are made.

The film is fairly slight, intentionally so, though drawing for some strength on the friendships with Diana. Otherwise, it is a film or for extroverts who might identify with the elderly Flatbush Four – though the characters are all aged around 70 (which might make many of the audience think of their fathers or even grandfathers as they watch – and wonder).


1. A comedy for men? For older men? Fathers and grandfathers? Women’s responses?

2. The tradition of the Hangover films and Spring Break?

3. The title, the tone, old age – and farewelling Las Vegas and its style?

4. The credits, the boys, their photos, the prologue, at Flatbush, in the shop, the bully, Paddy and his punching? Billy being smart? Tough?

5. 58 years passing, Billy, his style, his wealth, his business, his attractive assistant, his decision to marry her? the phone calls, the planning of the party?

6. Each of the characters about 70 years old? Sam, in Florida, the exercises in the water, the old people almost unconscious, his wife enjoying the exercises? The invitation, his excitement, wanting to go, his wife giving him the condom, not wanting to know anything what happened? His reaction? Archie, with his son, the various strokes, his two divorces, his granddaughter, under the blanket in his clothes, escaping, the comedy of his leap from the window?

7. The two going to see Paddy, the widower, much more serious? Tough? The effect of the death of his wife? The photos? The neighbour with the soup and his treatment of her? The arrival of Sam and Archie, his suspicions, not wanting to go to Las Vegas? Their prevailing on him?

8. Las Vegas, the tone, the hotels, the casinos, the crowds, the streets, glitz and affluence? The musical score?

9. Paddy discovering the truth, resenting it, the truth about his marriage to Sophie, Billy and his wanting to marry Sophie? The later revelation of the truth, her going to Billy first, his urging her to go to Paddy?

10. The hotels, the gambling, the crowds, Archie at the tables, the men worried, yet his big wins, the expensive suite, Lonnie looking after them, being mistaken for Mafia types, the Flatbush Four? The lavish attention?

11. Diana, singing in the lounge, the small audience, her back story, lawyer, divorced, the daughter going through college, wanting to sing? The men attracted to her? Billy, her not being sure of him, the walks with Paddy, the talks? Paddy confiding in her? The songs, going to the walks, the situation of choice parallel to that of the boys with Sophie? Her telling Billy about the choice and Paddy overhearing? The effect on him?

12. The partying, the bikini contest and their acting as judges? Sam and picking up the girl at the party, with her, his willingness, his awareness of confiding everything to his wife, coming to his senses?

13. The young man, rude, their coming on heavy to him, his serving them, Archie and helping him after Paddy punched him? His help with their needs in the casino? The bond with the group?

14. Lonnie, his role in the casino, serving the group, the joke about Curtis Jackson, 50 Cents, the Jackson Five, Sam out of date? The comic appearance of Jackson and his being ignored by Lonnie?

15. Billy and his having to consider whether he loved his fiancee or not, the serious reflection, the advice of Paddy? Each pushing the other into the pool?

16. Street talk, Paddy and this decision about Diana, Billy and this decision, telling the girl, a reaction?

17. Their going back to the lounge, Diana singing, Billy and Diana together, Paddy going home, Sam in bed with his wife? Archie with his granddaughter?

THE FAMILY

US/France, 2013, 112 minutes, Colour.
Robert de Niro, Tommy Lee Jones, Michelle Pfeiffer, Dianna Agron, John D’Leo?.
Directed by Luc Besson.

The Family sounds like an innocuous title for a situation comedy. Actually, there are some touches of situation comedy, but the film is definitely not innocuous.

This is the story of a Mafia family, where all the members of the family can be callous and brutal, and there are such episodes for each of them throughout the film, even when they are in witness protection, with surveillance by FBI offices. They’re a troublesome family, especially the head of the family, Giovanni Manzoni, ready to erupt in violence, causing the FBI to have the family continually on the move for their safety sake. An imprisoned Mafia chief in the US keeps sending killers to get them and to recover money stolen.

The film opens with a family being shot by hitmen. They resemble the family of the film, who, for their cover, are called the Blake family. At this time, despite their wishing to be on the Riviera, they have been relocated to a small town in Normandy. They arrive under cover of night. The accommodation is somewhat ramshackle, they find their possessions have been transferred, though they lack a television set. The FBI are not ultra-efficient. So far, so mysterious.

Father is played by Robert De Niro, just a variation (or only a little variation) on his usual performances, though he has an amusing opportunity later in the film to be invited to a local film screening to discuss Some Came Running. But the wrong film has turned up. It is Goodfellas and he has to make comments on the film and gives a speech about the Mafia. His character in this film is often close enough to that of his character in Goodfellas. He does not live peacefully in the town, claims that he is a writer and does begin some kind of autobiography which is not appreciated by the FBI officer in charge, played by Tommy Lee Jones as his usual Tommy Lee Jones persona.

Mother is played by Michelle Pfeiffer. Impatient at the supermarkets’ scorning of Americans and their liking for peanut butter, she sets up an explosion which destroys the supermarket. And that is just on the first day. She does encounter a priest while looking at stained glass windows in a church, eventually goes to confession pouring it all out, and turns up for a charity event to the utter dismay of the priest who forgets his seal of confession and vigorously denounces her and tries to get rid of her.

The 17 year old daughter becomes involved with a student teacher at her school, falling rapturously and love, having sexual experience, only to find that he says he is not ready. As she contemplates suicide on the top of a church, fortunately for her, the hitmen arrive and she has to go to save her family. The 14 year old boy is bashed by some of the school thugs, but is able to set up a kind of protection racket in the school.

A lot of this is intended to be funny. However, the family is so obnoxious with their behaviour that it is hard to have any sympathy for them. Admittedly, the Mafia head in prison is ruthless and wants to get rid of them and sends a very large squad to do the deed. It is not difficult to anticipate the body count at the end of the film - not the family, as they have to pack up and move again.

The film was directed by Luc Besson who began a successful career as a director in the 1980s with offbeat films like The Big Blue, then moving into action films like Nikita and The Professional. While he directed the fine biography of Burma’s Aung San Suu Kyi, he has specialized in producing a great number of violent, even over-violent action shows like The Transporter series or the Taken series.

Despite the attempts to be funny, the film is often ugly and brutal.


1. The blend of the serious and the comic? How effective?

2. The work of Luke Besson? His French perspective? International experience? The story, the treatment, the violence, the brutality? The American cast?

3. How plausible the plot, the Mafia, families affected by the Mafia, the contracts, the Mafia leader in jail and sending out his thugs? Witness protection? Life away from the United States?

4. The title, the Manzoni family, the focus? Robert De Niro as the father, stereotypical gangster, the kind of role that he plays in many films, variations? His relationship with his family, dominating them, the demands of the code? With the guards? The banter? forced to decide about a profession? A writer? His writing his story? The supervisor’s reaction? The film people, the invitation to the talk, his going, Some Came Running substituted by Goodfellas? His enjoying it, making the commentary, the irony about De Niro commenting on Goodfellas? Michelle Pfeiffer as the wife, devoted to her husband, tough, in the gangster mould, at the supermarket, people’s reaction to her, her accent, being an American, her vengeance in the explosion and being calm? The daughter, at school, her age, with the teachers, flirting with the teacher, the affair, his going back to his family, her harsh demands and threats? The boy, his place within the family, at school, assignments, his running a racket and protection? The school’s reaction?

5. Tommy Lee Jones, as the minder, laconic, liking the family and not liking them, keeping them protected? The bodyguards and their relationship with the family? The wife and the discussions about cooking?

6. The family and their moving around, being dissatisfied, having to be moved on?

7. The Capo in jail, issuing orders, contracts, his henchmen? Their going to France, discovering where the family was?

8. The build-up to the confrontation, the dangers, the father coming from the discussion, the mother at home, the daughter and her seeing what was happening, the son and his interventions? Tactics, shrewdness? Overcoming the thugs?

9. A new home for the family?

10. The blend of the comic, the serious and the brutal?

HOMEFRONT

US, 2013, 100 minutes, Colour.
Jason Statham, James Franco, Izabela Vidovich, Kate Bosworth, Clancy Brown, Winona Ryder.
Directed by Gary Fleder.

Homefront is a standard action show, and not untypical American action show.

It is also a vehicle for Jason Statham, who achieved considerable popularity from 1999 Lock, Stock, and Two Smoking Barrels. He became a standard action hero, grim and laconic, tough, in the Transporter series and many action thrillers. He is something of an acquired taste – but has been acquired by many fans.

This film opens with a drug bust in the streets of the city, Statham as Philip Broker, working undercover. After the success of the sting, he retires to Louisiana with his young daughter, Maddy (Isabella Vidovich), building a house with the help of an African- American friend, sending his daughter to school where she shows she is the tough daughter of her father by asking bullies to stop twice and then punching them out!

However, there is the constant pervading theme of drugs, this time a big warehouse outside the town, presided over by local celebrity criminal, Gator, James Franco in an unsympathetic role. There is also his drug-addicted sister, Cassie (Kate Bosworth) who is the mother of the bullying boy. No love lost and plenty of anger.

Meanwhile, the father of a criminal shot in the initial drug raid, comes to Louisiana bent on revenge – which leads to a complicated shootout at Broker’s home, and the taking of his daughter. Coming onto the scene is a kind of contemporary gangster’s moll, an unsympathetic and unhelpful role for Winona Ryder.

With all the preparations for a big deal of drugs, things go askew, leading to shootouts, the abduction of his daughter and the rescue, and a huge explosion.

The screenplay was actually written by Sylvester Stallone and, 20 years earlier, would have served as an action vehicle for him. So, Jason Statham becomes his substitute on screen – as well as appearing with Stallone in the three Expendable films.

1. A standard action show? The DEA, drug dealers and manufacturers? Screenplay by Sylvester Stallone?

2. A Jason Statham vehicle? His career, presence, look, tough, silent? Emotional here? Yet many confrontations and fights?

3. The Louisiana setting, the towns, homes, the countryside, the drug production warehouse, the sheriff? Ordinary life? The musical score?

4. The title, Broker, Maddy, the death of his wife, looking after his daughter, building the home?

5. The introduction, the establishment of Broker’s character, the set-up, his work undercover, the drug dealers, the plan, the blow up? The key criminal, his son, his son’s death?

6. Two years passing, Broker and his ordinary life, his friend helping him with the building of the house, his daughter, going to school, her being tough, bullied at school, her fighting back after asking twice, the punch, the work with the psychologist, the angry mother and her husband?

7. Cassie, her husband, drugs, angry, her son, the supply, interactions with the sheriff? The attack on Broker? The sheriff taking his side? The husband, his stepping back? Giving up? Gator as her brother?

8. Gator, his authority, relationships, the drugs, the deals, the warehouse? With Broker, entering his house? The interventions? The planned deal? Sheryl’s arrival? Interactions with Cassie? His wanting to be away from the deal when it went down? Things going wrong, Sheryl taking Maddy, Gator with Maddy, the confrontation, the house, the warehouse and the drugs exploding?

9. Cassie, her husband, her anger, drugs, taking her son’s side, the confrontations?

10. Sheryl, her background, grim, Gator, in the plan, taking Maddy in the boat? The confrontation with Gator?

11. The drug dealer whose son was killed, his pursuit of Broker? Again, the guns, Broker and his shrewdness, his black friend, the shootouts? His daughter taken, with Sheryl?

12. The sheriff, his authority?

13. Broker’s black friend, the warning with the horn, his being shot, saved?

14. Familiar material – enjoyable for fans?

THREE INTO TWO WON'T GO

UK, 1968, 92 minutes, Colour.
Rod Steiger, Claire Bloom, Judy Geeson, Peggy Ashcroft, Paul Rogers, Elizabeth Spriggs.
Directed by Peter Hall.

Three Into Two Won't Go is a study of contemporary marriage and a rather caustic and pessimistic study at that. Peter Hall (formerly director of the Royal Shakespeare Company of Stratford-on-Avon) directs the film whose screenplay is by feminist Irish novelist, Edna O'Brien. (The 1963 film Girl with Green Eyes showed Miss O'Brien's preoccupation with the rights of women, her antagonism towards men and the domination of Irish attitudes and the Catholic Church.) An Irony of this film is that the nine year old marriage between stars, Rod Steiger and Claire Bloom, broke up soon after the completion of the film.

Some critics have found the film somewhat cold and dispassionate. However, it is an excellent study of an unsuccessful marriage and the amoral, 'modern', marriage-breaker and it is worth seeing and discussing. The fine acting of the two stars 1s supported by one of Judy Geeson's best performances and by performances of noted English actors associated with the Royal Shakespeare Company, Dame Peggy Ashcroft, Paul Rogers and Elizabeth Spriggs.

1. The film builds up quickly, relying an small details to convey character and communicate atmosphere
- the hitch-hiking girl making the driver come back to where she is standing to pick her up. Steven ae the type who picks girls up, well-known at the hotel.
- The love-making, posing as a loving couple, yet the point is that this is hollow and they are merely goinq through the notions of union: the girl's diary and classification of men.
- Steven, as deceitful but looking resources to cope with his situation.
- The girl dominating the situation and Steven, as she threatens to scream in the hotel, and as she takes a job and her uniform at the hotel.
- The nudity: as the way the girl chooses to make herself attractive and exciting, also her 'freedom' and 'lack of hypocrisy' as she runs naked down the stairs.

2. Steven and Frances' marriages
- appears friendly as he arrives; the atmosphere of moving house.
- soon degenerates into conventional bickering,
- then to Frances' frigidity and her driving Steven to others.
- Frances' desire for children, even adoption.
- her attempt to make the new home a tie for the marriage.
- Frances as devoted and wronged and Frances as cold and irritable.
- the role of Frances' mother - living with them
- sent to the institution
- visited by Frances
- resenting her own husband’s behaviour (the influence of this on Frances).

3. The girl and the 'freedom' of the 19 year-old:
- turning up as she likes,
- not embarrassed at arriving at Steven 's home, talking with Frances and helping her paint,
- the manoeuvre of -tike pregnancy; lies about the hotel-manager,
- pleasing herself whom she would be nice to or nasty to,
- she takes over Steven at his office,
- she forces Frances to negotiate with Steven at the office instead of at home,
- she drives Frances' mother at home,
- she forces them all out of their own home: note the effect of the endings after driving them out she sits and watches pop-songs on T.V., then gets her haversack and goes on her way to start all over again.

4. Thus the film is a version of the eternal triangle, but set in the bitter mood of to-day's attempt at love, a 1960's version of the picaresque, the stranger who enters people's lives, changes them all and leaves. In this futile attempt to bridge the generation gap, the stranger wins and leaves only the husk of a marriage.

3:10 TO YUMA

US, 2007, 117 minutes, Colour.
Christian Bale, Russell Crowe, Ben Foster, Gretchen Mol, Alan Tudyk, Logan Lerman, Peter Fonda, Vinessa Shaw, Dallas Roberts.
Directed by James Mangold.

This is a very fine western, especially at a time when the studios do not make many westerns at all.

Many will have seen the original film, made fifty years earlier, with Glenn Ford and Van Heflin. It was based on a short story by crime writer, Elmore Leonard, and has elements of the crime thriller as well as the western. This version has amplified aspects of the plot and some of the characters.

The two stars, Christian Bale and Russell Crowe, are excellent. Russell Crowe, as the ruthless gunfighter, seems natural in his role. But Christian Bale, who has shown such versatility in recent films like Batman Begins and Harsh Times, stands out as the rancher who is coming to the end of his tether.

The crime background of the film is fairly straightforward. Ben Wade (Crowe) and his gang have robbed stagecoaches 21 times. Despite a Pinkerton agent and a gatling gun, Wade ambushes a 22nd. Dan Evans (Bale) and his two sons come upon the robbery and their horses are taken for an escape. Later, Evans is instrumental in the arrest of Wade. The challenge is to evade his gang and a rescue as they travel to the rail head through the desert and mountains so that Wade can be put on the 3:10 to Yuma train for prison.

Dan Evans is an upright man, a Massachusetts guard who lost his leg during the Civil War and the defence of Washington. He owes money and a greedy creditor who sees the coming railroad making land more valuable wants to get rid of Evans and his family. The film opens with the burning of their barn.

One of the amplifications from the original which makes this film very interesting is the character of the older son, William, a fourteen year old boy who despises his father as weak and submissive and who is attracted by the often suave manner of Ben Wade. The boy is instrumental in the journey to the rail head and has to re-evaluate his father.

Evans is a man of principle. Van Heflin stood out fifty years ago as the embodiment of a good man, a decent man. In fact, the word decent is often used in this version as well as conscience. Christian Bale brings a seriousness and commitment to this man of decency.

This means that the film, which does have action, quite violent, especially the desperate climactic shootout as Evans tries to get Wade from the hotel to the station, under fire from the gang and the townspeople, is more of a psychological western, a battle of conscience and wits between the two men. And the film does not opt for easy answers, leaving the audience pondering the moral dilemmas they have seen and their consequences.

The Arizona scenery is impressively photographed, especially during the trek. The fine supporting cast includes Peter Fonda as the Pinkerton agent and Ben Foster, really sinister, even creepy, as Wade’s second in command.

3:10 to Yuma is a cinema parable about conscience and moral choices.

1. An impressive western? Of ranches, the railways, outlaws, law, disorder, justice, violence, heroism and decency?

2. The original film? The story by Elmore Leonard? The classic status of the film and its cast? Fifty years later?

3. The Arizona settings, the ranches, the towns, the mountains? The Panavision photography? The musical score?

4. The classic themes of law and lawlessness, individuals and communities, gangs and townspeople, the individual, ideals, conscience and decency?

5. The introduction, the boys waking up, the burning of the barn, Dan and his wife, saving the horses, William and his daring, the men burning down the ranch and their threats? Dan’s reaction? William’s anger?

6. The portrait of the Evans family, on the land, Alice and Dan and their relationship, talking, the meals, William thinking his father a coward, his swearing? The roundup of the cattle? Seeing the attack by Ben Wade? Wade taking the horses, William and his admiring of Wade as a fast gun, carrying McElroy?, meeting the posse?

7. Ben Wade, leadership, the gang, twenty-two robberies, the wagon with the Gatling gun, the attack, the sharpshooters, the deaths – and Ben Wade killing his own man for weakness? Mc Elroy and letting him live? Wanting him to pursue? Taking the Evans horses, going to town, Charlie Prince and his diversion for the sheriff? Going to the bar, the drinks, splitting the money, the girl, the memories, the sexual encounter, Wade drawing her? The prospect of a future?

8. Charlie Prince, part of the gang, his leadership, harsh, his disguise and trick in the town, the return? Ben and his being caught in the bar, with Dan, giving him the money for the horses? The arrest?

9. Mr Butterfield, his anxiety, Mc Elroy and the bullet, the vet, the taking of the bullet? The plan, the wagon going to the fort, going through the terrain, the confrontation and the officer being burnt after giving the information?

10. Going to the house, the wagon wheel and the diversion, the disguise? Wade in the house, the meal, the young boy, the praying of Grace? Wade and his small talk, flattering Alice? Her eyes? Ingratiating himself? The two boys and their responses? Dan and his decision to accompany Wade to the train, the two hundred dollars, the prospects for paying his debts, rebuilding the barn? The clash with Hollander, the stopping of the water, the railway and the value of property?

11. Alice, her life, relationship with her husband, love for her boys, the interaction with Wade, Dan and his decision to go, her concern?

12. The trek, the terrain, the mountains, the desert? Their talk, camping for the night, Tucker and his singing, Wade killing him? Getting the guns? William and his leaving the house, following? Putting the gun to Wade’s head? The renegade Apaches, the shooting? The clashes, the confrontation with Mc Elroy, Wade pushing him over the cliff?

13. Mc Elroy as a bounty hunter, receiving the bullet, his tough stances? The plan, the short cut through the renegade Apache territory, the discussions about his massacre of the women and children, his death?

14. Doctor Potter, genial, with the gun, the incident in the tunnel, the confrontation with the miners – and his death?

15. Wade, escaping with the horses, kicking Dan, going through the mine and the tunnel, the workmen taking him, torturing him? Dan confronting them? The doctor and his quick move, the chase and the escape?

16. Wade, the ambiguity of his character, saying that he was rotten, not liking Dan’s conscience? Yet a spark of humanity? The talk about his life, quoting proverbs and the bible, his mother not coming home, breaking the law, his cruelty?

17. Dan, his life, Massachusetts, enlisted to defend Washington, the wound in his leg, from his own men? His determination? Wanting to be a model for his son? Wade tempting him with the money, his decency, conscience, staying, and Wade drawing him?

18. Butterfield, the railways, the money, getting the marshal in contention, the other helpers? Charlie Prince paying the people in the town to shoot them down, their wanting to leave, their being shot?

19. Butterfield and the commission to save William, ensuring the future of the farm? William and his leaving Butterfield, chasing the group, stampeding the cattle?

20. The time, going to the station, the shootout, the escape, running through the town, through the building? The deaths? Charlie Prince and the cattle? Shooting Dan? Wade and his reaction, agreeing to go to the train, shooting Charlie and his men? Getting in the train – a point of honour? Yet whistling the horse and the background of his escapes from Yuma prison?

21. Dan, a man of principles, his death, his son looking up to him, his heritage?

22. The two western traditions – of the outlaws as well as the individual with principle?

ONE CHANCE

UK, 2013, 103 minutes, Colour.
James Corden, Alexandra Roach, Julie Walters, Colm Meaney, Mackenzie Crook.
Directed by David Frankel.

This is a crowd-pleasing film, the story of a young boy growing into a man, bullied at school, encouraged by his mother, discouraged by his father, a boy who from his earliest years loved opera and loved singing it. It is based on the story of Welsh contestant on Britain has Talent, Paul Potts, who won the competition, despite his nervousness and setbacks in his life, and went on to a career of recording and performance.

The film has been directed by an American, David Frankel, best known in for The Devil Wears Prada, Hope Springs and Marty and Me. He enters into the Welsh atmosphere of the film, filming in Paul Potts’ town, Port Talbot (the town of Richard Burton, Anthony Hopkins, Michael Sheen). There are many overviews of the town, the industrial centre, the coast, the port, as well as the details of the houses, the shops, the churches, ordinary life.

James Corden, has appeared in a number of comedies, especially The History Boys as well as the National Theatre’s film of One Man, Two Guvners. This time, while there are a number of comic scenes, Corden creates a credible and sympathetic character. We see Paul as a pudgy young boy, tormented by his classmates and physically bullied and humiliated. We see him as a young adult, still the butt of his tormentors. His mother, played with her usual zest by Julie Walters, truly believes in her son and his talent. His father, played by Colm Meaney, is a factory worker who had his moment as a footballer but has been satisfied with his lot, thinking that there is something odd with his son and his interest in singing.

Paul has been corresponding and texting with a young woman from Bristol, Julz (Alexandra Roach) he calling himself Brad Pitt and indicating that he had similar looks, while she has been Cameron Diaz. When they eventually meet, there is a strong rapport between the two, she encouraging Paul in his desire to go to Venice to train to sing as well as meet Pavarotti. His performance in a local competition, dressed as Pagliacci, draws derision in the pub but he overcomes them and receives thunderous applause. And he goes to Venice, with the possibility to sing for Pavarotti, but his nervousness ruins his audition.

It looks as though he will have to work in the factory, but finds he cannot do it and returns full-time to a temporary job that he had in Carphone Warehouse. Speaking of product placement, Julz works at Boots. When he is invited to perform in a local production of Aida, he has to have surgery for his appendix and collapses, with a later return to hospital when he is hit by a car, even losing his voice for some time. Encouraged by his best friend, a lugubrious-looking Mackenzie Crook who works at Carphone and his hard-case girlfriend, Paul is persuaded to enter for Britain has Talent, with the support of Julz whom he has married.

The film incorporates footage from the actual show, with the judges, Simon Cowell (one of the producers of this film), Amanda Holden and Piers Morgan as well as the response of the audience. Paul receives great acclaim for his singing of Nessun Dorma. There are quite a number of operatic excerpts throughout the film which will please even audiences who are not opera fans.

This is a feel-good film, the kind of film which more serious critics tend to look down on, even venturing the word sentimental. While there is a lot of sentiment in this film, most audiences will appreciate it, share it, with plenty of laughter (and there are some very funny lines), and even a tear when Paul triumphs.

1. An entertaining film? Based on a true story? Adapted and softened? The tone? The blend of the comic and the serious?

2. The British talent shows and their popularity throughout the world, Britain’s Got Talent? The popular audience? And for this film?

3. The importance of opera, the range of excerpts? Some sung by Paul Potts? Other voices? Paul singing at home, the competition and his dressing as Pagliacci, his performance, his singing in Venice, La Boheme, Nessun Dorma? His song for Jules?

4. Paul and his story, his voiceover, the sad beginning, the happy completion of his story? The performance of James Corden, his screen presence? His size, sympathetic, as a boy, his being bullied, as an adult, the continuing of the bullying, the physical violence, the humiliation? His love of opera as a boy, his mother’s encouragement, his father’s incomprehension, his job expectations, the scenes at home, at the Carphone Warehouse? Working with his best friend?

5. Paul’s mother, her zest, support, love of opera? Liking Jules, the meal, the chat, the wedding, in the hospital? Her dancing at the wedding, full of energy? Paul’s dad, grumpy, his football memories, mocking his son, and the disdain, his work in the factory? His wanting Paul to work in the factory? Upset at his walking out, embarrassed by Paul singing? Hearing the acclaim, his apology, his punching Matt for his bullying his son? His final pride?

6. Jules, Brad Pitt and Cameron Diaz? Texting, meeting at the station, Paul unable to buy the flowers and buying the torch? Her receiving it? Their sharing, talking, the phone calls, his planned for Venice, his failure and his not ringing her? Her working in Boots, upset, his visits, spurning him at the checkout? His singing to her in the street? A change of heart? The wedding, the celebration, getting on with Paul’s parents? Her devotion to Paul, the wedding reception and dancing? Her gift of the gramaphone and the Puccini record? encouraging him? The visits to the hospital? The competition, going with Paul’s mother to the television performance? Anxious, joy?

7. The men in the pub, Matt and his bullying from school days, his looking down on Paul and his performance in the pub, his winning, Matt and his friend attacking Paul, his best friend’s girlfriend hitting Matt and Paul getting the money to pay for Venice?

8. Venice, Alessandra, the classes, the phone calls to Jules, singing, learning, being chosen to sing for Pavarotti, the duet from La Boheme, Alessandra and her threats with her brothers, his going to the meal, outside, grandmother and her encouragement? Nervous, the others anxious for him, singing for Pavarotti, choking, Pavarotti speech urging him not to sing?

9. Depression, work in the factory, his inability to stay there, going to Carphone Warehouse? The opportunity for the opera and Aida? His appendix crisis, singing when he was unwell, collapsing? Time passing, his getting his voice back, exuberance, being knocked down? In hospital again?

10. His friendship with his best friend, the friend and his love for fantasy games, his girlfriend, interactions, her acclaim for Paul singing in the pub, knocking out Matt? Walking out on him? His work at the work Warehouse, bad skills were dealing with people? His getting the raise, the regional job? Paul and his being the local boss?

11. Singing in the shower, getting his voice back, exuberance, being hit by the car? In hospital, time passing?

12. Jules, the notice about Britain’s Got Talent, tossing the coin, the application, acceptance, the audition? The performance night? At the television station, his wanting to leave, continued nervousness, Jules texting him and reassuring him? The technician and his encouragement, the poor performance of the family and the Sound of Music? The reaction of the judges, the footage of Simon Cowell, Amanda Holden, Piers Morgan, the audience? The laughter at Paul and his ambitions? The transformation as he sang? The acclaim? His dad watching it in the pub and his pride, his mother and Jules in the audience?

13. A happy ever after story, the couple in Venice, the story of his record, the sales, performances, in front of the Queen?

14. A film about affirming people and their abilities and talents?