KILLING THEM SOFTLY

US, 2012, 97 minutes, Colour.
Brad Pitt, Scoot Mc Nairy, Ben Mendelsohn, James Gandolfini, Vincent Curatola, Richard Jenkins, Ray Liotta, Sam Shepard.
Directed by Andrew Dominik.

Definitely a killing film. However, while there are some grizzly fights and shootings, and this is the world of American thugs (with Ben Mendelssohn joining them as a particularly grinning, callous scammer and thief), it very much a talking film, quite a deal of it, which moves the impact of the film to that of ‘arthouse’ thug movie. Added to that is the frequent use of speeches (by radio and television) by Barack Obama and George W. Bush, the latter explaining the financial collapses of 2008, the former offering his exhortations on US equality and all Americans being part of one community. Which is treated with some cynicism by Brad Pitt’s killer who asserts, for the ending of the film, that the real America is a land of individuals

The film is based on a book, Cogan’s Trade, by George V. Higgins who wrote The Friends of Eddie Coyle, one of the notable gangster films of the 1970s. It has been adapted and directed by Australian, Andrew Dominik. Dominik’s three feature films have been strongly focused on criminals. Eric Bana gave a memorably alarming performance as Mark Read, Chopper. Brad Pitt worked with Dominick earlier as Jesse James in The Assassination of Jesse James by the Coward Robert Ford.

This film opens with quite a long preparation for a robbery between two petty criminals (who definitely prove that many a petty criminal is pretty dumb). Actually, the scam, prepared by the criminal who employs them, is smart. But, of course, it neglects to be aware of stupid bragging and the long arm of criminal interests and their outreach to hired killers.

The killer is played by Brad Pitt with a blend of ruthlessness but some consideration of what his victims might suffer. He opines that he kills them softly.

Much of the film is his having conversations with the go-between from the criminal bosses (played with his usual excellence by Richard Jenkins) as well as with a self-indulgent boss (James Gandolfini excellent as well). This means a lot of reflection on the state of the nation, crime-wise, and how that is dealt with. This means a lot of character revelation (which would be too much and too slow for the action brigade).

The film is visually elegant and dark, experimental at times (especially the handling of an anxious conversation between the two thugs while the Australian is high, very high, the visuals showing us his loss of awareness and his drifting). And, of course, the language of thugs is not polite – though often tiresomely repetitious.

Dominik’s films are quite distinctive but he takes us into uncomfortable, often ugly, worlds.


1. A contemporary gangster film? Thriller? Arthouse thriller? Social concerns and comment?

2. The title? The original title of the novel, Cogan’s Trade?

3. The American city, its ugliness?

4. The range of songs used throughout: Windmills of Your Mind, Love Letters, Paper Moon...? The comment on the action? Ironic?

5. The focus on dialogue and conversations, character development, tones? The content of the conversations?

6. The American political background, the speeches of George Bush, the focus on 2008, the financial crises? The speeches of President Obama? American unity? The comments of Cogan and American individualism, America as a business? The use of television and radio broadcasts as background?

7. Johnny Amato, his plan, ingenious, the targeting of Markie? The precedents? The visualising of the original robbery? The revelation of Markie setting up a robbery on his own place? The sending of Dillon and his associate, the suspicions of the Mob, the roughing up of Markie? Believing him?

8. Frankie and Russell? The discussions with Johnny Amato? Frankie and his background in prison, his personality, way of speaking? Russell, the Australian, his crudeness and language, sex, drugs? The interrogation by Johnny, his dislike of Russell? His confiding in Frankie, the planning of the robbery? The setup?

9. The execution of the robbery, on their way and their chatter, the guns, the stockings masking them? Russell being silent? Intruding into the poker game, the men at the tables, menaced by the gun, the pressure on Markie, his trying to persuade Russell to leave? Getting the money, checking it, robbing the individual men at the tables? The getaway?

10. The consequences, Russell, his crime plans, getting the dogs – the scene with him walking the dog? His reflections about the dogs, the failure of his plan, his wanting the money for drugs, his meeting with Kenny? The meeting with Russell and their discussions, the cloud haze (and the visuals to indicate his trance state)? The flashbacks to Kenny? His attitude towards the contracts?

11. Johnny Cash, The Man Comes Around, the introduction of Jack Cogan? Dillon unavailable? Cogan talking about Dillon’s death? His meeting Driver? The discussions in the bar, the recurring inserts of the discussions? Revealing his character? The issue of callous behaviour, the bosses, payments? Cogan’s urging not to be brutal with Markie because he was to die? The killing them softly?

12. Markie, his situation, the robbery, his past robbing himself? His concealing the truth? The brothers’ arrival, the brutal bashing of Markie? And his not knowing who did the robbery?

13. Mickey, assassin, his way of life, the money issues, the murders, drugs, his brutality towards the prostitute, his self-indulgence?

14. Cogan and his character, talking with Driver, talking with Mickey, the revelation through the conversations? His tracking down Frankie and Russell?

15. Cogan and the brutality of his executions, shooting, the driving? Frankie and his driving fast, his fears? Cogan’s reassuring words to him – and then shooting him?

16. Cogan and the final talk with Driver? President Obama on the television, the comments about the United States, Cogan and his cynical attitude, individualism rather than unity, America as a business?

17. Immersing the audience in a world of thugs, amoral and immoral, brutish, their codes, decadence, stupidity, individualism?

BROTHER RAT AND A BABY

US, 1940, 87 minutes, Black and white.
Priscilla Lane, Wayne Morris, Jane Bryan, Eddie Albert, Jane Wyman, Ronald Reagan, Arthur Treacher, Moroni Olsen.
Directed by Ray Enright.

Brother Rat and a Baby is a sequel to the 1939 film Brother Rat, focusing on three buddies at a military school. The three buddies, Wayne Morris, Eddie Albert and Ronald Reagan, are the focus of this film. The military are scouting for a new coach – and Eddie Albert’s character applies. The other two are up to all kinds of schemes to promote him for the role. And there are some rivalries.

There are also the three women in their lives, Priscilla Lane as a girlfriend, Jane Bryan as the wife – who has the baby, Jane Wyman, bespectacled (with a tipsy scene) with Ronald Reagan – who had met in the previous film and married in real life.

The focus is on the baby, a precocious baby who has all kinds of tantrums and smiles. There are all kinds of mix-ups, people occupying houses, the military discovering the truth, attempts to explain away all the mishaps. Ultimately, the baby is put on board a plane – and goes to South America, with consequent publicity for the characters, the teams – and the sport.

This is a film to see only if one is interested in Warner Bros films of the 1930s and 40s, the stars and how they performed in those times – and a glimpse at an American perspective of how the world should be. Direction is by Ray Enright, prolific director of this kind of comedy and drama at Warner Bros at the period.

PAGE EIGHT

UK, 2011, 99 minutes, Colour.
Bill Nighy, Rachel Weisz, Judy Davis, Michael Gambon, Ralph Fiennes, Alice Krige, Felicity Jones, Ewen Bremner, Saskia Reeves, Holly Aird, Tom Hughes.
Directed by David Hare.

Page Eight is a drama from playwright David Hare who also directed the film. Best known for his theatre work, he has written and directed a number of films (Saigon: Year of the Cat, Wetherby).

The film was released for television in 2011 but echoes some of the controversies of the Tony Blair era, the role of intelligence, the special relationship with the United States, the knowledge that the prime minister had and may or may not have communicated to his cabinet.

The film is very interesting in its presentation of the workings of the espionage agencies in the United States, the power struggles, the restructuring, the alleged modernisation, the traditions of the men in charge. It also focuses on a rather more fascist approach to government – and governments knowing better than the people what is good for them.

The drama is effective because it focuses on an older agent, Johnny Worricker, portrayed expertly by Bill Nighy. It shows his personal dilemmas, his struggles to be a man of integrity – despite his own personal life, his unfaithfulness to his wife, his relationships, his alienation from his daughter.

One of the catalysts for his crisis is contact with his neighbour, played by Rachel Weisz, whose brother has been killed by Israeli authorities and the matter covered up. In the restructuring of the office, Michael Gambon, excellent, is the retiring chief. Judy Davis does her rather neurotic thing as the woman in control who is orchestrating the changes. Ralph Fiennes has a cameo appearance as the prime minister. There is a very strong British supporting cast.

The film was well written, always interesting, a reminder of what a strong actor Bill Nighy can be.

1. An interesting political drama, thriller, the role of espionage in the United Kingdom? Topical? The changes in the 21st century?

2. The work of David Hare, politics, the theatre background, his screen work?

3. The London settings, Oxford, the Continent? Ordinary flats and streets, homes? The rallies? The government offices? Oxford and the university? Sense of realism? The musical score?

4. The title, documents, the issue of sources, careful intelligence, careless intelligence, the threats?

5. Johnny Worricker as an everyman, his integrity, loyalty, intelligence, underestimating himself? A role for Bill Nighy, his age, style? His life, separation from his wife, his affairs, relationship with his daughter, at work, the friendship with Benedict, the clashes with Jill, information from Anna and his relationship with her?

6. The department, its structure, the old traditions, male dominance? Benedict at the end of his career, setting the cat among the pigeons? Calling meetings, his shrewdness? The discussions with Johnny, the long friendship, his marrying Johnny’s wife? Bringing up his daughter? The restructuring and the ousting of the old brigade? Scenes of ordinary work, Jill, her office, attending meetings? Her contact with Downing Street, direct? Her kind of patriotism, exercise of power and control?

7. Johnny and his encounter with Nancy, the neighbour, her coming into his apartment, wanting him to get rid of the guest? Ralph and his being in her apartment? The attraction between the two, yet Johnny’s suspicions? Talk, ease, art? Her situation, the death of her brother, the importance of her father, the Syrian connection? The bond between the two?

8. Nancy as a person, working on books and manuscripts, the meetings, political background, Israel and the death of her brother, the cover-up, her father – and her concealing Johnny’s identity from him? Johnny and the issue of trust? His calling on her to drive him, eluding those following, his obtaining the dossier for her, her seeing it on the television, her gratitude? Her love for Johnny – and the sacrifice?

9. Benedict, his style, discussions with Johnny, yet wary? His wife, the daughter, her pregnancy? The meeting, his orchestrating the discussion? His collapse and death? His funeral?

10. His wife, her relationship with Johnny, antagonism, the phone calls, the daughter and the pregnancy, Benedict’s death? The visit from Johnny, from Nancy? Her giving Johnny the information about the flight so that he could identify the source? Her loyalty? The meal, Nancy, her being upset?

11. Julianne, her age, her relationship with her father, antagonism, relationship with Benedict, with her mother? The exhibition, Johnny coming, their discussion, the clash, his pessimism about her art, the later comment from the minister seeing her painting? The issue of her pregnancy, the father, the separation? The reconciliation with Johnny, the meal, the funeral?

12. The secretary, calling the meeting, seeing her being interviewed on television, her assertive style, a hard woman, relying on Anna for advice? The discussions with Jill, Benedict, Johnny? The confidentiality and sending assistants from the room? The whole issue of the document, page eight, the source, the prime minister’s knowledge of the processes of rendition by the Americans, his not telling his cabinet? The minister having to alter her stance, her discussions with the prime minister – and her promotion to deputy prime minister, the TV interview and her platitudes?

13. Ralph, his company, surveillance, the site of protests, with Nancy, Johnny and the break into his office, discovering the photo with Jill, his equipment?

14. Jill, hard woman, career woman? The antagonism with Johnny, with Benedict? The relationship with the secretary and the contact? Her assertion at the meeting? Benedict’s death, her control, wanting to oust Johnny, her being unmasked, Johnny and his knowledge through the internet and information of who the source was, the American congressman? The deal, his one-upmanship with Jill, the help for Nancy and the truth about her brother?

15. The prime minister, on television, the special relationship with the United States, going to Oxford, the dinner, his speech, wanting to talk with Johnny, the political way he talked, devious, the threats, wanting the document back?

16. Rollo and Johnny, Rollo and his contacts, recruited for espionage, his work as a journalist, articles? His loyalty to Benedict? Going to Israel, getting the dossier? On the outer after the death of Benedict?

17. The world of art, paintings, Johnny’s collection, going to Europe to sell his painting, his contact and the past relationship? His gift to Nancy?

18. Packing, Benedict’s funeral, his going to the airport? His destination?

19. Nancy, willing to go with Johnny? His refusal?

20. The Blair era, Iraq, the relationship with Bush, British espionage, realpolitik? Actual espionage?

21. Issues of personal integrity, patriotism, loyalty – how possible?

BABY FACE

US, 1933, 71 minutes, Black and white.
Barbara Stanwyck, George Brent, Donald Cook, Margaret Lindsay, John Wayne, Douglass Dumbrille.
Directed by Alfred E. Green.

Baby Face is a brief melodrama starring Barbara Stanwyck at the beginning of her career. She was, even at this stage, quite a powerful screen presence. She portrays a woman from an industry town who decides to try to make it big in the city, urged on by a wise man from her town. However, she is highly manipulative, uses her sexual powers to seduce bosses, gets promotions, is involved in a shooting. When her career has been exposed, she is sent to Paris – where she works well, encounters the new president of the board (George Brent) and marries him. She is ultimately faced with a dilemma to keep her status and wealth or to help her husband who has become a bankrupt.

John Wayne appears in one sequence as a messenger – the only time he appeared with Barbara Stanwyck.

Alfred E. Green was a prolific director of films in the 30s and 40s, his high point being The Jolson Story.

1. A film of the 30s, American society, morals, decadence, the femme fatale?

2. The brevity of the film, the picture of the industry town and its squalor, the slums? The contrast with New York City, banks, lavish apartments? The contrast again with Paris? The musical score?

3. The title, Barbara Stanwyck and the way the title was used? The cynical touch? The ending and her making a noble decision?

4. The ugliness of the town, the drinking, the men in her father’s house, the maid, Lily and her presence in the house, with the customers? Adolph Cragg and his advice? Her decision to leave, going with the maid?

5. New York, asking the police for directions, the house, her hopes, going for the job, following Adolph Cragg’s advice?

6. The job, the interview, the fat young man, his being charmed by her, pretending she came from the same town, the device of using the windows and the naming of the departments, signifying her promotions?

7. Her capacity for flirting, using her sexual attraction? Brody and his being intrigued by her, promoting her, coming to her house, her rejection of him? Stevens and his rebuking Brody? His engagement, his infatuation with Lily? Becoming desperate? His prospective father-in-law, his fiancée, his going out of town, returning desperate?

8. Stevens and her flirting, the kiss, her deliberate provocation of Ann?

9. Clothes, money, the kept woman?

10. Stevens, the leave and return, coming to the apartment, his pleading? Shocked to find Carter present? Carter setting up Lily in the lavish apartment? Stevens’ return, the shooting, the headlines?

11. The bank, the board meeting, Trenholm and the board’s low expectations, his making decisions? The deal with Lily, the possibility of her going to the papers with her story? Accepting the deal?

12. Lily going to Paris, the years, her work? Trenholm’s arrival, his attention to her, the outings, her falling in love, the marriage?

13. The emergency, Trenholm’s arrest, the charges of fraud?

14. His appeal to Lily, to sell her jewels to pay the debts, Lily focusing on herself, the fact that she deserved a break in life? Unwilling to let go of things – and her change of heart?

15. The finale, Lily and Trenholm and their living an ordinary life – the moral at the end of the film?

ENDER’S GAME

US, 2013, 106 minutes, Colour.
Asa Butterfield, Harrison Ford, Ben Kingsley, Viola Davis, Hailee Steinfeld, Abigail Spencer.
Directed by Gavin Hood.

All the publicity suggests ‘Harry Potter meets Star Wars’. There is something in this insofar as the hero of this film, Ender, is something of a child intellectual wiz, if not a wizard, and his mentor is Harrison Ford, older and more grizzled than Han Solo. The film will have an appeal to younger audiences, especially those who enjoy playing computer games.

In fact, the film has been planned for several decades. Based on a novel by Orson Scott Card, it defied screen writers and producers for some time. But now, with its computer graphics and all kinds of special effects, it is a film of this time.

The film focuses on Ender, bullied in school, disappointing his father because of his seeming lack of success, but actually, one of the most intelligent and shrewd children at the training school. There is need for a training school. Fifty years earlier, the Formics (ant-like creatures) had invaded the earth and almost destroyed it. The heroic leader who destroyed the invading forces has become the legend for the earthly warriors, the film of his attack being watched by the students many times. The plan for earth is to be always ready for an invasion.

Ender is under perpetual surveillance by Graff, Harrison Ford, and Dr. Anderson, Viola Davis, who are on the lookout for the champion who will save the world. Ender looks like the most able candidate. He is taken into space for further training, clashing initially with his team, befriending Petra, Hailee Steinfeld, who supports and encourages him.

Asa Butterfield who was successful in The Boy in the Striped Pajamas and Martin Scorsese’s Hugo, is an effective Ender, tall and gangly, with a tendency to be abrupt, earnest in his training, yet strong in character to stand up to the authorities. He is finally ready to do a simulation of an attack on the world of the Formics. He is disturbed, however, by the appearance of his sister in some dreams, especially in the landscape of the Formic planet. Ender stands in front of a vast cosmic vista, almost conducting like a symphony, this war of the worlds.

This battle and Ender’s control of it plays like a computer game, of Ender playing a computer game-but something more sinister is revealed at the end, Ender being a warrior not bent on destruction but on relationships and peace.

Harrison Ford plays his role with some grim intensity. Ben Kingsley, the national hero, has Maori paint on him and speaks with a New Zealand accent. Viola Davis, as always, offers a strong performance.

Card has written a number of Ender novels since the 1980s, so there is plenty of potential for sequels if this film is a box-office success. And that will depend on the younger audiences rather than older audiences.

1. The popularity of the Ender novels? From the 1980s? The interest in space and star wars in the 1980s? The long time before the film version?

2. The computer game visuals, the computer game style and involvement? The transition from novel to film to game?

3. The quote from Ender at the beginning, enemies and allies, love, harmony? His voiceover and perspective?

4. The world situation? The Formics, the war, Mazer Rackham as the hero and the defeat of the invaders, the continual visualising of the explosion of the space vessel, 50 years of peace, no attack, yet the plan on earth to defeat the Formics and destroy them?

5. Space control, Colonel Graff and Harrison Ford’s screen persona and history? Gruff, the surveillance on the students, on Ender, the continued tests? The discussions with Major Anderson, clashes with her? The invitation to Mazer, watching the classes, Ender’s behaviour, the decision that he was the one? The criteria? As a personality, Graff judging him, watching the family, Ender’s fight with the bullies, preventing them from further attack? His arrival at the home, choosing Ender, the reaction of the father and the family, not choosing Peter, not choosing Valentine, the reasons? Promoting Ender, taking him into space, in the vehicle, at the training centre, continually challenging him, watching the dormitory clashes, Ender’s dreams about Valentine? The final decision about Ender’s leadership?

6. Ender, his age, experience, intelligence, gangly appearance, being bullied, fighting back, his tactics and strategies, preventing future fights? Going home, his place in the family, the meal, bond with Valentine, clashes and fights with Peter, his father’s disappointment? Graff’s arrival, the explanation, his going in to space, the challenge from Graff, arrival, the dormitory, saying he wanted to be near the door, trying to keep the peace with the students, the suspicions of him, Petra and her bonding with him? His skills, the clashes, working as a team? Education, being watched? The nature of his dreams, Valentine and the cave of the Formics? The visuals of destruction? The games, his skills?

7. Major Anderson, her role in the team, conferring with Graff, surveillance, discussions, her concern, the emotional repercussions of Ender’s training?

8. Mazer, the hero, the visuals, his appearance, the Maori painting, his accent, surveillance of Ender, agreeing that he was the hero?

9. Petra, her role in the group, her skills, her liking Ender, his wariness, initially, but bonding with her, relying on her in the final battle?

10. Valentine, too emotional to be in training, at home, supporting Ender, appearing in his dreams, the mystery of her presence, the Formic caves, her inspiration?

11. The range of students, on earth, bullying Ender, supporting him? In the team, the cultural mix? Gradually accepting Ender, their role in the battle, fears, the temptation to give up, following Ender’s leadership?

12. The technical aspects of the training, Ender and his mastery of space, action? His training, the game, as if he were playing a computer game, swiping the vistas, moving the weapons…?

13. The game itself, the confrontation with the Formicsfour mix, invading, the destruction, the risks, the timing? Ender and his clam, his decisions? The support of the group? Graff, Mazer and Major Anderson watching the proceedings?

14. The realization that it was not a simulation, but the destruction of the Formics? Ender and his reaction, disillusionment? Confrontation with Graff? The two different philosophies, the seeking of peace, and anticipation of difficulties by elimination of the enemies? No survivors?

15. The possibility of an alternate approach to war and peace? The future and peace? Ender’s future?

DONNIE BRASCO

US, 1998, 124 minutes, Colour.
Al Pacino, Johnny Depp, Michael Madsen, Anne Heche, Bruno Kirby, James Russo, Paul Giamatti, Time Blake Nelson, Gretchen Moll, Zeljko Ivanek.
Directed by Mike Newell.


We have had many Mafia films from The Godfather trilogy to Martin Scorsese films like Goodfellas and Casino. There seems to be endless fascination. Sometimes the films create a mythology of struggles between good and evil. At other times the films want to show us the ugliness and violence. Donnie Brasco, which is one of the best, is not so overtly violence as the others though there is one grim sequence. Rather it is a character study, a story of a young FBI undercover agent who penetrates the Mafia but develops an emotional bond with the man he has been sent to destroy while alienating himself from his wife and daughters. He has to make choices between duty and feelings.

Al Pacino gives one of his best and restrained performances as the Mafia lieutenant who has not gone up through the ranks and who sees in his bright young protege a chance to make something of himself at last. Johnny Depp brings quiet authority and emotional intensity to the agent. It is all based on a true story - yet makes us wonder what motivates the agent to sacrifice so much of his life in a quest for justice.

A strong cast with Anne Heche as the wife, Michael Madsen as the local boss – and Paul Giamatti and Tim Blake Nelson as FBI agents as Gretchen Mol as a girlfriend.

Thoughtful Mafia drama.

1. A true story? An American story? Of the police, the FBI, the Mafia, undercover work and its effect? The finale and the number of arrests and cases made by Joe Pistone?

2. New York City in the 1970s, 1980s? The status of the Mafia, the nature of the gangs at that time, rivalries, ambitions, power, brutality, drugs and money? Clubs?

3. The re-creation of New York City, Brooklyn, ordinary homes, FBI officers, the streets, the gathering places for the Mafia? The contrast with Miami, son and luxury? The musical score?

4. The cast?

5. Johnny Depp and his interpretation of Joe Pistone? Pistone’s awards from the FBI? His three years undercover, immersing himself in this world, a way of life, a manner, language? The need for contacts with the FBI officers and for debriefing, the planning? His getting angry with the contacts, making his own decisions, absorbing the Mafia code? His relationship with his wife, with the children, his absences, silence, disappearing and re-appearing? Absent for the first Communion, the reaction of the little girl? His wife wanting a divorce, going to the counselling session and his angry reactions? The psychological consequences of working undercover?

6. Al Pacino as Lefty, an old time gangster, his record of 27 killings, his ruthless attitude, his loyalty to the Mafia? His home life, quiet, wife gone, girlfriend, watching the television, his son as a drug addict? His being comfortable with Donnie, the affinity between the two, shared experiences, talking, advice, invitations to his home? Donnie as an alternate son?

7. The Mafia groups in New York? Sonny Red and Sonny Black? Sonny Black and his close followers, their personalities, Lefty at home with them? Violence, drug deals? But at a dead end in New York?

8. Donnie and his suggestions about Miami, the plan, getting the money from the FBI to go, setting up Richie as the contact, going to the old club, the plan for development, deceiving Sonny Black coming with his entourage, meeting the local chiefs, dining them, the development of the club? The arrival of the police, the break-up, the arrests? Donnie and his cover story that the police were not paid off?

9. Donnie and the meetings with the agents in Miami, the portrayal of the two men listening to the conversations? The role of the FBI, the growing concern about Donnie?

10. The dangers for Joe, moving in and out of these worlds, his having to be a smooth talker, covering up about the scam and the shakes and the boat?

11. Joe’s wife, the officers coming to the house, hearing the truth? Her reactions?

12. Sonny Red, his men, the plan is to eliminate the opposition, the set up in the house, the brutal massacre of Sonny Red and his group? Sonny Black and his plans?

13. The suspicion of betrayal, the epithet of rat, Joe having to cover himself, his not being a suspect? The order for Lefty to kill the son of Sonny Red, going to the boat, Donnie and his giving the information, his being forced to go along, Lefty and the article about the scam? The target in the sites and the FBI making the arrests?

14. The arrests, Lefty and his bewilderment? His getting out? The group and their reluctance to suspect Donnie?

15. Donnie, reunited with his wife, the awards? The final information about how many arrests his work led to? And he is living with his wife in witness protection? With a price tag on his head?

STORAGE 24

UK, 2012, 87 minutes, Colour.
Noel Clarke, Colin O’ Donoghue, Antonia Campbell- Hughes, Laura Riddick, Jamie Thomas King, Ned Dennehy, Geoff Bell.
Directed by Johannes Roberts.

Once again, aliens attack the United Kingdom, specifically London, in a small budget horror-menace film.

Perhaps encouraged by the box office success of Attack the Block, Noel Clarke and his associates have invented a variation on the theme, a group of people trapped in quite a vast storage centre and menaced by an alien creature. This is something of a surprise from Noel Clarke who was responsible for the quite gritty social dramas, Adulthood, Kidulthood.

The setting for the film is quite impressive, the storage space and its corridors, yellow and blue in tone, creating an atmosphere. The creature is also impressively done, for those who like this kind of thing, capitalising on the many previous models for alien monsters.

There is a small group of people who work in the storage centre. The man in charge is quickly disposed of. So is the maintenance man. This leaves a couple of the workers with Noel Clarke arriving, embittered and petulant by the betrayal of his girlfriend who is also one of those in the storage centre. And it is complicated by his best friend being the person she betrayed him with.

For the rest of the film, it is a process of some elimination, the young people trying their best to avoid the monster, with the help of a strange man who lives in the storage centre but who is prepared to sacrifice his life of the others.

A film designed for those fans of alien menace.

1. A British alien invasion story? Small-budget? Cast, set?

2. The London setting, few externals, confined to the storage centre, its vastness, the corridors, the rooms? Office, basement, moving through the roof panels?

3. Horror film? The sense of menace? The plane crashing in Hyde Park? The creature in the storage? Attacking the repair man? Menacing the others? The visuals of the alien? Close-up, the conventional aspects of the creature? Attacking people, mangling people? The destruction of the monster?

4. The personal stories? Charlie and Mark, Charlie and his intensity, wanting to find Shelley, the breaking of the relationship? Mark trying to restrain him? Going into the storage? Finding Shelley, the truth, the irony of her relationship with Mark? Charlie thinking the man was Chris? Mickey and her presence with the group?

5. The man in charge of the office, his work, the disturbances, the electricity, meeting the repair man, the repair man going to the basement, his death? The man in charge hiding with the mannequins?

6. The emotional tangles? Sense of betrayal?

7. The group trying to manage, in the corridors, in the storage rooms, above the ceiling, the search? The various encounters with the creature?

8. Mark, surly, not opening the door, his being destroyed? Chris and his being attacked while getting the snacks? Hiding in the room? The mannequins? Shelley and her being trapped, escaping? The creature and its fascination with the toys, the toy dog, with explosives?

9. Charlie, overcoming his disappointment, his becoming courageous, searching out the creature, Shelley’s rescue, destroying the creature?

10. The strange old man, his story about his wife, the group suspecting him of being the killer, his knowing the storage area, living there, finding the weapons? Sacrificing himself for the others?

11. The TV coverage, what was happening outside, the planes flying over London, the alien invasion?

12. The group getting free, coming out into the world, what world?

FRIENDS AND LOVERS

US, 1931, 68 minutes, Black and white.
Adolphe Menjou, Lily Damita, Laurence Olivier, Erich von Stroheim, Hugh Herbert.
Directed by Victor Scherzinger.

Friends and Lovers is a film from the early 1930s, rather stage bound in its presentation of scenes, relying on a great deal of dialogue, still working on sound engineering to make the transition from silent films to the talkies.

The plot of the film is quite melodramatic. A cavalier army seducer is having a relationship with the wife of a sinister, wealthy man. At the beginning of the film there is a confrontation between the two men, with the wealthy man, a collector of porcelain, blackmailing the seducer to pay him 5000 pounds. The husband had set his wife up to seduce for blackmail. The army man then goes to take up a post in India.

The army man is played by Adolf Menjou. He is assisted by a batman, played by the comedian, Hugh Herbert, who would later make a career out of his idiosyncratic facial mannerisms. Once in India, a friend of the captain is appointed as his assistant. When he arrives, it emerges that he too has a relationship with the femme fatale in London. The officer is played by Laurence Olivier at age 23. He does not quite give indications of the career that he would have and the stature that he would attain. The femme fatale is played by Lili Damita.

But, the standout is the presence Erich von Stroheim as the sinister husband. Von Stroheim had already directed silent films including Greed.

This means that the film is interesting as an archival memory of the transition from silent to sound, of the nature of screenplays and the need for their being “opened up (there is suggestion of an action sequence in India but it mainly happens off-screen). And it is probably more interesting to look at the cast and see them at this stage of their career in the light of what they were to achieve.

The morals of the film remind us that this was produced before the application of the Motion Picture Code in the early 1930s.

BLANCANIEVES

Spain, 2013, 106 minutes, Black and white.
Maribel Verdu, Emilio Gavira, Sofia Oria, Daniel Gimenez Cacho.
Directed by Pablo Burger.

Blancanieves, the Spanish for Snow White.

This film would be interesting enough if it were just a re-telling of the Snow White tale. But, it is the manner of its telling that is arresting. It is set from the 1890s until the late 1920s. And it has been filmed in the silent movie styles of the period, though there is, of course, a musical accompaniment and some sound effects added.

The question is, of course, whether 21st century audiences want to see a black and white silent film these days. It is certainly different from what we are used to seeing and that makes it novel, ‘everything old is new again’! But, some critics, who know their silent films, bemoan Blancanieves as an anachronism, lacking the impact now of the freshness and originality of those long-gone times.

Anachronism or not, this telling of the old story is original and that keeps the interest.

A famous bullfighter in Seville of the 1890s is the darling of the arena. He is a 19th century superstar, ready to face any bull. When a photographer’s flash causes him to be gored, he is hospitalised while his pregnant, loving wife dies in childbirth. As might be expected, the father has a disdain for his daughter, Carmencita, and leaves her in the control of his new wife, the nurse who tended him and sees fortune in a marriage which she engineers. Maribel Verdu seems to relish the hiss-the-villain role of the wicked stepmother.

The film makes the transition to the 1920s, Carmencita living with her stepmother, but the stepmother becoming ever more jealous, killing her husband, persuading her lover take Carmencita into the woods to kill her. But, she is found by the dwarves, six of them, despite the sign on their wagon and advertising as seven! One of the dwarves is a woman. Another of the dwarves is a champion in the ring and jealous of Carmencita, substituting a more ferocious bull for her to fight in the ring, but with her vanquishing it with skill and charm, she becomes the darling of the audiences.

Instead of the mirror, for the fairest of them all, the screenplay uses the device of a magazine cover photo where the stepmother expected to appear, showing off her mansion and its furnishings. But, the magazine features Carmencita in the ring. This leads, of course, to the wicked stepmother poisoning an apple and throwing it into the ring along with the flowers and garlands. Finally, Carmencita eats the apple and collapses. Her manager is shrewd and has her lie in state with people paying to kiss her in order to revive her. One of the dwarves, devoted to her, stays vigil, kisses her – and there is a very quiet and appropriate ending to this interpretation of the fairytale.

1. The initial impact of the film? Silent film style? The familiar story? The variations? A Spanish version, the 19th and 20th centuries?

2. The style, of silent films, the added score, the sound effects, the captions? The effect of captions rather than dialogue? The black-and-white photography, the framing, the shading, the editing? The performances? A stylised experience and its effect?

3. The title, the tone?

4. The 1890s, Spain, Seville, the bullring, the father and his dressing, his appearance, the crowd and the adulation, the bull, his wife and his dedication, the flower, expectations, the photographer and the flash, the effect on the bull, goring the bullfighter?

5. The audience in the arena, the wife, the effect of the accident, going to hospital, the effect on her, in birth, her death? The child surviving? The bullfighter surviving, in hospital, the care, the attentions of the nurse and her determination, the baby and the father not wanting to touch it?

6. The introduction to the nurse, her face, sinister smile, plan, the care for the bullfighter, marrying him, going home, the baby, the years passing, her becoming the wicked stepmother?

7. The 1920s, changes in society, the modern style, the family, the husband, the stepmother and her lover, killing her husband, the feigned grief?

8. Taking the baby, her attitude towards Carmencita, hostility in the house, jealousy? Persuading her lover to go into the woods, to kill her? Carmencita being found, the dwarves, only six but the sign having seven? The woman dwarf? Saving the girl and the bond with her?

9. The dwarves and their skills, Blancanieves and her skill? The acclaim in the ring, the mean dwarf, his changing the bull, her taming the bull and her success?

10. Instead of the mirror image, photos and the covers of magazines? The stepmother and her questions, the interview, the photos, wanting to be on the cover? Her not being on the cover, anger and jealousy? The small item in the later pages? Her anger with the lover discovering that Carmencita was alive?

11. Going to the arena, the poisoned apple, her watching? the old bullfighter and his admiration for Carmencita, his watching the stepmother?

12. Success in the ring, her manager, the life contract, fighting the bull, the crowd asking her to spare the bull? The garlands, the stepmother throwing the apple, the delay in eating it, finally eating, her collapse?

13. The manager, Blancanieves lying in state, people paying to kiss the body to revive her? The devoted dwarf, his lying beside her, his love, the kiss?

14. The tear coming from Blancanieves’ eye? An appropriate ending for the film?

TRAIL STREET

US, 1947, 84 minutes, Black and white,
Randolph Scott, Robert Ryan, Anne Jeffreys, Madge Meredith, George Gabby Hayes, Steve Brodie, Billy House.
Directed by Ray Enright.

Trail Street is a standard Western of the mid-40s. It was directed by veteran Ray Enright, director of many and varied films at Warner Brothers. It is also a star vehicle for Randolph Scott who at this time began to make westerns regularly and, in fact, continued only in westerns until he retired in 1962.
The film is also a star vehicle for Robert Ryan, who had been around for many years, but in supporting roles. It is also a vehicle for George Gabby Hayes, a regular in Roy Rogers’ films and with John Wayne. (It is interesting to note that Hayes learnt to ride a horse only near his 50th birthday.) The villain is prayed played by Steve Brodie. There are two contrasting women, Madge Meredith as the demure fiancee, Anne Jeffreys as the saloon singer.

Randolph Scott portrays the legendary Bat Masterson who had cleaned up Dodge city and who is invited to clean up the Kansas town of Liberal.S cott gives his usual solid/stolid performance. It is up to Robert Ryan to be the hero of the film. It is the traditional story of farmers versus the cattlemen.

1. A traditional and conventional western? The frontier town? The cattlemen and the saloons? The proper citizens of the town, the farmers and their struggles?

2. The town of Liberal, life in Kansas in the 19th century, the farmers and their land, the cattlemen and their destroying the farms? The visualising of the town, the countryside, the homesteads?

3. The saloon songs? The musical score?

4. Allen Harper and his role in the town, promoting the farms, paying for the mortgages? His love the Susan? Her wanting to leave the town? In love with Maurey? The lawlessness in the town?

5. The Mayor, his concerns, wanting a lawman? Billy and his place in the town, his wisecracks, homespun, his memories of his cousin (and the entertaining moment at the end when his cousin arrives, played by George Gabby Hayes)? Writing to Bat Masterson?

6. The farmers, the destruction of their crops, the cattle trampling them, the farmers leaving, Allen paying the mortgage? The farmer who wanted to stay, his explanation that he had a solution to the grain problem, his being murdered? Bat Masterson and his sending Allen to pursue the killer after Allen was accused? His gun planted? Allen and the farmers, apprehending the killer and bringing him back, the grain and the solution for a particular kind of grain? Bringing it into town, persuading the farmers? The solution for prosperity?

7. The cattlemen, riding into town, shooting up, the bar, Ruby and her songs, Maurey and his control, using Carmody as his front? The plans to get the mortgages? Ruby and her love him? His wanting to marry Susan? To be important in the town?

8. Carmody, the bar, sinister, the set-ups the killings, Masterson and his interview with Maurey, the hitman being killed? Carmody firing at Masterson? Maurey and his plans?

9. The build-up to the confrontation in Trail Street, Trail Street as the end of the cattle trail? The cattlemen getting their guns and going out of town? Billy and his going to get the farmers? The fire and the signal for them to come? Masterson and the others in the prison? The beginning of the attack? The farmers’ arrival?

10. Maurey shooting Carmody, the confrontation with Ruby and her burning the mortgages, his shooting her? The men turning against him as a woman-killer? His death?

11. Ruby, being brought up with Alan, Susan’s suspicions, the gossip woman, finding out the truth, being sorry?

12. Law and order in Liberal, the mayor thankful, Billy staying on and welcoming his cousin but putting him in prison, Susan and Allen and their future? Bat Masterson wanting to be a journalist?