OFFENDER

UK, 2012, 102 minutes, Colour.
Joe Cole, English Frank, Kimberley Nixon, Shaun Dooley.
Directed by Ron Scalpello.

Offender is a tough prison film from the United Kingdom. It has been compared to other films with young prisoners, especially Alan Clarke’s classic, Scum.

The film focuses on a young man who deliberately bashes a policeman, is arrested, is sent to jail. He is played with strength and surliness by Joe Cole. After landing in prison, and confronting some of the other prisoners, it emerges that he has deliberately put himself there. It is to seek revenge on the men who attacked his pregnant girlfriend, brutalised her, disfigured her, especially because she was pregnant. The young man ingratiate himself with some prisoners, antagonises others, all with a plan to kill the attackers on his girlfriend, their parole officer.

The prison scenes are familiar and strongly portrayed. One item of interest is the portrayal of the Muslim prisoners, their devoutness, they’re assembling for prayer, their proselytising and their making converts.

Another feature is the presentation of the guards, one a particularly sadistic man who is a former soldier, begrudges the prisoners their comforts and complains that they are better off than he is.

Tough going but an interesting psychological study of the tormented man.

1. The title, its meaning, irony?

2. The British tone of the film, the situation, criminals, prisons, parole?

3. The city sequences, the robberies, riots, shootings, the bashings? The parole officer? The flashbacks of tenderness? The musical score?

4. Prisoners, at reception, the officers, the routines of search, strip, clothes, the corridors, cells, meals, the yard, showers, the visuals of the prison, the riots, fights?

5. Audience attitude towards Tommy, the initial bashing, his tough stances, ugly? The police, the arrest, the wounds, put into prison?

6. In prison, the memories, the explanation of why he was there, love, the pregnant girlfriend, the being bashed, the ugliness of the situation, she thinking herself ugly, that she could not be loved, leaving?

7. Tommy and his motivation, vengeance, the targets, watching them?

8. The targets in prison, the background of their robbing, the leader, his hold over the others, the violence? In prison, the pairs, taunting, the prisoner and his being wounded with the razor?

9. Life in prison, the guards, the ex-soldiers, their laughing and leering at the prisoners, exercise of violence, the leader and his past, the drugs and his participation? Supervision, taking the sneakers and saying he was entitled to them, the officer arguing against him, the explanation, the ex-soldier saying that he had been hard done by and with the prisoners who lived comfortable lives? His being challenged, the fight in the dining room, his being battered? The other guards? The warder and not wanting things to happen on his watch?

10. The Muslim prisoners, the proselytising, with the black prisoners, joining the movement, joining in prayer, conversion experience, the rituals? The Muslim contact with Tommy, his fear for his daughter’s life?

11. Tommy, his friends, talking, in the yard? His attacking the man in the shower, death?

12. The black prisoner and his wanting to help, the confrontation, being hurt, the man explaining the threats to him? Tommy and solitude, stripped, the woman officer and getting him out?

13. The plan, the table issues and the riot, Tommy and the confrontation, the fight, the knife, death?

14. The black prisoner, his visitors, getting out?

15. Tommy, his place in prison, new respect? A different life in store for him?

THE GREENE MURDER CASE

US, 1929, 68 Minutes, Black and white.
William Powell, Florence Eldridge, Jean Arthur.
Directed by Frank Tuttle.

The Greene Murder Case is based on a Philo Vance novel by S.S.Vine. There were several films based on the series, four with William Powell: The Canary Murder Case, The Greene Murder Case, The Benson Murder Case, The Kennel Murder Case. Other actors have taken on the role including James Stephenson in 1940, Calling Philo Vance, as well as Warren William and Paul Lukas.

This is an early silent film. It creaks more than a little in its style, drawing on theatrical and stage conventions rather than cinema style. It is an interesting murder mystery, murder in a locked room. There are several suspects, brothers and sisters (with secret paternity issues), a harridan of a bed-ridden mother, all members of a family, but also a doctor, a lawyer and maid with the German background. And then further members of the family are murdered. The least likely of the suspects is found to be the villain, cold and calculating while putting on a front of innocence. It is an early role for Jean Arthur who was to be a strong screen presence in the 1930s and 40s as well as in Shane. Of interest, Frederick March’s wife, Florence Eldridge plays one of the sisters in the film.

However, this is an early role in talky films for silent film actor, William Powell. He was to become one of the most prominent stars of the 1930s, always suave, well-mannered, excellent as a rather aristocratic sleuth. His manner and style of acting in this film continued right to the 1950s, his final films, How to Marry a Millionaire, and Mr Roberts. He is the main reason for seeing this film.

Comic star, Eugene palate, appears, as he does in other Philo Vance mysteries as the rather obtuse police detective.

Director Frank Tuttle was a standard film director at Paramount from the 1920s to the 1950s. He directed such successes as Waikiki Wedding, and the Alan Ladd vehicles, This Gun for Hire and Lucky Jordan.

FRUITVALE STATION

US, 87 minutes, 2013, 87 minutes, Colour.
Michael B.Jordan, Melonie Diaz, Octavia Spencer, Kevin Durand, Chad Michael Murray.
Directed Ryan Googler.

This film is based on actual events. They took place in the early hours of New Year’s Day, 2009, the location, Fruitvale Station, on San Francisco/Oakland’s Bay Area Rail Transit, BART. The men involved were African-American?, the victims. The perpetrators, the Fruitvale Station BART Police. The events were captured by eye-witnesses on their phones, and the footage later used in evidence in the case against the police.

However, the film opens in darkness, just with voices talking about their hopes for the future. A sad irony as they were not to be fulfilled.

The main protagonist in these events was Oscar Julius Grant III, a young man of 22. The film opens on New Year’s Eve, 2008, a time when Oscar had decided that he needed to get his life in order. We see him at home, reconciling with his partner, Sophina, sorry for his infidelities. We see him with his four year old daughter, Tatiana, at breakfast, dropping her at school, picking up later in the day. Sophina goes to her work.

There are a number of episodes we see as the day goes by. Oscar phones his mother whose birthday it is and promises to get some food for a dinner. His sister phones him about the birthday, but also wanting to get money from him to pay her rent – but the calendar shows that Oscar’s rent is also due. He goes to the market where he used to work, talking to his brother, encountering a young white woman who is puzzled about the fish she should buy to fry. There is an irony when she is also on the train at Fruitvale and photographs the events. Oscar phones his grandmother and puts her on the line to the woman to give hints for the recipe. But Oscar also wants to get his job back, lost because of his arriving late at work, but the manager cannot give him his job because it would mean sacking someone more reliable.

Oscar phones a drug dealer and arranges to meet him by the Bay. This gives him time to reflect, to remember a year earlier, also his mother’s birthday, when she visited him in prison. While they talk, a fellow-prisoner taunts him and Oscar becomes very aggressive, his mother leaving. Clearly, he wants this year to be better than last. He breaks off contact with the dealer and gets rid of the marijuana he is carrying.

Despite the financial difficulties, things should have improved, especially with the dinner, and as he and Sophina and some of the family and friends go in to San Francisco for the celebrations. It is on the way home in the train that a scuffle breaks out when somebody recognises Oscar and begins a fight. When the train arrives at Fruitvale Station, the police are ready, summoning four young men, not involved with the fighting, to come off the train where they verbal them and treat them roughly. They also demand that Oscar come out of the train and they treat him in the same way, ready with guns and lasers, there is a shot and Oscar is wounded.

Michael B. Jordan is persuasive in his portrayal of Oscar. A man of limited background, with prison records, we still see an inherent goodness in him. Melonie Diaz is Sophina, his Hispanic partner. There is great strength in the performance of Academy Award-winner (The Help) Octavia Spencer as Oscar’s quite indomitable mother, powerful, especially in the hospital sequences where she gathers the family and urges them to prayer, as well as her last look at her son.

The credit sequences give information about what happened to the police – and there is a visual epilogue as people gather in memory at Fruitvale Station in January 2013.

A sad film, reminding audiences of racism in the United States and incidents like that of the confrontation with Rodney King in Los Angeles in the early 1990s. Fruitvale Station won the audience award at the 2013 Sundance Film Festival. It clearly touches the American conscience and an American nerve.



1. Based on a true story? The impact in the United States, beyond, the consequences?

2. The witnesses to the event, photographing the scene with their phones? Later used for evidence?

3. The acclaim for the film in the United States, touching the American conscience, and nerve?

4. The opening, Oscar and Sofina and speaking about their dreams? The irony because of the reality?

5. The visual device for the phone calls and the SSMs?

6. Oscar, aged 22, the film’s portrait of him as a young man, New Year’s Eve 2008, his re-assessing his life? Re-affirming his love for his wife? His infidelities? His love for his daughter, the domestic scenes in the kitchen, breakfast, taking her to school, his memories of prison, his aggression, his mother coming to visit him a year earlier, her birthday, their talking, the challenge, his being angry, her walking out? The issue of drugs, hiding the pot, then taking it with him? Going to the market, talking with his brother, the encounter with Laura and her problem about frying fish, his suggestions, calling his grandmother, putting her on the line, Laura grateful? The irony of her being on the train, seeing him and photographing the events? His asking for his job back, his being late, the boss refusing, not wanting to sack someone more reliable? His being upset? Phoning his mother, her birthday, getting the food for the party, ringing his sister, her wanting cash help? His seeing the calendar at home and the rent becoming due? Phoning the dealer during his haircut, the discussions, throwing away the pot? Sitting at the Bay, his hopes? Going for the celebration in the city, picking up Tatiana at school, her being left with friends? Going out, the group, to San Francisco, the enjoyment, with Sinfonia? His mother urging him to take the train? The aggression on the train, his being recognised, the fights, the disturbance? Coming into Fruitvale Station? The stop, Sinfonia getting off and leaving, the police taking the men from the carriage, the racism and brutality, demanding Oscar come off the train, Oscar’s replies, being treated brutally, the plea about his daughter, arguing with the police? The importance of knowing how to act in such a situation? The police, verbal attitudes, the lasers, guns, the officer shooting Oscar?

7. Oscar being shot, the blood, the ambulance, his final words, the treatment in hospital, the care of the doctors and nurses, his death? Sinfonia at the station, ringing, panicking, meeting Oscar’s mother at the hospital, the mother, being calm, gathering the group in prayer? Her grief, seeing her son’s body, wanting to hug him? The death being treated as murder?

8. Oscar and his brothers, his sister, the family bonds? The difficulties past, prison, yet the bond with his mother? Her birthday and the celebration?

9. Laura, the issue at the market, the fish, his being pleasant, the friendly touch, has seen him on the train?

10. The sketch of Grandma Bonnie, folksy, on the phone?

11. The market manager, his predicament about employment, refusing Oscar?

12. The picture of the police, New Year’s Eve and pressures, trouble on the train, responsibilities at the station, calling the men off the train, arbitrary, their violent treatment of them, abusive, physical, calling Oscar, the arguments, the treatment, the shooting?

13. The aftermath of the shooting, public opinion, the information about the charge of manslaughter for the officer thinking his gun was his laser? The scene from 2013 at Fruitvale Station and the crowd gathering?

GANGS OF NEW YORK

US, 2002, 162 minutes, Colour.
Leonardo di Caprio, Daniel Day Lewis, Cameron Diaz, Liam Neeson, Brendan Gleeson, Jim Broadbent, John C. Reilly, Gary Lewis, Henry Thomas, Alec Mc Cowan, David Hemmings.
Directed by Martin Scorsese.

Martin Scorsese had had this project in mind for thirty years. It was intended as his masterpiece as well as a continuation of his portraits of New York, whether Mean Streets stories like Taxi Driver, praise of the city like New York, New York, a historical perspective like Age of Innocence or gangster saga like Goodfellas.

Many have found this epic too bloodthirsty and questioned Scorsese's interpretation of city life in the 1860s. If one can withstand the shock of the violence, it certainly repays a second look where Scorsese's skills and artistry are more evident, whether it be the staged battles between the gangs or simple scenes where Butcher Bill sits at Amsterdam's bedside and quietly tells his story. In fact, the director's cut should be better than this version which has been pared to three hours for acceptable commercial release. It seems as if Scorsese did his cutting from the last hour and more information and scene-setting for the build of the final clash between Bill and Amsterdam is needed.

What we have is an exercise in myth-making, the thesis that the frontier of the West was not the only violent frontier. New York with its influx of migrants, especially the Irish, was at flashpoint due to the anger of the 'natives'. Political corruption, symbolised by Boss Tweed, was rampant. Troops were being commandeered from the city to fight for Lincoln while it was clear than many sympathised with the south.

This is the social and political backdrop to the story of the gangs. The Irish, led by 'Priest' Vallon (Liam Neeson) are defeated by the natives, led by Butcher Bill (Daniel Day Lewis). Vallon's son sees his father die and swears revenge. When he returns as Amsterdam (Leonardo di Caprio) after years in an orphanage, he finds Bill supreme, in cahoots with Tweed (Jim Broadbent), and many of the Irish working for him. He ingratiates himself with Bill who looks on him as a son. A kind of rivalry builds over affection for Bill's protege, the pickpocket, Jennie (Cameron Diaz). Eventually, the truth is revealed and a pitched battle between Bill's followers and those of Amsterdam is the culmination of the action. The East coast had a violent frontier as well - and this is what New York and its respectablity is built on.

While this may or may not be true, Scorsese makes it absorbing, a credible hypothesis that may tamper with historical fact but makes its point about American violence. The strong, even manic, performance of Daniel Day Lewis gives the film a kind of psychotic strength. Leonardo di Caprio carries off the difficult role of Amsterdam and there are some intense supporting performances. Not to everyone's liking, but a powerful piece of cinema history.

1. The films of Martin Scorsese, his focus on gangsters? Moving back to the 19th century? A New York saga? History and legend?

2. The title, expectations? The history of gangsters in the 19th century, leading to gangsters in the 20th century? The history of New York City? In the 19th century? The migrants, the locals, the clash with the Irish? The Civil War, President Lincoln, his stances on race? The New York stances on the wall? Government and Tammany Hall?

3. The re-creation of history, the sets, decor, costumes? Re-living the past? The musical score?

4. The strong cast?

5. Production interference, editing the film, omission of scenes? The continuity of plot, especially in the development of the character of Amsterdam Vallon, especially as he grew older and his taking on leadership?

6. The introduction, Butcher Bill and his personality, his gang, his work as a butcher, his philosophy of life, anti-Irish, anti-Lincoln and throwing the knife at the image? His cruelty? Patriotism? And the threats of the gangs, his followers, his charisma in leadership, his enmity with Priest and the gang, yet his respect for Priest?

7. The character of Priest, his gang, the Irish background, his name and origin, his clothes, his relationship with his son, preparation for the fight, the
melee, his death, his memory? His son going to his grave?

8. The staging of the fights, their intensity?

9. Time passing, the son growing older and returning?

10. The focus on Amsterdam, his age, his past and his memories, in the institutions, to New York City, the insertion of flashbacks of his memory? Interactions with Mulraney, with McGloin?, with Bill? The events in New York at this time, the various stances, meeting Johnny, the past friendship? taking on the identity of Amsterdam, taking his time and insinuating himself into Bill’s gang?

11. Bill, still working as the butcher, the scenes with his meat, his group and their loyalties, his power with Boss Tweed, the confrontations, the alliances, the brutality? Jenny and her story, the sexual relationship, later his throwing the knives at her? his interest in Amsterdam, getting him as his assistant, the talks between them, his comments on priest and his respect? His bigotry towards the Irish, the demonstrations, the attacks? His attacks on ‘niggers’? His speaking against Catholics? Speaking against the war? The discussions with Boss Tweed? His relationship with women, in the club, the prostitutes, Jenny?

12. Amsterdam, his position, being attentive to Bill, Johnny and his betrayal, the discussions with McGloin? Seeing the policeman and the memories of the past?

13. Jenny, her life, pick-pocketing, her skills, seeing her in action, aloof with Amsterdam, Johnny in love with her, the various tangles, emotional, at the meals? The sexual relationship with Amsterdam?

14. Boss Tweed, his character, ruling, voting, buying votes? Upholding the law while breaking the law? His not wanting to watch the violence, his respectability, in his office, the meetings? Bill and the negotiations?

15. Monk, the past with Priest? His interest in Priest’s son, intervening, advising, the suggestion that he run for office, Bill and his antagonism, the support from Monk, his murder?

16. Time passing, Amsterdam becoming older, building up following?

17. The key scene of Bill and is talking with Amsterdam, the revelation of himself, the possibilities?

18. The denunciation, the cop and his role, his self-image?

19. The build-up, the final confrontation, the hostility, fight, Bill’s death? Amsterdam and Johnny?

20. Jenny, the possibility going to California, after the fight, Amsterdam and Jenny, moving to new beginnings?

CLOSED CIRCUIT

UK, 2013, 96 minutes, Colour.
Eric Bana, Rebecca Hall, Jim Broadbent, Ciaran Hinds, Kenneth Cranham.
Directed by John Crowley.

Here is one for conspiracy theory fans, not a great film, but both interesting and entertaining – until a fellow reviewer revealed that he did not find it very interesting at all, that this kind of film he could take or leave. Enjoyment will also depend on one’s perspective on politics, on government, on secrecy and cover-ups. If you are suspicious or cynical, then this one, involving terrorism and investigations and political double-dealing, should be on your list.

The film lives up to its title in the opening minutes, surveillance of the Borough Market in London, first one camera looking at shoppers, then split screen and gradually splitting until there is overall coverage. A truck, then an explosion, chaos, rubble and dead victims.

A suspect is arrested and the case is to be prosecuted. But audience attention is drawn to the defence, a successful lawyer picked out by the government. English law has a requisite that there be a special consultant for the defence who examines documentation, but is to have no profession contact with the defence lawyer. There may be some sense in this, but it is not made clear to the audience. And it is further complicated by the fact that the two have been in a sexual relationship, though now finished, and the dilemma as to whether they let this be known to the powers that be.

The powers that be take a great interest in the case and the lawyers, especially the Attorney General, an urbane, rather silver-tongued politician, played by Jim Broadbent. The lawyer is played by Eric Bana and the consultant played by Rebecca Hall.

We see visits to the accused and are puzzled by his seeming fatalistic attitude towards his trial. We see visits to his family and focus on his son who has a key to the whole proceedings. Things become messy when the lawyer discovers that his predecessor has died and that the circumstances, formerly not suspicious, become highly suspicious. An official, a Muslim (Riz Ahmed) recruited by the spy agencies after the bombings in London of July 2005, pays sinister visits to the consultant, not without threats of violence. An American journalist (Julia Styles) who seems to have significant contacts gives information to the lawyer. And there is a government worker (Ann Marie Duff) who is not as she seems and becomes the determined face of MI5.

So, put this all together, add some court scenes, so klling attempts and a twist that explains how things can go wrong and information suppressed – the public does not need to know. Oh, and in case you did not guess, the affair is back on!

The stuff of airport novels, perhaps. But airport novels, especially about spying and terrorism, can be very entertaining.

1. A film for conspiracy theorists? Government, terrorism? Cover-ups?

2. The title, the cameras and surveillance, the initial focus on people at the market, the split screens, the multiple images? The crowd at the market, all under surveillance? The later use of the footage? Issues of surveillance, society, privacy? Police investigations? Politics, law, closed courts and closed circuits?

3. The UK setting? London, the landmarks, the city, the Borough market, flats and homes? MI6, Parliament, the Thames? The musical score?

4. Introduction, the images, ordinary life, the market, the threats, the explosion and consequences? Dead and wounded? The arrest of Farroukh, suspicions? Judged an act of terrorism?

5. Martin Rose, his career, failed marriage, his work as a lawyer, the past relationship with Claudia, given the job of defence, the meetings with Cameron, his remit? The role of the defence? Claudia, her life, her different remit? No communications? The situation for the defence, their discussions about their past, deciding to tell the lie? The judge? The future tensions?

6. The judge, the limits of the case, the closed court, the prosecution? The attorney general and his friendly approach, yet menacing? Sounding out Martin?

7. Devlin, his friendship with Martin, help in the investigations, continued contact, his presence at the court, his contact with Melissa, the betrayal?

8. Farroukh, in prison, the past investigations, his career in Germany, terrorist, admitted to Britain within a short time span? His migration, family, the importance of his son in the family and his relationship with his father? In prison, the interviews with Martin, his fatalistic approach?

9. The visit to the family, the relations, the wife, the boy and his silence? The computer? Later, his having the key, his running away, and to protection? Tracked down? The talks with Martin and Claudia? His having the computer, the stick, his attitude towards his father, testifying, giving the information?

10. The society meal, Martin present, the visitors, the American reporter, Melissa and her role in the government, the chat at the table, clues about government?

11. The journalist, American, in the UK, information, needing checking out, knowledge about the government, MI6, the meeting with Martin, the discussion, giving him the information? Her death?

12. Martin, suspicions, discovering the death of his predecessor, the further dangers, car chases, attempts on his life? Warning Claudia?

13. Claudia, the visit from the official of MI6, stating his position, discussing hers, the role of government, threats, his capacity for violence, his attempts at killing?

14. Melissa, the truth about the status, control, in the car, ruthless, giving orders about life and death? Her frustration in the car?

15. The court appearances, Martin and his presence, what he could say or not, evidence, causing the uproar about the son? Removed from the court? Claudia and her presence in work?

16. Farroukh as a terrorist, coming to the UK, and undercover agent, infiltrating the terror group, his mandate to stop the explosion, his failure? Hanging
himself in his cell?

17. The dilemmas for government, the decision for cover-up, the public, an organisation protecting itself? The role of the district attorney, his final talk to Martin, smooth threats, his speech in Parliament? Finally exposed?

18. Martin, his achievement, the risks with Claudia, sharing the dangers, hearing the news from Parliament? The happy ending?

CAPTAIN PHILLIPS

US, 2013, 134 minutes, Colour.
Tom Hanks, Catherine Keener.
Directed by Paul Greengrass.

The Red Sea, the Horn of Africa and the Somali Coast probably seem a long way from most countries unless you live in the Middle East or in the countries of north east Africa. They are often in the headlines, especially with news about pirates.

We are fortunate in 2013 to have two good and solid films about Somali piracy: the Danish film, A Hijacking and the American film, Captain Phillips.

A Hijacking took a storyline of the pirates attacking, taking hold of the ship, keeping the crew hostage over some months while negotiations were conducted between the CEO of the Danish shipping company and a mediator. It was a long haul story. By contrast, Captain Phillips is based on a true story, an act of piracy gone wrong, the captain taken hostage followed by intervention by the American coastguard. Negotiations were minimal.

The trouble with piracy, especially in the popular mentality, is that it takes us back to Treasure Island and Long John Silver or Blackbeard or any of those swashbuckling stories with a kind of Saturday matinee mentality. We could watch the swordfights and the body count lost in another time and place.

21st century pirates are not so romantic in their stories. Rather, we see Somali fishermen, Somali thugs motivated by a mixture of poverty and greed, controlled by the demands of warlords, taking it for granted that they can take up their automatics, board a ship, take over and demands millions of dollars in ransom.

Captain Richard Phillips commanded the first American ship to be attacked by pirates in 200 years. A container ship, with food for deprived peoples of Africa in its cargo, it was boarded by a small group of men. The Captain had protocols in place for such contingencies. There are scenes of tension as the ship is searched and the crew hides. There is a lot of roughhouse with the captors as if they had been watching too many American films.

The Captain deceives the pirates to a certain extent but is taken by them in the ship’s small vehicle and a pursuit begins. The cat and mouse with the pursuers and the pirates comes to a head. Captain Phillips tries to use his wits, not always successfully.

The cast portraying the pirates are convincing, young men with mixed motives, abilities, and attitudes towards the ransom, trying to make do with their botched tactics. But, it is Tom Hanks at the centre of the film, who gives it its focus. Over the decades we have come to expect that Tom Hanks can effortlessly play this kind of role. He has to undergo a lot of physical hardship in this film – and it is interesting that the film goes on after the resolution but spends some time on the Captain’s physical and mental condition and Hanks is persuasive as a courageous person in shock.

Director Paul Greengrass has made three Bourne films as well as on the 9/11 situation with United 93. He adds here to his list of intelligently written action films.


1. Critical acclaim for the film? The work of the director in action films? Working with Tom Hanks and his status, screen presence?

2. An American story, an American perspective? Captain Phillips, his experience at sea? The film based on his book and reminiscences? His work on container ships?

3. The locations, ordinary life in America, the transition to the sea, the Indian Ocean, the container vessels, their interiors, on deck? The raft and its being confined? The hospital area of the ships? The role of the Navy, Naval and military operations? The musical score?

4. The introduction, ordinary life, 21st century, Richard and his wife, their concern about their children, education, ordinary questions, a loving couple?

5. The visuals of the ship, its vastness on deck, the interiors? The variety of the crew? The captain, his skill in management, strong with the crew, but humane? The task to get to Mombasa? The dangers of the Indian Ocean, the Somali pirates, the contents of the ship, especially of food for those in need?

6. The boat approaching the ship, the four men, the details of their boarding, their weapons, the ship being prepared for such an attack, the protocols? The response of the crew? The captain’s assistant? The men concealing themselves, their tactics, turning off the lights, moving from room to room, the continual movement, physical attacks and with weapons?

7. The four Somalis, young? the Somali background, the warlords and their demands, the commands to bring more money, issues of millions, the motivations? Pro-US, anti-US? The leader and his ambition to go to the United States? The edge with the men, tough, the angry man and his outbursts, the risks of violence, the leader in command, the possible deal for $30,000? Not taking it, wanting millions? The leader thinking over the situation, making decisions, the excitable man and his outbursts, the older man with his technical know-how and guiding the raft, the young man and his uncertainty?

8. The captain, talking, the bluff, the risk, tried to keep control, the offer of $30,000, the searching of the vessel, not finding the men?

9. The tactic of breaking the glass, the young men treading on it, vulnerable? The need for treatment? Helping him with his foot? Later, his guarding the captain?

10. The attack, the men unsure, the raft, taking the captain?

11. The raft, claustrophobic, the driver, the young men guarding, the angry man, the leader trying to keep control? the discussions on the plans? Making for Somalia, the Navy in pursuit, the reality or not that the leaders were coming to negotiate?

12. The information about the hijacking going to the United States, to the Navy, the tracking, the time issues, the vessels? The coastguard? The Navy seals? Plans, decisions? The focus on the personnel?

13. Issues of time, on the raft, confined, the captain using his wits, the taunting, the need for water, moving within the space, trying to negotiate? Contact with the ship, the American Navy and the bluff? The captain wanting to pee, going into the water, flailing, under the boat, taken again?

14. The final moves, coming to the raft, the light, the deaths of the men, the capture of the man in charge, his being confined?

15. The leader, in the cell, his ambitions crushed, naive and bewildered?

16. Taking the captain, the review of the tactics and the time taken?

17. The captain in shock, going to the hospital, the after-effects of his ordeal, a sense of realism with these sequences for the film?

18. A true story, the first pirate attack on American vessels for 200 years, the role of the Somali pirates for many years, capturing boats, wanting ransoms? The Americans and rescue?

SEVEN PSYCHOPATHS

UK, 2012, 110 minutes, Colour.
Colin Farrell, Woody Harrelson, Christopher Walken, Sam Rockwell, Abbie Cornish, Michael Pitt, Michael Stuhlbarg, Harry Dean Stanton, Tom Waits.
Directed by Martin Mc Donagh.

Two people in the audience, sitting side by side in the cinema, could well be having opposite experiences. One might be thoroughly amused by the bizarre plot and characters as well as the black humour. The next might be finding it quite distasteful, a lot of violence, random and planned, too silly to enjoy. A bit of checking on the film is necessary to decide which seat one wants to sit in.

Martin Mc Donagh had a great hit with In Bruges. It was bizarre and funny, oddball criminal characters, black humour and wordplay – and the beauty of the city of Bruges. This time he is in Los Angeles, not so beautiful.

Seven Psychopaths is not only the title of the film, it is the title of the potential film within the film. It is being written by Irish screenwriter, Martin (Colin Farrell, this time rather quietly subdued). He is desperate to find some psychopaths to fill out a plot for his title, and he certainly finds them, especially among his friends.

The most psychopathic is actor, Billy, played cleverly with general nonchalance and an amoral outlook on life by Sam Rockwell. Rockwell can take on any kind of role with flair. He does so here. Although rivalry for the title of most psychopathic comes with thug, Charlie, Woody Harrelson. Harrelson is devoted above all people and all things to his pet dog, Bonnie. Billy teams up with Hans (Christopher Walken at his best) to abduct dogs and turn up for the reward. You can see the set-up when Bonnie is dognapped.

Meanwhile, Billy offers all kinds of suggestions for Martin’s film – many played out on screen for the audience. Hans also has suggestions. In the meantime, we see Charlie’ search for his dog who scares the walker who lost his dog by shooting at her, then racially hostilely shooting someone for revenge (real killing, not a scare). It all builds up to a shootout climax, contrived by Billy.

Other characters wander in and out: Charlie’s mistress, Martin’s edgy girlfriend, and Tom Waits with a story all of his own (a violent one) which he wants Martin to put into his film (and he interrupts the film’s credits to complain that it is missing).

Then there is the story of the Viet Cong soldier who plans to murder those responsible for the massacre at My Lai – the subject of Hans’ final suggestion for Martin, described so well by Christopher Walken.
So, a movie about a movie, of how movies and real life can relate and connect – but all with tongue very much in cheek. It won the People’s Choice award for the Midnight Madness screening at the Toronto International Film Festival. Not surprising.

1. Black comedy? Witty? Broad humour?

2. Hollywood and Los Angeles, the world of film, the world of frauds, the world of thugs? The countryside around Los Angeles? The musical score?

3. A film about film-making, processes, sources of stories, acting out stories? Different genres, their conventions? Verbal wit? Visual wit?

4. The title, the introduction, the two thugs talking, Tarantino style? Jack, the mask, the murders? The device of listing the psychopaths one to six, seven and one? Setting the tone?

5. The chatter of the killers, their amoral stances, the irony of their deaths?

6. Martin, Colin Farrell’s low-key style? His being the figure for Mc Donagh himself? The two Martins? Writer’s block? The title, his reliance on his friends, Billy and his imagination, his acting career? Friends with Hans? The clashes with Kaya? His being in the doldrums, career-wise, personally? The placing of the advertisement, the meeting with Zachariah? His story? His pet? Kaya and the violence, the confrontation? The encounters with Charlie, the guns, the shootouts? Martin and his driving away, the number of stories for his film?

7. Billy, the focus on him, the irony of his acting career, his auditions? His friendship with Hans? The scam? Abducting the dog, the woman bringing the cash, Hans and his sympathy? Charlie’s dog, the dog-walker? Taking the dog, holding it? The scenes with the dog – pathos and humour? The different scenarios that Billy suggested? Charlie and his girlfriend? The murder, the cards – and the irony of Billy and the deaths, the signature cards? The build-up to the final confrontation, with Charlie, the guns, shot?

8. The contrast with Christopher Walken as Hans, non-violent? The scam with the dogs? The reason for the money, the visit to his wife in hospital, his love for her, the flowers, his reaction to her death? The meetings with Charlie, his henchman and the refusal to have a gun? His death? The postscript – and his elaborating the story about the Vietnamese killer?

9. Charlie, thug, ruthless, his henchmen? His girlfriend? His treatment of her, her death? His love for his dog, the reaction to its abduction? His anger, going to the hospital, taunting Hans’s wife, the interrogation, killing her? Tracking down the abductors? The pursuit, his aides, their confronting Billy? Killing Hans? The police, death? The world of thugs?

10. Hans’s wife, a good woman, her illness, the hospital, the tender scenes with Hans, lying to Charlie, her courage in the face of death?

11. Kaya, the token woman, the arguments with Martin? The fantasy and her death?

12. Zachariah, responding to the advertisement, his story, the flashbacks, the murders, ruthlessness, his wife and giving up on her? The judge, his story, pathos? The end and Zachariah reappearing during the credits, wanting to know why his credit was not included, his threats?

13. The Vietnam episode, My Lai, the war, the Viet Cong, the present and the soldier dressed as a cleric, with the callgirl? His dilemmas? The meeting, the veterans, their speeches, his coming in with the bombs attached, the threats? The change of story, his immolating himself?

14. The overall impact of this kind of mix of oddball characters and stories?

ROBOT AND FRANK

US, 2012, 89 minutes, Colour.
Frank Langella, James Marsden, Liv Tyler, Susan Sarandon, Jeremy Strong, Jeremy Sisto.
Voice of: Peter Sarsgaard.
Directed by Jake Schreier.

This is a small whimsical film that will appeal to those facing ageing and will offer a little challenge to the next generation who will be responsible for their parents’ care.

Frank lives alone. His memory is going – and, in fact, with his burglar background, he tries to steal from his own house. He is played by Frank Langella in a pleasantly low-key way. Frank is Skyped by his world-travelling daughter (Liv Tyler). His son (James Marsden) visits him every week. Frank is more than a little obstreperous, in denial about his forgetting details. One week his son brings Frank a robot (the setting is ‘the near future’) who is programmed to care for Frank, keep an eye on his diet, his rest, all the details of his daily life. Frank is not happy, but, bit by it, he warms to Robot and finds himself having friendly chats with him.

He is fond of Jennifer, the local librarian (Susan Sarandon) who is being edged out of her job, also by robots. Frank’s urgings to be on the job again are fostered by his stealing a book from the library. He then has eyes for the jewelry owned by yuppy neighbours. Robot is not in favour but thinks the planning (rather than the execution) might be good for Frank’s health.

A number of comic hijinks ensue, with the local sheriff suspicious of Frank, keeping him under surveillance. The situation exercises Frank’s ingenuity. And Robot’s.

Then the film veers towards care for the aged, especially those with memory loss. There is a nice feel about these episodes, especially with Frank having a meal with his family. But, the film ends with a wry comment about where the jewels are hidden.

It has a short running time. I wouldn’t have minded some more.

1. A whimsical film? Its observations on human nature, ageing, technology?

2. The title, expectations, robots and their assuming human work and characteristics, the developments of technology, robots for the elderly, serving them, companionship? How they are programmed? Guiding, guarding, friend?

3. Upstate New York, the town, homes, library, mansions, shops? Ordinary and pleasant? The musical score?

4. Themes of age, memory loss and the consequences, aged care, people being concerned, the responsibilities of family and the next generation?

5. Frank, his losing his sense of identity, robbing his own house, his age, appearance, the comfort of his home, his depressed moods, the divorce of thirty years, his children, Hunter visiting him and his treatment of Hunter, not appreciating him, talking about his university days at Princeton, Hunter and his exasperation, bringing the robot, his hopes? Madison and her phoning from Asia, her travelling the world? Her return, wanting to care for her father, anti the robot? Her work in the house, turning off the robot? Frank, his ordinary life, visiting the library, discussions with Jennifer, the issue of books, the robot at the library? His going to the shop and stealing the soap? The threats of the owner?

6. The robot, the voice, program, the clash with Frank? The robot being effective, caring for Frank and his meals, his health? Frank gradually changing, talking, the friendship with the robot, depending on the robot?

7. Frank as a burglar, the ethics, Jennifer and the books, his discussing the issue with the robot, the decision to steal Don Quixote, to give it back to Jennifer – but Frank’s failure to do this?

8. The party, the library, Jake and his wife, hosts, the sheriff being present? Frank out of place? Jennifer going with him? His seeing Jake’s wife’s jewels?

9. Frank, the plan to rob, the arguments with the robot, rationalising his involvement? The planning, the details of the surveillance, the notes (later having to be burnt), the robot compromising and thinking the planning was good for Frank’s health? Madison arriving, shutting down the robot? Frank’s loneliness? The window of opportunity lessening?

10. The socialites, their wealth, the library? The details of their life, intercutting with the surveillance and the plan, and the execution? Hiding the jewels under the tomatoes in the garden?

11. Jake, his anger, suspicions of Frank? The sheriff and his visit, the talk? Madison and her being upset? The search, failing to find anything? Their spying on Frank?

12. Hunter, his concern, Frank seemingly dying, Hunter coming to visit him, Frank giving him the bag? The sheriff pouncing? Frank burning the plans? Carrying on?

13. Jennifer, her character, her work in the library, love of books, Mr Darcy, coming to dinner, leaving the pie at the door? At the party, realising that Frank had stolen Don Quixote? The effect? The revelation that she was Frank’s wife – and his not recognising her?

14. Frank, his relationship with Madison, her cooking, cleaning, turning the robot back on? Frank and his going into care, the many robots in the institution, gathering the family together, the meal together and his warning to Hunter about the jewels under the tomatoes?

15. The robot, his voice, personality? The sadness of Frank losing the robot – and so many similar robots in the aged care home?

16. Themes of ageing, the tone of whimsy, highlighting the issues of loss of memory, the need for care?

TWO LITTLE BOYS

New Zealand, 2012, 95 minutes, Colour.
Brett Mc Kenzie, Hamish Blake, Maaka Pohatu.
Directed by Robert Sarkies.

Yes, there is a reference to Rolf Harris’ song, Two Little Boys, but the film takes their story a long way from Rolf’s lyrics. It is New Zealand, 1993. And the setting is Invercargill, the South Island’s most southern city (seen in The World’s Fastest Indian with Anthony Hopkins). The scenery bonus is the rugged coastline, cliffs, crags, inlets, lighthouses as well as the beaches. And they are worked into the plot.


1. A New Zealand story? Of the 1990s? 21st century perspective? Humorous, serious?

2. The title, Rolf Harris’s song – similarities, but differences?

3. The Invercargill setting, the city, homes, the countryside, the roads, the coast and the cliffs, the inlets, gorges, the beaches, the lighthouse? Atmospheric?

4. The range of songs, the musical score, the songs and their lyrics and comment?

5. Nige, his voice-over, his confession, his estimation of himself, the events, his feelings, his relationship with Deano, with Gav, with Monica? His dilemmas, upset? The resolution?

6. Driving the laps around Invercargill in the early morning, the accidents, his trying to avoid the cat, killing the soccer player? His reactions, down the hole, getting Deano to help, the body in the boot? The arguments with Deano, not talking to him, the explanations?

7. Deano, Nige’s explanation about his background, from Australia, coming to New Zealand, his family, school friendship? The flashbacks, the kids, the mockery of Nige, his awkwardness? The jump and his refusal – and his later jump and regaining confidence? Deano and his being outgoing? Best friends? Sharing the hut together?

8. Deano, extroverted, his feelings, cheering Nige, the appeals, the tantrums, the body in the ditch, getting it out, going home, the boot, cutting up the body, putting it in the knapsack?

9. Nige, his bewilderment, Deano taking charge, throwing the body in the river, its not sinking, getting it out again, throwing it over the gorge?

10. The house, the memories, the comedy routines?

11. Gav, Maori background, big, Nige’s friend, Deano and his taunts? Gav and his being poetic, pleasant, travelling with them, on the beach, riding the dolphin?

12. Deano and his plan, his wanting to kill Gav? The new perspective on him? Being more sympathetic while talking about his death?

13. Nige and his being upset, their going to the old schoolhouse, the memories of his being afraid to jump, his jumping, being confident, Mr Abercrombie and the group, accosting Nige and Deano, their insulting him because they were no longer students? Nige and his change and confidence?

14. Nige, the relationship with Monica, on and off, her not wanting to commit, the child?

15. Going to the lighthouse, Gav and his being poetic about the beauty, Deano and his response, pushing Gav over – and the irony of his landing safely? Nige and his arrival? Both of them over the cliff?

16. On the rocks on the island? The helicopters, the rescue? Deano and his cheerfulness, taking all the blame, going to jail? Nige’s comments that Deano was much the better for going to jail? Gav, his book of poems, the book launch and his being celebrated? Nige, the reunion with Monica and their son? The happy ending – the blend of the serious and the comic, New Zealand style, South Island style?

THE ZODIAC

US, 2005, 92 minutes, Colour.
Justin Chambers, Robin Tunney, Rory Culkin, William Mapother, Philip Baker Hall.
Directed by Alexander Bulkley.

The Zodiac is a film about the San Francisco Bay killer, the Zodiac, who had a ten-year period of killings, and was never arrested.

There was a 1971 small-budget film called The Zodiac Killer. David Fincher in 2006 directed a much more complex exploration of the murders, the possible motivations, the detective work, the reporting for the media in Zodiac with Robert Downey Jr.

This film is one of those alleged true events recreated films. In fact, much of the plot and the characters are fictional. However, it is a film that gives a general impression of what happened, in the late 1960s to the 1970s, a series of killings by an anonymous character who shot couples in car parks, picnic grounds – and then moved on to a wider range of killings. He sent messages to the police, voice messages, code messages.

In this film the Zodiac killer is heard but seen only in shadows. The focus is on the detective who was put in charge of the investigation – who becomes obsessed by it and by his failures, eventually stepping outside the limits of the law and being dismissed. He is played, not so effectively, by Justin Chambers. Robin Tunney is good as his wife, becoming more desperate about his obsession. His son, obsessed by his father’s work, turning up to murder sites, is played by a very young Rory Culkin. William Mapother is the exploitative TV journalist. Philip Baker Hall the officer in charge of the investigations.

Not a particularly good film, but an introduction to the events. David Fincher’s Zodiac is a far superior film.

1. The actual events of the Zodiac killer, the San Francisco Bay area? 1968 into the 1970s? Crimes never solved? No arrests? Speculations?

2. The period, the late 60s, early 70s? The Bay area, the city, homes? The locations for the killings? The musical score?

3. The title, the messages – and the killer designating himself with this title?

4. The presentation of the killings, the couple in the car, the lights? Other killings, some of the survivors and their descriptions? The wider range of killings, including the taxi driver?

5. The attempt at some psychology of the Zodiac killer? His random choices? His contact with the police? His messages? The variety of his killings? A narcissistic killer?

6. The role of the police, Frank Perkins and his being in charge, putting Matt Parish in direct charge of the investigation? The work of the police? The messages, interrogations? The survivors and hospital? Further questions? Perkins and his being frustrated?

7. Matt Parish, his age, lack of experience? In charge? His fellow officers, his team? His work, the discussions, the drinks afterwards? Getting nowhere?

8. Parish, his wife, his son? The family bonds? Laura becoming more and more frustrated? His absences? His drinking? Not communicating? His obsessions, wanting the door unlocked? Her care for her son?

9. Johnny, cycling to the murder scene, with his school friend? His relationship with his mother, with his father? Going to the police precinct? The Zodiac messages?

10. Matt, the ultimate failure? The suspect, going outside the regulations, taking his team, bursting in on the Hispanic family? Perkins suspending him?

11. Unsatisfactory insofar as the murderer and his motivations is never clear, the police work led nowhere? The case still open?