JACK IRISH: BLACK TIDE

Australia, 2012, 90 minutes, Colour.
Guy Pearce, Marta Dusseldorp, Aaron Pedersen, Roy Billing, Damien Richardson, Shane Jacobson, Terry Norris, John Flaus.
Directed by Jeffrey Walker.

The Australian Broadcasting Corporation made two telemovies with Guy Pearce as Peter Temple’s character, Jack Irish. With the success of the two, a third was filmed in 2013.

Peter Temple is a prominent award-winning Australian novelist, specialising in crime – but also highly critical of Victorian police and politics.

Guy Pearce is effective as Jack Irish, a lawyer down on his luck, a debt collector, after the murder of his wife. He becomes involved in a case when a friend of his father’s contacts him to find his son. This leads to a complex story involving a special squad of drug police, murders and corruption within the force and in politics.

The films make Melbourne itself a character, focusing on the wide range of locations in the city, the city centre, the older poorer suburbs, the more affluent suburbs.

The film has a strong supporting cast, Marta Dusseldorp who appeared in the Black Jack films with Colin Friels, Aaron Pedersen.

Jack Irish serves as a kind of private eye in this exploration of crime, not being an expert member of the police force, muddling through at times, but effectively exposing scandals in the public interest.

1. The novels of Peter temple? The Jack Irish series? The adaptations for television? Keeping the flavour of the novels, the atmosphere? Melbourne, the police, underbelly, crime, the world of racing, the world of media and television, the law?


2. Guy Pearce as Jack Irish? The strong cast, the series?

3. The views of Melbourne, authentic, homes, mansions, the racetracks, Phillip island? Tasmania? The musical score?

4. Guy Pearce as Jack, his age, his dead wife, the relationship with Linda, the clash, her going to Sydney, his being upset? His harsh and judgments on Linda, yet his relationship with Lyall? His friendship with Cam and Harry, the races, the fixing, the world of criminals, the flamboyant man at the track and the widow of the dead jockey? The funeral? Scams, the widow? The approach by Connors, his past friendship with Jack’s father? the job, its complexities and dangers, his contacting his research assistant, the humour with her, especially about her online dating? Going to the pub, chatting with his friend and confidant? Stanley and the chorus of old men at the bar, the talk, memories of Fitzroy, resenting its going to Brisbane, the photos on the wall, the threat and sale? Dave, the contact, his collaboration? The journalist, his disappearance, the contact, the liaison, Lyall stalking him, the photos? Gathering information, Dave, the pursuit, the crash and the shooting? Going to Tasmania? Dave, Conner’s wife, the shooting? Getting the money back for his father? The corruptt police? The deaths? Restoring the money to Conners? Going back to Lyall, the discovery of thechip? Giving the information to Linda, the TV expose of the politicians? The pub, no sale? The issue of Black Tide, Hansard and its not being named, the closing down of the project? The interview in Bangkok, the dead body in the cistern, the discovery of the truth, Jack talking to the dead man’s wife in the art gallery? The final comments from Connors, the $100 cash fee, the memorabilia, Jack going to the cemetery, at his father’s grave?

5. The introduction, the agent interviewing Conners in Bangkok? Confession, letting him go, going through customs, the flight back? Black Tide, his arrival, the murder and the disposal of his body?

6. The issue and corruption at the races, Cam and Harry, at the track, the losses, confronting the jockey and his paying for the cup of tea? Cam’s help for
Jack in Tasmania?

7. Linda, in Sydney, the television program, the liaison with Pringle, the posters driven through Melbourne? Her confession, being ashamed? Ousted? Jack giving her the scoop and her gratitude?

8. Lyall, the relationship with the journalist, the article and the information, her taking the photos, the end and the discovery of the material?

9. Black Tide, the agent in Bangkok, Dave and his partner, the plausibility, the crash and the shooting, the search in Tasmania, the betrayal?

10. The research assistant, fast talking, information and articles, the dating information, the jokes, her dress?

11. The pub, the chorus, the humour of their comments, Stanley at the bar?

12. Connors, his friendship with Jack’s father, his own son, the cash and his will? Going to the pub, talking with the men? The end, his gratitude, the payment?

13. Barry and his eating and urinating?

14. Dave and his partner, characters, double dealing?

15. The widow at the gallery and her not knowing what her husband was doing?

16. The old man, his furniture, his being bashed, hospital? Going back to his work?

17. The strength of the film in its plot, mystery, characterisations, sharp dialogue?

TROUBLE WITH THE CURVE

US, 2012, 111 minutes, Colour.
Clint Eastwood, Amy Adams, John Goodman, Chelcie Ross, Ed Lauter, George Wyner, Bob Gunton, Jack Gilpin, Matthew Lillard, Robert Patrick, Justin Timberlake.
Directed by Robert Lorenz.

No, not a film about safe driving. Rather, a film about baseball and the question posed by Moneyball in 2011, whether talent scouting using computer data is more accurate than relying on the human eye and the instinct for observing the capacities and gifts of players. Moneyball favoured the computer. Trouble favours experience and the veteran human being. And, with Clint Eastwood playing the talent scout and allowing the screenplay to mock his lack of IT experience, there is no prize for guessing which method is in favour here.

Many of us had wished that Gran Torino would be the final screen performance for Eastwood, the redemption of the crusty curmudgeon, Dirty Harry seeing the light. But no, here he is again doing his curmudgeon with a vengeance – and, of course, being vindicated with his scouting ability against the bureaucrats and the presumptuous desk scouts.

Eastwood plays Gus (81 at the time of filming) whose contract is up for consideration, who persists in using the old ways, whose eyesight is failing and who can growl and growl with the best of them. His good friend (John Goodman) worries about him and asks Gus’s lawyer daughter (about to become a partner in her firm) to visit her father to see what she can do. She is played by the ever-versatile Amy Adams. Father and daughter are more or less estranged. He grieved after his wife’s death, tended to ignore his daughter and sent her away to be educated.

As might be guessed, this is a story about father-daughter understandings and reconciliation as well as about baseball. There is also a complication when a former player, Justin Timberlake, falls for the daughter.

Non-baseball fans will be able to live through the sports scenes because they are watching Gus as a character, relating (or not) to his daughter and defying the on-line experts. There is also a most obnoxious player who presumes he will be selected and will live the hedonistic life of a sports celebrity. We obviously enjoy his comeuppance at the pitch of the Latino son of the motel landlady when he has trouble with the curve ball.

As baseball films go, this is not in the ideal league of Field of Dreams. But, it is a chance to see Clint Eastwood in his 80s doing his thing once again, a screen icon if ever there was one.

1. The popularity of baseball films? Films about family? Father-daughter relationships? The old and the need to change? The value of the old? The presumptions of the younger and new?

2. The Georgia and Carolina settings, the baseball world, countryside, motels? Atlanta and law firms? Different worlds? The musical score?

3. The strong cast, the old and the young? The Clint Eastwood type of film?

4. Audience knowledge of baseball, Americans, international responses, the names and dates, the records, state of play, style of play?

5. Clint Eastwood, his age and appearance, crusty, the curmudgeon, experience, his job, skills, his treatment of his wife, treatment of his daughter, acting badly, continuing to do this? At home, his eyes, the mess of his house, his anger, kicking the furniture, the need for glasses? Refusal to have his eyes tested? The contract, the nature of the job, the time of the contract lapsing, retirement?

6. The Money Ball approach to baseball? Vince and his committee, Pete and his warning Gus? Phillip and his presumptions? Change, discussions, talent, scouts, the importance of business, getting in the crowds? The range of characters in the group?

7. Phillip and his Money Ball approach, smug, his taunts, reliance on the computer rather than experience, his own scout, the messages coming in, his plan, his PR talk with Vince, his standing by his candidate? The final comeuppance?

8. Pete, his friendship with Gus, going back a long time, warm, coming to warn him, seeing the reality of Gus’s eye difficulties, going to meet Mickey, persuading her to come to be with her father, the issue of contracts?

9. Mickey, her work, in the law firm, the interviews and the response of the men, the promises for promotion, partnership? Her rival and his lesser abilities? Her own skills? Her response to Pete, going to see her father, the continued sparring, her caring for him despite herself, her puzzle about him? The arguments, his eyes, the discussions about law, his wanting his daughter to be a lawyer? Going back into the past, her own knowledge of baseball?

10. Jack, his character, his being scouted by Gus, his injury, his commentaries? Recognising Gus? The discussions? The attraction to Mickey? His career, the interest, the romance, the dancing? His taking up the offers for a better world and career, his choices?

11. The baseball prodigy, with his teammates, smug, his plans, his boasts, sexual prowess, his skills and achievement? The star, play, his audition, ambitions?

12. The world of the baseball scouts, the explanations of bidding, Gus and his advice, criteria?

13. The star, his being chosen, his going to practice, still smug? The Hispanic boys, the motel, the indication of their skills? The star and his racist comments? Gus, his noticing the skills and the weaknesses? Capitalising on them? The setup, Mickey and her throwing the ball? The star and his being exposed?

14. Gus and his skills, his criteria, his eye, intuition? Versus the computer?

15. The Hispanic player, the test, with Mickey, the star and his dismay, Phillip and his associate, the consequences of his recommendations?

16. John, his relationship with Mickey, going off on his own, returning, the happy ending?

17. Mickey, going back to the law firm, their employing her rival? Her leaving? Her baseball skills? Working with her father? The happy ending – and that even the gruff Clint Eastwood type can mellow?

CALLING PHILO VANCE

US, 1940, 62 minutes, Black and white.
James Stephenson, Margot Stevenson, Henry O’ Neill, Edward Brophy, Sheila Bromley, Ralph Forbes, Donald Douglas, Martin Koslek, Jimmy Conlin.
Directed by William Clemens.

Calling Philo Vance is based on a novel by S.S. Van Dine. It was filmed in 1933 as The Kennel Murder Case with William Powell as Philo Vance. A great number of actors have actually portrayed Philo Vance in the eighteen film versions of the novels. They include Powell, Basil Rathbone, Warren William, Paul Lukas, Wilfrid Hyde-White?, Alan Curtis.

The film echoes the atmosphere of Europe in 1939 when it was filmed, anticipations of war, espionage, selling secrets to foreign powers.

The film has a brief opening introducing Philo Vance, his work in Vienna as he steals some aircraft plans but is caught. He is extradited to the United States where he goes back to the government department, led by Henry O’Neill?, assisted by Edward Brophy in a comedy role, getting all things wrong as he rushes to rash judgments.

The rest of the film is an almost in time investigation of murders, especially of the aircraft designer and his brother. Various interviews are held, clues given, mysteries solved, explanations given. To that extent, it is an interesting if conventional murder mystery.

James Stephenson was a British stage actor who had some character roles in films at Warner Bros in the late 1930s, early 40s. Director William Clemens filmed Nancy Drew stories as well as Falcon stories.

1. Entertainment value of this kind of 1940s B-budget supporting feature? Murder mystery?

2. Warner Bros production values, atmosphere of Vienna, shipboard, the United States? Government headquarters? The mansions where the murders took place? The musical score?

3. The character of Philo Vance: meeting with the man from the American embassy in Vienna, his disguise and cover, stealing the aircraft plans, a man without a country if discovered, the little boy giving him away at the wharf? His being extradited? The newspaper articles – in the original languages, German and Italian, the translations? His return, working for Markham, the tangles with Ryan and his presumptive judgments? The issue of the designer and his selling secrets? Going to the mansion, the discovery of the body, the locked room – and the explanation? The death of the brother? The poker, the dog hairs, the broken model airplane, the dogs? The dagger? The interviews, the discussions of the case, the solution?

4. Markham, the American government, employing Vance, ready to disown him if he were arrested? Ryan, the assistant, the comedy lines? The coroner and his missing his meals, being called in to examine the bodies?

5. Hilda Lake, her dislike of her uncle, the clashes, her love for McDonald?, the attentions of Wrede? Her involvement in the events?

6. Doris, next door, the contact with the Italian air ace? The dog? Her truth, lies? The Italian, meeting him in the restaurant, the interrogation, his clashes with the designer? His being innocent? The revelation with the phone call about the ship bookings?

7. Wrede, assistant to the designer, in love with Hilda? His alibis, seeming innocence, the clash with McDonald?, the truth, the murderer?

8. McDonald?, from England, living next door? The attraction to Hilda? His being a suspect, the final fight, the revelation of the truth?

9. Gamble, the butler, the German spy?

10. Popular ingredients for a 1940s murder mystery in the context of the outbreak of war?

ALEX CROSS

US, 2012, 101 minutes, Colour.
Tyler Perry, Matthew Fox, Edward Burns, Cicely Tyson, John C. Mc Ginley, Rachel Nichols, Giancarlo Esposito.
Directed by Rob Cohen.

I’m afraid that this will probably be quite a disappointment for fans of James Patterson’s Alex Cross novels, even though he and his Entertainment Company have producer’s credits. For those unfamiliar with the books and the characters, this film will be a routine police movie.

The plot is a prequel to the stories of Dr Alex Cross, forensic psychologist, working for the CBI. Here he is in Detroit as a detective, working with schoolfriend, Tome Kan (Edward Burns). Cross is happily married with two children and they live with his mother, Mama Nana. She is played by the fine actress, Cicely Tyson, but does not resemble the character in the novels very much. She is rather skinny and irascible rather than a nice, if demanding, mammy type of the books.
We are introduced to the villain, a skinhead, gaunt ex-army assassin, Mathew Fox (rather nasty as are so many of the villains Alex Cross has to confront). The plot takes the global financial crash as the basis for the killing of several international financiers, led by Jean Reno.

Cross does his detective work, smart in his conclusions, incurring the enmity of the ambitious but rather dumb police chief, John C. McGinley?.

After a very personal section which moves Cross to a spirit of vengeance, the main action is in the attempt to kill the victims, the subsequent chase, and the following through to who hired him. Rather formulaic, as they say.

There is probably more appeal for an American audience, especially the African American audience with writer-director-actor, Tyler Perry in the central role. He has made a number of very popular films which have had no theatrical release in Australia. He is also taking the place of Morgan Freeman who was Alex Cross in Kiss the Girls and Along Came a Spider. Kiss the Girls was one of the best adaptations of a novel, keeping the basic plot, preserving the mystery and with Freeman creating a memorable character with strength and dignity.

This time the director is Rob Cohen in his action thriller vein, like The Fast and the Furious. Which all means that the film is rather average.


1. The impact for fans of James Patterson’s novels? For those not familiar with the books?

2. A prequel story to the other stories? The introduction to Alex Cross, his work, work with the police, detective, his family, wife and children, Nana Mama? The villain? The FBI prospects?

3. Detroit in 2011, police work, the business world, the hired assassin? The city, homes, mansions, the police precincts, the fight world, the trains, the old theatre? The church? The musical score?

4. The prologue, Alex Cross at work, with Tommy Kane? The chase, the work of the partners, with Monica? The shootout?

5. The situation, Alex and Tom, Tom’s relationship with Monica, against the regulations? The police chief, his attitudes, eye on the elections? His lack of foresight?

6. The introduction to the assassin, his thin appearance, the message to kill, going to the fight club, the brutality, the audience, the bets, the KO? The girl, going home, the discussion about sex and war, the injection, his torturing her, the killing, stealing of the computer?

7. Alex and Maria, their life at home, his detective work, her announcing of the pregnancy, his telling Tommy? The call in the night? His giving Tommy a lecture about his relationship? The mansion, the dead bodies, the discussions about the single killer? The forensic evidence, the injection, the torture, the flashbacks? The charcoal drawing and the clue?

8. Going to the business office, the security guards, the German businessman? His arrogance? The squad, going up to his office, the villain entering by the water tower, the entry into the building, the wall coming down on the office, the chase, the villain’s escape, Tommy and his wounding him? The reactions? going to see Mercier? Discussions, his smooth style, his vanity?

9. Security and Mercier, the restaurant, the attack, Maria shot, her death, the family grief? Cross’s anger? The funeral, the assassin watching, phoning?

10. The spirit of vengeance, Tom and his warnings, Nana Mama and her discussion about revenge? The children, his motives? Comforting his children?

11. The photo, the information about the numberplate, the GPS tracking the car?

12. The police, the venue for the reception, the lockdown, the police chief, sweeping the area, the missile and the attack? Mercier absent, the clue of his ring from Cambodia?

13. The assassin going to the train, the men taunting him on the station, setting up the kill, shooting the men, firing the rocket?

14. The profile of the assassin, narcissistic, ex-army?

15. The chase, the crash, the old theatre, the fight and the pursuit on the roof, the falling to his death? The rescue of Cross?

16. The issue of the computer, information about Mercier, his going to Bali/Cambodia? The phone call, the information, the planted drugs, his assistant and her addiction, his being arrested?

17. Alex Cross, the plan to go to Washington, his return home?

18. The film as a slick police action film rather than an adaptation of James Patterson novels?

THE DO-DECA PENTATHLON

US, 2012, 76 minutes, Colour.
Steve Zissis, Mark Kelly.
Directed by Jay Duplass and Mark Duplass.

You don’t often get that kind of title for a movie. But, that is what it is about, except that the competition is between two brothers, who invented it when they were young and who have been haunted by its outcome every since – and they are now in their forties. As you can guess, it is mainly about sibling rivalry rather than any sports prowess, though we do see some table tennis and other activities.

Film buffs will recognize the names of the Duplass Brothers. Their films in the past have been small, independent pieces, focusing on eccentric characters and with lots of dialogue. Same here. This kind of film does not have immediate commercial appeal but is designed for those who want something different in their stories, with a touch of the amusing and the odd.

It should be said that Mark Duplass has been featured in quite a number of films recently, gaining more recognition as an actor (Your Sister’s Sister, Safety Not Guaranteed, People Like Us).

The film runs only an hour and a quarter and centres on Mark (Steve Zissis), a bit fat and foodbound at this age, but who can be provoked instantly concerning his losing the old pentathlon. He lives with his caring wife, his son who is a bit critical of dad, and his kind, peace-fostering mother.

Then Jeremy (Mark Kelly), the winning brother who puts a lot into his sports (and his card-playing) decides to visit the family, taunting his brother who becomes even more heated and competitive. Mother wrings her hands. Wife threatens to leave him. Son hero-worships his uncle. What are they to do? Re-live their pentathlon.

This is a brief character study of the five central characters but dramatizes very well the brothers, their tensions, their vanity, their being bent on winning – and their ultimate sibling bonds.

Since the film is written and directed by the Duplass brothers, there is always the temptation to be wondering how much they draw on their own younger days.

1. The work of the Duplass brothers? Their reputation? Small films? Independent? Eccentric characters? Situations? Interactions? A film about brothers – perhaps drawing on their own younger experience?

2. The setting of the film, the ordinary American town, home? The home of Mark? With his wife and son? With his mother? The ordinariness of the house? The contrast with Jeremy, his being on the road, with his poker-playing friends? The authentic feel? The musical score, songs?

3. The title? The explanation? The two boys and their past, setting up the twenty-five events, rivalry, being equal? Mark being taken out of the swimming pool before time, the rules, his being defeated?

4. Mark, his age, his size? His relationship with Stephanie? Their love? With Hunter? At home with his mother? The work background, the family and their happiness together? The intrusion of Jeremy?

5. Jeremy, his age, appearance, playing cards, his friends? His aims in life? Idle?

6. Jeremy and his coming to the family? Their all participating in the marathon? His running, overtaking Mark, their running together, trying to win? Stephanie and her being in the marathon, Hunter and his interest in his uncle?

7. The character of the mother, her bringing up her children, love for them both, upset about their rivalry? Cooking, trying to change the subject? Supporting her sons?

8. Stephanie, the years of being married to Mark, the discussions about his weight and size? Her loving him, working together with him? Hunter, his age, his attitude towards his father, critical? His own life, school, friends?

9. Jeremy in the house, his setting up the rivalry, Mark falling for being taunted? Their discussions, their memories of the past? Their beginning to do the pentathlon sports, the table tennis and other sports?

10. Mark, getting up in the night, encountering Jeremy, the decision to do the pentathlon again? His getting into bed, Stephanie’s puzzle? His lying to her about doing the pentathlon?

11. His final declarations, his enthusiasm when he was exercising, doing the competition? His need to do something in the future? Stephanie, her being lied to, her reaction, threatening to leave?

12. Mark, being with Hunter, the danger of alienating Hunter’s affections from his father?

13. Jeremy, his deciding to leave – the competition, equals, the reconciliation with his brother, love for his brother?

14. A pleasant ending, facing the realities of sibling rivalry – but acknowledging that they can be resolved?

THE ODD LIFE OF TIMOTHY GREEN

US, 2012, 104 minutes, Colour.
Jennifer Garner, Joel Edgerton, Dianne Wiest, Ron Livingston, Rosemarie De Witt, James Rebhorn.
Directed by Peter Hedges.

‘Odd’ is an odd word for the title of this film. Yes, Timothy Green is odd, that is, he is not your usual young boy. But, he is sweetness and light rather than odd. This is a nice piece of Americana, magic realism and sentiment with a sad/happy ending.

Jennifer Garner and Joel Edgerton (fitting easily into the American scene) are a couple who have tried every means available for having a child but without success. We see them at the opening of the film being interviewed by officials of an Adoption Agency. In fact, the whole film is their telling their rather (very) unbelievable tale, punctuated by the flashbacks of their life and what they call their ‘miracle’, the arrival of Timothy Green during a mysterious storm in their drought-stricken town of Stanleyville.

Timothy (C.J. Adams) is a delightful young lad, what Americans would call ‘cute’. And he fits into the family life beautifully bringing enormous joy to the couple who are plunged into instant parenthood. He is nice to everyone, even to the boys who bully him at school. The magic does not immediately help him at soccer practice, tripping over himself, but he gets there. And he improvises, as do his parents, when his aunt (Rosemarie de Witt) has one of her musical afternoons to showcase her own children. He charms an elderly uncle and aunt. He even mellows his grandfather who had not been at all affirming to his own son.

There are some social questions in the background, the economy of the town and its museum, but especially the factory which is about to close down. It makes (and we are shown the detail): pencils.

This review has avoided giving away anything much about Timothy’s previous life and his particular gifts. Just a hint: leaves.

Quite a lot of character actors, including Diane Weist and David Morse, build a strong supporting cast.

It is a nice film, about generally nice people. But, for those who use ‘twee’ as a derogative word, it will be far too sweet.


1. A piece of Americana, sweet, sentiment, hope and success?

2. The old town of Stanleyville, the drought situation, homes, the factory, soccer, the offices? The storms and deluge? The musical score?

3. The title, the focus on Timothy, the expectations?

4. The opening with Cindy and Jim, at the adoption agency, their discussions with the officials? The talk, the pleading? The hearing – and the officials and their responses? The flashbacks intercut with the interviews? Their story, the clock ticking, pleading to finish their story?

5. Telling their story as a plea for adoption? Their trials, failures, the costs for all the attempts to become pregnant? Its taking its toll?

6. Jim and Cindy, a nice couple, at home, their longing for a child, the medical failures, the words of the doctors? Cindy and her work at the museum, the clash with the proprietor? Jim and his work at the factory, the making of pencils? Hard times? The detailed focus on the production line, the artistic flair for presenting the pencils?

7. The effect of the failure to become pregnant, Jim and his not being able to take it? Desperation – the rain in the night, the noise in the house, Timothy suddenly appearing, dirty, the leaves on his legs? The ferocious storm? Calling the police, the drought persisting, accusations of using the sprinkler, letting off the couple? Cindy and Jim and their amazement at Timothy?

8. Washing Timothy, clothing him? His age, character, American cute? The leaves on his legs? The magic realism? The symbolism, the spirit of growth and fruitfulness? As a child, yet ideal, able to cope with the problems?

9. Timothy Green, his name, his immediate ability to communicate with Cindy and Jim? Calling them Mum and Dad? Pleasant, the clothes, agreeable going to school, the bullies, the principal, his telling Jim who had done it? Their confronting the factory owner, his children? The invitation to the birthday party? His being willing to go? The meeting with Joni, his diving into the pool, her rescuing him, her own red leaf? Their project? His place in the wider family, the grandfather, uncles and aunts, cousins? The football and his awkwardness, being the water boy, his grandfather’s disdain, Jim and his coaching him at home, to kick the ball? His playing, the spirit of enterprise, yet the failure of the final goal? Cindy and her boasting about his music to Brenda, his tapping the drums, Cindy and Jim and their dancing and singing? The falling leaves from his legs?

10. The wider family, Jim’s father, memories of his childhood, hard and non supportive? His presence at the games, his disgust with Tim? Yet his getting a leaf from Tim? Bob, his wife, the older generation, his inventing jelly and peanut butter sandwiches, being in hospital, Timothy making him laugh? Giving him a leaf?

11. Brenda, the kids, the comparisons with Cindy, her talk, practical, thinking that Cindy was artistic and had time for art? At the football, urging the children on? Her musical night, playing the piano, her getting a leaf?

12. Joni, nice, working together with Tim, Cindy and Jim and their suspicions? Cindy seeing the bower, the reconciliation with Joni? Joni getting a special leaf?

13. Reg, the doctor, admiring the leaves, giving testimony at the factory meeting, his leaf?

14. The boss at the factory, his wanting to fire people, asking Jim to do it? Jim and his moodiness having to do this? The invention of the leaf pencil? The meeting, the factory workers upset, thinking they were going to be sacked? The boss and his false claim of inventing the leaf pencil? Timothy and the truth, his parents’ vigorously supporting him, the doctor’s support? The boss and his father’s speech, his being asked the truth, his faltering? The museum owner, tough, her outburst, asking the boss the questions and his failure? Timothy giving the answer? The portrait that Timothy had painted of her, a leaf?

15. Ecology themes, the forest, the leaves, the invention for pencils? Saving the environment, saving the factory and jobs?

16. The overall effect on Cindy and Jim, Timothy as a miracle child, part explanations, covering his legs, the continued encouragement? Yet their final fight and his response?

17. Timothy and its being time to go, the leaves falling, the storm, his final speech of encouragement, his disappearance?

18. The officials, their approving the adoption, bringing the baby, Jim and Cindy receiving Lily?

19. The preparation for having a child, the realities of parenting, the emphasis on accepting people who are different, acknowledging their gifts – and ultimate happiness?

AS GOOD AS IT GETS

US, 1997, 138 minutes, Colour.
Jack Nicholson, Helen Hunt, Greg Kinnear, Cuba Gooding, Skeet Ulrich, Shirley Knight
Directed by James L. Brooks

Melvin Udall, a reclusive writer, is ridden with compulsive obsessive phobias. He exhibits bigotry towards all minorities. He continually mocks his gay neighbour, Simon, and loathes his dog. At his local diner he is dependent on his favourite waitress, Carol, to serve him and show some interest in him.

When Simon is assaulted by robbers, Melvin is forced to take his dog for walks and starts to grow attached to the dog. Carol's son suffers from a breathing illness and Melvin arranges to have a good doctor care for him. His motive is that Carol can easily return to work to look after him. He is wary of any show of gratitude from her.

He gradually befriends the embittered Simon and agrees to drive him to see his parents, asking Carol to accompany them. Simon rediscovers his painting abilities and does a portrait of Carol who is upset by Melvin's continuing obtuseness. Melvin listens to Simon and follows his advice: he goes to Carol to express his love for her.

This movie is a wry comedy from the writer-director of Terms of Endearment and Broadcast News. It has the same qualities and appeal. James L. Brooks shows sympathy for a wide range of characters, especially those who are annoying and cantankerous. Yet they gradually reveal their more humane side.

Jack Nicholson is Melvin, a rude, prejudiced, obsessive writer. Nicholson relishes the opportunity to be manic. He develops a character who can't be ignored, who is searching for support and redemption despite himself. It is an Oscar-winning performance. Helen Hunt, star of television's Mad About You, also won an Oscar and subsequently starred in several hits, Cast Away, What Women Want, Pay it Forward. Greg Kinnear plays the gay artist with humour and pathos.

This trio are not cut-out characters. Brooks and his cast take us below surface eccentricities. There are some fine scenes where each character gets to make a speech about being a better person for having met the other. And you can believe that there could be life after the fadeout.

1. The title and tone? As spoken by Melvin? Expectations for quality of life? For the others?

2. The many awards, the strong cast, the use of songs, especially Always Look on the Bright Side of Life, the musical score, worlds of New York City, apartments, streets, diners? The highway, Baltimore, the restaurant?

3. Melvin story, his age? Jack Nicholson’s performance, Oscar-winning? Melvin and his compulsions and obsessions? His success as an author? His failure in relationships? Living alone, relying on his routines, the locks on the door, his concerns, the opening with the dog, his distaste, putting it down the rubbish chute? His interactions with Simon, his insults to him, Frank confronting him, and drawing the line? Going to the diner, his cutlery, edginess about the Jews sitting in his place, use of terms like nigger, fag? Various epithets and his prejudice? His friendship with Carol, clashes with her boss, her comments and his reaction, his listening to her conversations? Simon and his being bashed, Frank and the dog, the bonding, Melvin taking the dog for a walk, the bacon allegedly attracting the dog to him? Carol and his being rude to her, the substitute and his insulting her, finding her address, ticking off Spencer and Carol’s reaction? His publisher, her husband being a doctor, coming to test Spencer, Melvin paying the bills, Carol and her reaction, her going to his house, saying she would not sleep with him, the rain? His attitude to Simon, taking in the soup, sitting down, telling the story? Simon persuading him to go on the trip, the loan of the car, asking Carol to go with him? The trip, the music, the stop, the insults, going to the restaurant, his long shower, his not dancing, commenting on Carol’s dress and her being hurt? His sense of failure, talking to the man at the bar? His return? Carol not wanting to see him again? Simon and talking to him, persuading him to visit, meeting Carol, going for the walk, the bakery, declaring their love for each other?

4. Carol’s story, her age, single mother, her love for Spencer, his continued illness, her dependence on her mother, her mother living in, going to the hospitals, absent from work? Meeting Melvin, taking his orders, the cutlery, speaking directly at him, his visit to her home, her being upset about his ticking off Spencer? The doctor, the relief, the paying of the bills? Her exasperation with her mother, her mother inviting her to go for a walk, their bonding? The wet night, going to Melvin’s house, saying she would not sleep with him? Her writing the letter, bringing it to the diner, reading it to him? Agreeing to go to Baltimore, the music and the car, dressing for the dance, waiting for him, walking out on him after his comment about the dress? The night with Simon, the bath, posing, his sketching her? The feeling of love and tenderness? Saying she would never see Melvin again, his arrival, the discussion, being persuaded to go out, the bakery, declarations of love?

5. Simon, gay, his lifestyle, camp manner, relationship with Frank, his art, looking for the model, sketching him, the robbery and his being mugged, in hospital, his friend and the financial difficulties, his story about his alienation from his parents? His needs, Frank and his arrangements, walking the dog, the dog going to Melvin rather than Simon? Melvin and his bringing the soup? The decision to go to Baltimore, the phone call to his mother, enjoying the stay, Carol and sketching her, the cuddle and hug and her need, Carol bring Simon alive again?

6. Frank, the a dealer, gay, his relationships, love for Simon, confrontation with Melvin about the dog, going to the diner and asking Melvin to take the trip to Baltimore?

7. Carol’s mother, her love, helping, talking with her, the intervention with Melvin?

8. The sketch of the model, his posing, his expectations, his friends, the robbery and the mugging?

9. Ordinary people in ordinary situations, loneliness, isolation, vulnerability, the capacity for being hurt, helping each other, building relationships, genuine love and friendship?

6000 ENEMIES

US, 1939, 62 minutes, Black and white.
Walter Pidgeon, Rita Johnson, Paul Kelly, Nat Pendleton, Grant Mitchell, John Arledge, Guinn Williams, J.M. Kerrigan.
Directed by George B. Seitz.

6000 Enemies looks like a Warner Bros film, and is related in theme to Each Dawn I Die with James Cagney. It is a law film, a prison film, a gangster film.

Walter Pidgeon, emerging as a top actor at this stage, portrays a hard-as-nails DA, ambitious, who sends many people to Sing Sing, including Rita Johnson who is innocent. However, he is then framed by a New York gangster and himself is sent to Sing Sing. He wants to be with the prisoners, however there is a riot sequence in which he is attacked. The gangster sends thugs to kill him in prison, including Nat Pendleton who is sympathetic after the DA puts up a good fight. Paul Kelly appears as the sympathetic prison doctor. Grant Mitchell is the dim-witted prison warden, more interested in his meals and the decor of his room than in the welfare of the prisoners.

The film also shows the assassination of the DA's younger brother outside Sing Sing. Eventually, becoming more friendly with Rita Johnson who saves his life, he is able to get information which acquits him – and acquits her, for a happy ending.

Direction is by George B. Seitz who had made four Andy Hardy films at this stage and was to make the others before his untimely death in 1944. This is an MGM film, but looks like a Warner Bros film – and is a tough, improbable, but enjoyable supporting feature.

THE HOUR OF 13

UK, 1952, 80 minutes, Black and white.
Peter Lawford, Dawn Addams, Roland Culver, Derek Bond, Leslie Dwyer, Michael Hordern, Colin Gordon, Michael Goodliffe.
Directed by Harold French.

The Hour of 13 is a piece of Victorian melodrama. It is set in London in 1890.

Peter Lawford portrays a jewel thief (in the David Niven, Raffles vein). He is a man about town, with charm. However, he has various contacts including Leslie Dwyer as the driver of a hansom cab. He intends to rob a diamond – and does so, successfully, causing an upset at a society dinner. However, there is a serial killer in London, the Terror, murdering policemen. The Terror murders a policeman just outside the society dinner – and a connection is made between the killings and the stealing of the diamond.

Lawford decides to help the police, give them ideas of how to capture the killer. He also gives an alibi to a soldier who has been accused of the murders through circumstantial evidence. His fiancée, played by Dawn Addams, is the daughter of the head of Scotland Yard and Lawford ingratiates himself into her good graces, getting her to help him with his alleged detective work.

The film has a very strong supporting cast of British character actors including Roland Culver as the main police chief, Derek Bond as the soldier, Leslie Dwyer as the hansom cab driver, Michael Hordern as the head of Scotland Yard, Colin Gordon as a jewel appraiser, Michael Goodliffe as the assistant to the investigator.

The film is a game of wits, a 19th century style of detection story – with an ironic ending. It is based on a novel by Philip MacDonald?, prolific screenwriter and novelist, and it was filmed previously in 1934 as The Mystery of Mr X, with Robert Montgomery and Lewis Stone. This film is directed by British director, Harold French, who made Rob Roy at this time but also made the three portmanteau films of Somerset Maugham stories, Quartet, Trio, Encore.

1. An entertaining film of the 1950s? British-made? MGM values? Supporting feature?

2. The atmosphere of London, 1890, the fogs, the docks, the murder of the police? The range of locations? The contrast with Nick and his home? With Scotland Yard, society functions? The mix of London of the period? The musical score?

3. The Terror, the murder of the police – and the later revelation of his map, the capital letter T, the thirteen murders – and his revelation that he was killing a policeman for every year that he was in jail?

4. Nick, the gentleman thief? MacStreet? and his appraisals and information about jewels? Parker and the hansom cab? The fears about the robbery? Nick and his supreme self-confidence? His plan, the flowers, getting into the party, causing the upset with the table and cutlery, his stealing the jewel? Almost being caught, the murder outside, his hanging the jewel frame on the tree? The police and their conclusions? His wanting the insurance, waiting till the killer was apprehended then coming forward? Parker and his collaboration, his nervousness?

5. Frensham, head of Scotland Yard, the warnings by the Terror? Connor and his carrying out the Scotland Yard duties? Frensham and his daughter, Jane and her vivacity, the engagement to Chris?

6. Chris, the engagement, the military, the drinking, the dare to find a policeman’s helmet, his finding one, ironically of a murdered policeman, his dropping his handkerchief, Jane identifying it, the arrest? The court case? Nick and his deciding to be a witness, Parker and his evidence, their performances in court? Connor and his suspicions?

7. Jane, her relationship with Chris? The planned marriage? Nick and his attentions, going out to dinner, the friendship, the discussions about ways to catch the Terror? Her outings with Nick, the introduction to her father, his proposal about the articles in the media, Connor and his scepticism?

8. Nick, under Connor’s suspicions, putting a watch on him? Urging him to come to Scotland Yard, Nick and his shrewdness about the doctored drink? Connor and his continued surveillance?

9. Nick, Jane coming to visit him, Chris coming to visit – and Nick and his avowal to break the relationship with Jane? Her saying goodbye?

10. The plan to capture the Terror? Parker and the places where the murders were committed? The capital T? Nick, getting the costume, letting the police guard off, his encounter with the Terror, the sword, the fight, the roof, the Terror’s fall, his confession to Connor?

11. MacStreet?, his being arrested, interrogated? Confirming Connor’s suspicions? His coming to Nick – and the photo taken? Their riding in the carriage – and Nick going free?

12. A mixture of Victorian melodrama, police investigation, serial killers, wit, drama and comedy of manners?

JACK IRISH: BAD DEBTS

Australia, 2012, 90 minutes, Colour.
Guy Pearce, Marta Dusseldorp, Aaron Pedersen, Roy Billing, Damien Richardson, Shane Jacobson, Colin Friels, Steve Bisley, Emma Booth, Michael Carman, Terry Norris, John Flaus, Anthony Hayes, Heather Mitchell, Colin Hay, Nicholas Bell, Judi Farr, Marshall Napier.
Directed by Jeffrey Walker.

The Australian Broadcasting Corporation made two telemovies with Guy Pearce as Peter Temple’s character, Jack Irish.

Peter Temple is a prominent award-winning Australian novelist, specialising in crime – but also highly critical of Victorian police and politics.

Guy Pearce is effective as Jack Irish, a lawyer down on his luck, a debt collector, after the murder of his wife. He becomes involved in a case when a former client phones him and is later found murdered. This leads to a trail of corruption in the police and politics, a cover-up of a murder of an environmental campaigner.

The film makes Melbourne itself a character, focusing on the wide range of locations in the city, the city centre, the older poorer suburbs, the more affluent suburbs.

The film has a strong supporting cast, Marta Dusseldorp who appeared in the Black Jack films with Colin Friels, Aaron Pedersen. Many of the cast have cameos, especially Colin Friels, Steve Bisley, Anthony Hayes.

Jack Irish serves as a kind of private eye in this exploration of crime, not being an expert member of the police force, muddling through at times, but effectively exposing scandals in the public interest.

1. Peter Temple, his novels, the adaptation for the screen, characters, Melbourne, crime, police, politics?

2. The film as a telemovie, its companion film, Black Tide? Guy Pearce in the central role? The Australian casting? The writing, atmosphere?

3. The use of the city, the cityscapes, the sequences from the air? The older suburbs and their dinginess, the newer suburbs and their wealth, the countryside?

4. The perspective on crime, white collar crime, the consequences? The role of the police, government?

5. Jack, his practice of the law, his enemies, his love for his wife, the home and their renovations, the man accusing him, killing his wife? The consequences? His grief? His decision to leave the law, the debt collecting? Mc Killop’s death, his change? Seeing him in action, reactions?

6. The message from Mc Killop to meet him, his being away, listening on the phone, the murder, his concern, the visit to his wife, the discussions with the brother-in-law, the involvement?

7. Harry and Cam, the subplot about racing, the horses, Harry and his debts, Jack helping them out, their friends? The horse, going to the country to see it, the buying of the horse, the scheme, the betting, the racing sequences? Cam, his help with Jack and with Linda, putting them in his house, the threats, his being bashed, the final rescue?

8. Lucy and the performance of Marta Dusseldorp, her job, research, articles? Her interest in the case? With Jack, strong stances, the visits, the investigation, the sexual relationship, the different attitudes between them? The dangers, clashing with Jack, misjudging him, the rescue? The work journalists?

9. The company, the deals, the environmental interests, the hit-and-run killing, the arrest, the court case, Mc Killop going to jail, Jack Irish failing him, his getting out after ten years?

10. The visit to the minister, his role, his house, his hints, his being drowned?

11. The role of the police, the different personalities, security?

12. The social concerns, the speeches, the development, the centre, the priest?

13. The artist, his mother, the homosexuality, going to Perth, his return, meeting the priest, his being killed, the bodies in the country house, Jack finding them?

14. The current minister, his summons, his staff, the heavy, Tony, the threats?

15. Tony, his brutality, the dark glasses, his presence, the killings, the confrontation with Cam, the brutality?

16. Jack, Mrs Vane, her husband’s involvement, his conscience, the proof of the truth? The revelation? The arrests of the police, the minister?

17. A satisfying character study, investigation, expose of crime?