HANNIBAL (ANNIBALE)

Italy, 1959, 103 minutes, Colour.
Victor Mature, Gabriele Ferzetti, Rita Gam, Milly Vitale, Rik Battaglia, Mario Girotti.
Directed by Carlo Ludovico Bragaglia and Edgar G. Ulmer.

Hannibal is one of the many sword and sandals films made in Italy at the end of the 1950s, the beginning of the 1960s. Many of them were supervised by American directors (Robert Aldrich for Sodom and Gomorrah, Jacques Tourneur for The Giant of Marathon).

The film is worth seeing only for historical reasons. Victor Mature was much better in his Hollywood sword and sandals films, especially The Robe and Demetrius and the Gladiators. The Italian cast is better, Gabriele Ferzetti as Fabius Maximus, the strategist against Hannibal. Mario Girotti, later known as Terence Hill, portrays his son.

The film has some spectacle, especially as Hannibal crosses the Alps with his elephants, despite all the hazards of the heights and the seasons. However, there is an interpolated romance, with Rita Gam, which is quite conventional, with trysts, betrayals, imprisonments. Rik Battaglia, hero of many Italian films, is Hannibal’s brother, Hasdrubal.

There are many battle sequences – not quite as accurate as history, especially the battle of Cannae, a much more confined battle than is displayed here.

The film is a visualising of some of Roman history – but rather comic book style. It also ends before the rise of Scipio Africanus who ultimately defeated Hannibal. American director Edgar G. Ulmer (Detour and other small-budget thrillers) has commented that the producers restricted his view of how the film should be made, ultimately letting it be a mere matinee spectacle.

SAVAGES

US, 2012, 131 minutes, Colour.
Taylor Kitsch, Aaron Johnson, Blake Lively, John Travolta, Salma Hayek, Benicio Del Toro, Demian Bichir, Emile Hirsch, Shea Whigham.
Directed by Oliver Stone.

Well, the film lives up to its title. This is a film which is often savage, sometimes brutish. It is the work of Oliver Stone, attempting to portray the ugliness and inherent violence and greed in the Mexican drug cartels as well as in the American growers and dealers – with the Mexicans moving in on the border states, and with the connivance of some DEA officers.

Stone knows how to make films and has two directing Oscars to demonstrate it (Platoon and Born of the Fourth of July). Come to think of it, this reviewer prefers his Vietnam trilogy and his forays into American presidential politics (and conspiracies) of JFK, Nixon and the two Bush presidents. Savages has a lot in common with his Natural Born Killers (1994) and the picture of violence and the exploitation by the media.

The cast all do their contribution well, interesting to see Salma Hayak as the drug (usually lord because usually a man, but what is the title for a woman) boss. Benicio del Toro is her enforcer, unscrupulously brutal and double-dealing, a character without a redeeming feature.

But, the focus is on young Americans. While they have their own brutality and see the tactics of the Mexicans as ‘savage’, the screenplay makes the point they too are caught up in this world, a consequence of their choices to grow, sell and deal (and use) and that they do savage things (and they do). But, they are ambiguous central characters. They might be set up as the victims of the brutal cartels, but by the end, despite some regrets, they escape into sunsets, tropical isles and glorification.

Taylor Kitsch is the Afghanistan veteran, short (very short) fuse who is used to violence and deaths. And he has military buddies who come to the party against the Mexicans. Redeeming features? Not particularly. Aaron Johnson, his buddy from school days and wiz at economics and business, has set up the marijuana project (the best in the US, he claims). He devotes some of his profits to charity and developments in Africa. Obviously redeemable – and it is he who is forced to set fire to a cartel officer who has been set-up as scapegoat. Blake Lively is the attractive girl, to both of the men, a ménage a trois. For a lot of the film, which she narrates, she is an abduction victim to pressurize the two men to deal with the cartel. Then there is John Travolta (not looking particularly healthy) as the corrupt Drug Enforcement official.

The presence of Benicio del Toro will remind many audiences that he was in Traffic (and won an Oscar for his performance). Traffic is the more impressive and impactful film on US-Mexican drug issues. Savages is harder to take.

1. The work of Oliver Stone, his perspectives on society, politics, the 21st century, the drug world and its brutality, savage worlds?

2. Oliver Stone and the savagery of the characters, the themes, the visuals, the torture and deaths?

3. The glorifying of savagery? The more glamorised presentation of the central characters? In contrast with the brutality of the cartels?

4. The setting of Laguna Beach, the coast and the surf, homes, the DEA offices, the contrast with Mexico, the drug world, wealth, poverty? The desert landscapes for action, military, ambushes? The musical score?

5. O and the initial images, her voice-over, her story, saying she could be dead, black and white? The introduction to the characters, her explanations of Chon and Ben, the relationship with her, between themselves, their building up a drug business, the drug wars, Chon and Afghanistan and Iraq? Ben and his charity work?

6. Chon and his story, a hard man, prone to violence, ability to kill? Growing up with Ben, their friendship? His relationship with O, the harsh sexuality, therapy? The ménage? The bond between the men? Ben and his story, the seeds smuggled from Afghanistan, his business acumen, his customers, the manufacturing of the marijuana? Sharing? The cartels, El Azul? Elena? The muscling in of the cartels, the threats?

7. The contrast between Chon and Ben, the hard man, the softer man, their interactions with O? Treatment of the workers? The scenes on the beach, friendship? Their own drug-taking?

8. The computers, the visuals of the decapitations, the executions, the threats from the cartel? The setting up of the meeting, Chon and Ben and their defiance?

9. El Azul, his cartel? Elena, her crew? The computer threats, Elena disguising her voice? That she was female?

10. Chad, the scene at his home, the intrusion, Lado, the confrontation, the brutality, the torture, getting the information, getting the boy to kill Chad’s wife, his being sick afterwards? His later being shot by Lado for being too sensitive?

11. O and her shopping, her being abducted, being seen on the computer screen, the effect, her being drugged? Treatment, Lado and his brutality, feeding her the meat, her wanting healthier food? The later visuals of his brutality and rape?

12. Dennis, John Travolta’s style, the corrupt officer, his lavish house, his sick wife, his daughters, his protecting Ben and Chon? Information? His helping them with the information about the three million dollars, the computers and changing Alex’s accounts, his deals with Lado, double-deals, covering himself and his reputation, his deals, the final confrontation, the arrests, his reputation and his media conference?

13. The setting up of the robbery, the military operation, the timing, its success? Ben defying Lado and lying to him? Lado believing him?

14. The financial deals, the reliance on Spin? His clever treatment, changing accounts? Dennis and his participation? The three million dollars – the men’s willingness to get this for getting O back?

15. Alex, his being taken, the brutality of his torture, his desperate confession, Ben being made to light the fire, O watching on the computer? The effect on Ben?

16. Lado, his being in league with Azul, with Dennis? His own family? His being completely amoral?

17. Elena, the relationship with her daughter, the daughter’s neglect of her mother? The daughter being abducted? Elena and her desperation to get her daughter back? Bowing to pressure?

18. The first ending, the audience being cheated? The what if... shootout? The confrontations, the shootings, the deaths?

19. The real ending? Milder? The arrests, Chon and Ben reunited with O? Their going to the islands?

20. The cynical attitude, crime paying? Yet in a savage world who can avoid becoming savage themselves?

A MONSTER IN PARIS

France/Belgium, 2011, 90 minutes, Colour.
Voices of, English version: Adam Goldberg, Jay Harrington, Danny Huston, Bob Balaban, Sean Lennon, Vanessa Paradis, Catherine O’ Hara.
Directed by Bibo Bergeron.

French animation films that have been released for a wider audience are very different from the familiar material from Hollywood studios (which have been developing a variety of skills in their productions during the last ten years). The American product is generally aimed at a children’s audience or family audiences (and entertaining parients and grandparents who may be taking the children). This is not the case with the French films. Examples are Les Triplettes de Belleville and A Cat in Paris. It is the same with A Monster in Paris. However, a number of bloggers have said that it appealed to the children they took to see it.

It is really an adult story, a period story which highlights familiar landmarks of Paris while showing us the ordinary streets, homes, cabarets, laboratories. The style of drawing is idiosyncratic, evoking the art of the beginning of the 20th century. It was filmed in 3D.

The plot would be more at home in a comic strip, broad sweep of characters and situations, plus a great deal of fantasy. For some adults, it may be too fey and twee.

The monster is not really a monster. Rather, a scientist has been working in his laboratory and two friends dling deliveries explore and discover a flea that has been transformed into something larger than life. They disguise it as a tall man, a singer, who teams with a girlfriend-singer in a cabaret, Lucille, and the couple are a great success. In the meantime, a policeman, ambitious in his career, goes on a quest to arrest a mysterious killer who is identified as a monster. Needless to say, there is a happy ending and comeuppance for the policeman.

One of the best elements is the professor’s assistant, a monkey who does not speak but holds up cards with his humorous dialogue.
The musical side of the film (with some attractive songs) has more than a passing resemblance to The Phantom of the Opera and echoes of Beauty and the Beast. Vanessa Paradis sings as Lucille and the singing voice of the flea is Sean Lennon.

A mixture of the familiar and the offbeat.


1. The audience for this kind of animated film? French style? Adults? Children?

2. The visuals, the design of the drawings, characters, Paris? The situations? The period? Costumes and decor? The musical score? The songs – and Vanessa Paradis? Sean Lennon? The dances?

3. The situation in Paris, the early 20th century? The buildings, the restaurants, the cars? The familiar landmarks, the Eiffel Tower, Montmartre?

4. Raoul, Emile, their friends, their work, the chatter? The deliveries?

5. The eccentric scientist? His work? The investigations? The monkey – and the humour with his intelligence, his not being able to speak, his writing notes? Their wit?

6. The potions, the mixtures? The explosion? The specimens, the flea? The transformation of the flea?

7. The flea as a humanoid? In Paris? The people and their responses? The monster? Inspector Maynott and his reputation, the election, his plan to kill the creature?

8. Lucille, at the nightclub, her songs? Her fears? The monster and its singing with her? Her realisation of the flea, bringing him into the club, giving him a name, Francoeur? Honest Heart? The disguise? The clothes? The mask? The duet on-stage? The choreography?

9. Maynott, his character, searching for the creature?

10. Raoul, his friendship with Lucille? Emile and their investigations, at the cabaret? The decision to fake the death? The plan going awry?

11. Maynott, the chase of the monster through Paris? The rooftops? Montmartre? The Eiffel Tower? His seemingly killing the flea?

12. Maynott, his being arrested, condemned?

13. Francoeur, returning to his original size?

14. The romantic ending, Raoul and Lucille and love?

15. The comic touches? The thriller touches? The mask and the Phantom of the Opera? The Murders in the Rue Morgue and the atmosphere of Paris? The mad scientist and the potion? The Beauty and the Beast? The innocent flea – and being mistaken for a monster?

16. The final credits? The elaboration of concept art? Cartooning? Character design? Animation?
 

ARBITRAGE

US, 2012, 107 minutes, Colour.
Richard Gere, Susan Sarandon, Tim Roth, Brit Marling, Laetitia Casta, Nate Parker, Stuart Margolin.
Directed by Nicholas Jarecki.

We might not be able to win an economics quiz accurately describing what arbitrage is, but it is a term which deals with competing bids and margins of profit (more or less). It is clearly a theme in this financial drama and thriller – it also serves as a metaphor for the behaviour of the central character, corporation high flyer, Robert Martin, concerning his life and risks as patriarch of his family (his word) and the interests and risks of his financial empire.

For most audiences, this will prove to be a fascinating drama of a man who has made major wrong decisions and is trapped when the circumstances he has created begin to unravel. He has told initial lies and they have disastrous consequences as they lead to other lies and other lies.

This is a Richard Gere film and he dominates it as he has for more than 35 years. He is Robert Miller, 60, one of those (until recently) seemingly unassailable lords of finance. The audience is quickly led into his dilemmas concerning selling his company, a false audit, his borrowing over four hundred million dollars from a colleague who wants it back while the potential buyer of his company avoids meeting him and delays the deal.

That in itself would make for an interesting film. However, while he appears as the devoted family man, has his family around him for his 60th birthday, including his loving wife (Susan Sarandon in a better role than she has had in recent years) and his daughter (a strong Britt Marling) who is also his business partner but does not know of her father’s troubles, he soon goes out to visit his mistress (Laetitia Castel), an artist whose show he is backing.

More disaster with a car crash. His leaving the scene of the crash and asking for help from the son of an old employee, lead from one deception to another, then another.

The combination of these two plots makes for intriguing watching. It is complicated for our emotional and moral response because of Richard Gere’s making Robert Miller quite seductively charming, even as he manipulates people, avoids detection and undermines his family unity. He presumes that he can do what he likes for as long as possible (despite some moments of thinking that he ought to surrender). Since his philosophy is that there are five things which matter in this world: M.O.N.E.Y., he presumes that it will solve all problems.

There are effective performances from Tim Roth as the detective who is determined to nab the billionaire and who abhors his type, from Nate Parker as the young man and driver who does not want to snitch but finds that he is trapped by the police, and from Stuart Margolin as Miller’s wily lawyer.

The film blends questions of morality, plausible arguments about how the truth might harm many others, and cynicism about how the captains of industry can walk unscathed through life

1. The title, the meaning, finances? The metaphor for Robert Miller’s life, his financial world, his family and marital world?

2. The background of American finance, the global downturn? Finance dramas and thrillers? Audiences identifying with Robert Miller or not – given Richard Gere’s screen presence and charm?

3. An affluent world, the business and the skyscrapers, the interiors of the offices? Limousines? Homes, lavish apartments? Art galleries? Restaurants? The contrast with Harlem and struggling families? The police precincts? Courts?

4. The strong cast, glamour, the production values? The musical score?

5. The portrait of Robert Miller, Richard Gere’s presence? Initial sympathy? Yet audiences being wary, in the plane, examining the documents, his assistants, his arrogance, yet his kindness, his theme of M.O.N.E.Y., the five important values in life? His failure with the deal, going to see Jeffrey? The accounts, the transfer of the millions? Time for repayment? Under pressure? This being enough to trouble Robert Miller?

6. The discovery of his double standards, the servants at home, giving the gifts, the cake for his birthday, turning sixty, with his family, his children, grandchildren, the relationship with Ellen? His leaving, his lie about the office, his going to see Julie? The relationship with Julie, her cake? Her tantrums, the preparation for the show, her art?

7. Timing, the auditors, the assistant, Brooke and her work? The documents and her concern? Mayfield and his not turning up for the meal? His associates and their stalling? The texting? Robert and his walking out, going to the show, buying the artwork? Visiting Julie, her being upset, his return? The impulsive decision to drive, the consequences, his drowsing, the crash?

8. His behaviour at the scene of the crime, the gruesomeness of Julie’s death, his own injuries, pushing the door out and escaping? Phoning Jimmy? Drawing on Jimmy’s obligations to him? His shrewdness with Jimmy? The pickup, his disappearing from the crime scene? The arguments with Jimmy, keeping the whole episode a secret? Getting into bed, Ellen and her remarks, his covering himself?

9. Coping, his wound, burning the clothes, the cut on his head? The servant seeing him? Lying to his wife? Going to work, the news of Julie’s death and his handling it? His assistant and his sympathy?

10. The police, Detective Bryer, his type, rough style, motivations, his skill as a detective? His collaboration with the other police and detectives? His discovery of the phone records? About Julie and his interrogating Robert, putting the pressures? The issue of the photos of the car and the numberplate on the bridge? Going to court, the Grand Jury? The judge, his anger about the fabricated photo? The attorney and his deal with Bryer? His anger?

11. Julie, her character, talent or lack of it, Robert’s support, the apartment, investing in her? Her moody character? Her mother coming for the funeral, her mother’s grief? Robert consoling the mother? His double-standard words?

12. Ellen, the long marriage, her life, going to the gym, supporting charities, the function and the cheque, her discussions with Brooke, her revealing that she was aware of the truth? Her avoiding Bryer?

13. Robert and his discussions with his lawyer, in the limousine? The advice, the lawyer and his help in the past, helping Jimmy’s father? Helping Jimmy in the present, hiring the best criminal lawyer, African American? The plan to get Jimmy out? Jimmy having to go before the Grand Jury? Robert and his shrewdness about the fabricated photo?

14. Jimmy, his girlfriend, his ill father, Robert’s support? The phone call, his going, the awkwardness, the attempt to pay him off? Bryer and his interrogations, the car, going to the precinct, meeting Robert at the restaurant, the issue of the trust and the money? The Grand Jury, his asserting that the photos were lies – and his being vindicated? His being saved? The decision to take the money or not – and his questioning himself that he took it?

15. Brooke, as Robert’s daughter, in the family, her relationship with her mother? At work, a partner, examining the documents and the accounts, seeing the discrepancies, firing the assistant and his telling her the truth? Confronting her father, legal issues, moral issues? With her father in the park, his trying to persuade her to be loyal? Her leaving? The discussions with her mother and not wanting to be disloyal to her father?

16. Robert, the auditors and their being able to cover the discrepancies? His accosting Mayfield in the restaurant, his anger? Playing hardball? Pretending to walk out, bargaining, the buying of his company, the discussion afterwards about the limits – and both gaining? Mayfield and the later questioning about the discrepancies and his overlooking them? Socialising with the Millers at the hospital benefit? Robert and his success, selling the business? Getting the deals for Brooke and his son to have employment?

17. The theme of patriarchy, Robert seeing himself as head of the family, his inconsistencies? Ellen and the build-up to the confrontation, her ultimatum, his resistance, doing it for family and appearances? Robert and his double-talk with Bryer, their discussions, the apartment and the search, Bryer reconstructing what actually happened?

18. The detective, his dubious methods with the photo, with the attorney, with the judge, losing?

19. The ending, the social, the speeches, the awards? The touch of the cynical, success and cover-up, morality – and avoiding hurting others, despite lack of integrity? Survival, reputation? Brooke’s description of her father – yet her look of disdain for him?

20. With the sudden ending at the benefit, what was the audience left with? Questions? Answers? Challenges?

WUTHERING HEIGHTS

UK, 2011, 129 minutes, Colour.
James Howson, Solomon Glave, Shannon Beer, Kaya Scodelario, Lee Shaw, Nichola Burley.
Directed by Andrea Arnold.

Wuthering Heights is Emily Bronte’s 19th century literary classic. There have been a number of versions, especially the romantic doom and gloom of William Wyler’s 1939 version with Laurence Olivier and Merle Oberon. In a cinematic sense, Olivier with his theatrical delivery became the visual equivalent of the Bronte prose and Merle Oberon’s classic beauty was that of Catherine Earnshaw. The Internet Movie Database lists 15 version since 1920. Luis Bunuel made a version in Spanish (Abismos de Passion). Keith Michel and Claire Bloom in 1962 and Ian Mc Shane was Heathcliff on television in 1967. Anna Calder Marshall teamed with Timothy Dalton (also a smouldering theatrical presence) in 1970. In the 1990s, Ralph Fiennes was Heathcliff to Juliet Binoche’s Catherine. Tom Hardy, who has proven himself a strong and versatile actor, was Heathcliff in a British television in 2009 with Charlotte Riley.

Audiences expecting a continuation of that kind of classic cinema should not venture into this much more experimental interpretation unless they want to see something quite different and to be challenged.

Andrea Arnold made her mark with awards for her contemporary domestic dramas, Red Road and Fish Tank. Now she takes her visual style back into the 19th century and the Yorkshire moors and dales.

A gathering in the dark. Dim hallway. A face. Sky vista. A half-framed picture of two riders. Quivering camera.

This is the technique that Andrea Arnold brings to this 129 minute version of Wuthering Heights. It is both intimate and sometimes off kilter. It is dark. It is grubby. It is episodic. Characters are sometimes glimpsed, then contemplated in close-up. The first part of the film, centred on the dingy Earnshaw farm, has little relief. The second part of the film with much more attention given to the Linton mansion is much more sunny (at times), even with blue skies, the interiors, with some red walls, far more colourful than we had become accustomed to.

The director and her director of photography are attempting an interpretation of the novel via the visual style rather than literary style, although the screenplay offers much of Emily Bronte’s words. It is a disruptive style, at times upsetting, at times puzzling with its idiosyncratic handheld camera work that avoids finesse or neatness. And there are several jolts as characters use expletives that Emily Bronte may not have even known.

This is the context for unsettling characters. Hindley Earnshaw is a brute. His foreman, Joseph, has moments of cruelty. The rest of the family are there, often in the dark, not particularly delineated. Except for Cathy, in her teens, a wild, impetuous young woman. Into this household comes a black slave, bought in charity in Liverpool, to be brought into this Yorkshire life and to become a Christian, Heathcliff. Already this is a jolt for purists, but one of the most interesting features of the film. At first, Cathy spits at him. But, soon, they are kindred spirits, escaping to the top of the heights, riding over the moors. Heathcliff becomes the centre of the film. His plight holds the interest and the emotions.

When Cathy goes to the Linton home and finds herself at home in this different environment, Heathcliff leaves. He disappears for some years.

When he returns, there is different casting for both Heathcliff and Cathy. The continuity between Solomon Glave as the young Heathcliff (offbeat and memorable) and James Howson as the older and more sophisticated Heathcliff is well sustained. This means that Heathcliff’s made passion and revenge and his cruel marriage to Isabella more credible. However, the younger Cathy (Shannon Bear) is what can be called a buxom country lass, full of verve, even of song, impetuous, contradictory, at home at the Earnshaw farm rather than at the Linton’s. However, the older Cathy (Kaya Scodelario) is glamorous and svelte (despite her attempts at a rough accent). Many audiences will find it hard to accept this transformation. Which undermines the drama and Cathy’s responses to Heathcliff.

Edgar Linton is what was once called ‘a wet and a weed). Isabella is hard done by. Nelly Dean must have been there earlier but emerges more significantly when Heathcliff returns. It is Lee Shaw as Hindley who is the most consistent character.

Doubtless there will be more versions of Wuthering Heights. This is the more puzzling and challenging one.

1. The impact of this version of Wuthering Heights? The traditional films? The novel? Romantic, stark, dingy?

2. Emily Bronte and her writing skills, the characters of Wuthering Heights, its atmosphere? Status and language? Descriptions? Emotions and passion? The range of film and television versions? Her experience in her age?

3. Andrea Arnold, the starkness of her film, the experience of Heathcliff, family?

4. The use of half the original story? Highlighting characters and themes? Compact? Moods? Narrative and emotion?

5. The visuals, the ratio for the framing, traditional? The poetic style, naturalistic, realistic, surreal, stylised? The handheld camera? Movement? The framing of characters and action – and not framing them? The detail? The dinginess of the first part and the transition to full colour?

6. Colour, darkness? The musical score, the songs, the 19th century songs and mood?

7. The opening, Heathcliff, the focus, the writing on the wall, banging his head, his grief, mood?

8. The return to the story of the Earnshaws? The farmhouse, the farm, dark, dirty, dingy? Mr Earnshaw and his return from Liverpool, bringing the young Lasker? Emily Bronte describing Heathcliff as swarthy? Gypsy? The African background, the mystery? The Christianising of Heathcliff? The Earnshaws, their beliefs, the baptism, Heathcliff fleeing from the church? The Earnshaws accepting Heathcliff? The death of Mr Earnshaw? The reaction against him? Hindley and his harsh treatment, Heathcliff as a slave, working hard, the racial antipathy? Joseph, foreman, the beating of Heathcliff? Heathcliff as a loner, the conditions in which he lived, survival?

9. Cathy and her place in the family, her age, ordinary? Her spitting on Heathcliff? Despising him, changing? Riding with him, sharing with him, going to the heights? Falling in love, unconsummated? The effect on each of them and their presents to each other?

10. The family, the younger children, Hindley, his character, harsh, animosity?

11. The visit to the Lintons, the contrast with their home? Cathy going to the house, changing? Heathcliff and the comparison with Edgar? Disdain? Isabella and her fascination? The impact of the house and the interiors?

12. Catherine and her being wilful, Heathcliff and his experience, leaving?

13. The passing of time, the young Earnshaw growing up, Heathcliff’s return? The continuity of the actors taking Heathcliff’s role? His success, the confrontation with Hindley, renting the room, paying – and ultimately getting the documents to own the place?

14. His visit to the house, the brightness of the colour, the red walls, gentility? His place in this context?

15. Cathy – and the difficulty in continuity between the two actresses playing her? Her abandoning Heathcliff? Marrying Edgar? Wilful, Edgar as a weak man, a gentleman? Isabella and her fascination? The role of Nellie Dean as housekeeper? The visits, the meals, Edgar going riding with Cathy, the passion, the sharing?

16. The effect on Heathcliff, his anger and rage?

17. Isabella, Heathcliff’s decision to marry her, the harsh treatment, her unhappiness, her pregnancy, hatred?

18. Hindley, his going into decline, Heathcliff’s power over him?

19. Edgar, his visit, his contempt for Heathcliff?

20. Cathy, the passing of time, pining, her death?

21. Heathcliff, his grief and anger – and the film ending? Not showing the next generation? The blend of passionate and romantic with the fatalistic?

THE WATCH

US, 2012.
Ben Stiller, Vince Vaughn, Jonah Hill, Richard Ayoade, Rosemarie de Witt, Billy Crudup.
Directed by Akiva Schaffer.

Trying to think of a reason why you might want to watch The Watch.

If you have to see all Ben Stiller’s films… though again he does his typical serious shtick in the middle of mayhem (think Greg Focker). If you have to see all Vince Vaughan’s comedies (and he does put a lot more energy into this one than is merited). Not, if you have to see all Jonah Hill’s comedies. He is rather more subdued than usual. And, you may not want to see Billy Crudup as a creepy neighbour with some leering innuendo. Rosemarie de Witt, who has done some good films, has a smaller role as Stiller’s wife. Will Forte is a dumb local cop. The director in recent years has been working at Saturday Night Live.

Is it funny? Think crass humour, jokes and farce with little wit. It is both raucous and strained. There is a lot of pratfall humour and mock violence. It looks as if it were made by committee, someone suggesting one line, someone suggesting a different plot development, others looking at box-office possibilities for coarse comedy - and it all went into the pot, not a melting pot as the whole thing does not brew (or gel, to mix metaphors).

Is it clever? It moves from one genre to another and doesn’t really bring them together very well. Set in a small Ohio town, it looks like a domestic comedy, set in a supermarket. When a character is gorily killed, Stiller (who has inaugurated many clubs in the town) organises a neighbourhood watch group, with only three volunteers. Stiller plays a control freak. Vaughn is an exuberant hedonist. Hill lives with his mother and wants to break away and branch out. Ayoade is British, eager but not all that he seems.

On the one hand, it is a comedy of male bonding and unbonding. When it is revealed that there are aliens in town and that they plan a take over of the world, the film descends into some stupid situations and behaviour, especially confronting the monsters – and suddenly organising a happy ending that overstrains credibility.

Given the cast, it is a disappointing show.

DANGEROUS LIAISONS

Korea/China, 2012, 107 minutes, Colour.
Zhang Ziyi, Dong-gun Jang, Cecilia Cheung, Lisa Lu.
Directed by Jin-ho Hur.

There have been several versions of Laclos’ novel of 18th century manners and manipulation. It was updated to the middle of the 20th entury for Roger Vadim’s 1960 version with Gerard Philippe and . The classic films version was Stephen Frears 1988 beautifully elegant but deadly portrait of corrupt society. Milos Forman released Valmont the following year with Colin Firth and Annette Bening. There was the American update for young adults in Cruel Intentions. A Korean interpretation was made in 2007, Untold Scandals. The present film is Chinese and has a 1930s Shanghai setting.

Audiences familiar with the basic plot will be pleased to recognise the principal characters, the womanizing playboy who makes the bet of seduction of the proper widow with the decadent society woman. There is the innocent young girl and her ambitious mother and the young man who is in love with her and is seduced by the manipulative madam.

The performances are persuasive although the drama builds up to a rather violent and melodramatic ending.

One of the benefits is the setting the film in the 1930s, an affluent Shanghai and glamorous society – on the verge of the Japanese invasion and the consequent suffering for China portrayed in so many historical films in recent years.

Audiences who have appreciated other versions of Dangerous Liaisons will not be disappointed with this one.

1. The original classic of literature? 18th century France? The various films and adaptations? The use of a different period?

2. Shanghai 1931, the recreation of the city, the vistas of the city and the harbour, the streets, the lights, homes, restaurants? The musical score?

3. Audience familiarity with the plot from other versions? Comparisons? Characters and casting?

4. The title, the focus on love, sexuality, fidelity, infidelity, seduction, games and bets?

5. The introduction to Fan: playboy, wealthy, dapper, an external gentleman, brazen womaniser, callow in his attitudes and morality? His grandmother’s arrival, with Fenyu? His reactions to her? The social and fundraiser, his being the host? His relationship with Miss Mo, the challenge, the wager, the theme of Beibei and the suggestion of seduction? His being unwilling, she being too young, too easy? His interest in Fenyu? Watching her making the textbooks, drawing the smoke on the train? His tactics, the incident with the light bulb and the change, the opera, the distribution of the leaflets, Fenyu saving the rebel student, Fan pretending that he was his chauffeur to take his grandmother home? The food incidents, talk, the seduction, Fenyu’s response, his falling in love with her, his being upset, anger, going to Miss Mo to claim his reward? The songs to Fenyu? His blunt rejection of her? Saying that he had won the wager? His discovering the artist with Miss Mo? In the street, his being shot, going to Fenyu’s door, the blood trail, the scene in the street and the snow, his love for Fenyu, his death? Redeemable?

6. Fenyu as the widow, the reputation of her husband and his charity, her reputation, chastity, charity, concerned about refugees in 1931? The Japanese in China at the time? Accompanying the grandmother? The social, her refusing to dance with Fan? The meeting with Miss Mo? The demonstrations, the political themes, at the opera, her saving the student? Her writing the textbooks? Her looking at herself in the mirror, the attention from Fan, her changing, love, passion? Making the food, going to Miss Mo’s house, the rejection? Her despair, thinking of suicide, not killing herself? Refusing Fan’s entry at the door, going out, the blood, the reconciliation in the snow, his death? Her love for him and its effect on her?

7. The year later, with the children, the refugees, the textbooks, the smoke circles on the train on the text – and her memories?

8. Miss Mo, controlling, divorced young, her wealth, her business interests, the takeover? Her use of English phrases? Fashion? Her maid? The wager, her antagonism towards Beibei and her wealthy marriage, to her rival? The opera, getting Beibei out, the key, her going to the artist? Preventing the mother going in? The alliance with the artist, her rejection of Fan, despising him? The end, the mirrors, her weeping and despair?

9. The mother and Beibei, personalities, the planned marriage, the artist, the posing? The opera, Beibei deceiving her mother, the mother’s love for the opera, the artists? Beibei and the issue of nude posing for his success? The discovery of the truth? The plans for an arranged marriage?

10. The artist, student, his painting Beibei, falling in love, his rejection of her plan for nude posing, the lies, his liaison with Miss Mo, seeing Fan – and then shooting him in the street?

11. A portrait of society, morals and lack of morals, decadence, the Chinese traditions, the adaptation to the West in Shanghai, the world of affluence? The possibility for people to change – and regrets?

DANIELLE STEEL’S PALOMINO

US, 1991, 95 minutes, Colour.
Lindsay Frost, Eva Marie Saint, Rod Taylor, Lee Horsley, Michael Greene.
Directed by Michael Miller.

Danielle Steel appears at the beginning of Palomino to introduce the film and say that she had always wanted to write a cowboy story. This is a contemporary, 1980s-90s cowboy story.

The film is also a romance, Lindsay Frost playing a photographer who is betrayed by her TV anchor husband. She goes to a ranch in California, owned by Eva Marie Saint, to do a photo shoot for Life magazine. There she meets the hostility of Tate Jordan, the head wrangler. However, he is embittered from his divorce, falls in love with the photographer. However, he suddenly leaves and she is heartbroken. She has the example of Eva Marie Saint who has been in love with her head ranch assistant (Rod Taylor) for twenty years.

So far so predictable for a Danielle Steel story. However, the last part of the film calls for a lot of tears. Not only does the romance break, Eva Marie Saint suffers the grief of Rod Taylor’s death. She herself dies. When the photographer inherits the ranch, she has been injured in a fall from a horse and has become paralised. She has encountered a nice little boy, and decides to set up the ranch to train children to ride and rehabilitate themselves. Needless to say, there is a happy reunion at the end. This is very much the style of the Danielle Steel romances and their film versions.

1. The popularity of Danielle Steel? Romances? Sadness? Tragedy and hope?

2. The New York settings? The photographers? Television? The contrast with the California ranch? The open range? The horses? The mansion? An affluent background for the story? The musical score?

3. The title, the reference to Samantha being like a palomino? The horses, riding, affection for the horses?

4. Sam, her marriage to Warren Taylor, his announcing that the marriage was over, his relationship with his co-presenter? Her being upset, the reaction? The divorce? Her reliance on Charlie, her agent? His suggestion of the photo shoot in California? Her contact with Caroline in the past? Going to Caroline’s ranch?

5. At the ranch, welcomed by Caroline, meeting Bill? The hostile encounter with the men, especially Tate? The men ignoring her? The photo shoot and its detail? Her ability to ride a horse? Her being daring – and Tate’s reaction?

6. Caroline and Bill, Caroline as the widow, the relationship with Bill? His refusal to marry Caroline because of his underling status and what people will think? Her disagreeing with him? His eventually getting sick, his death? His prior regrets that they hadn’t spent the time together that Caroline wanted? Caroline and her grief?

7. Tate, the party, dancing, his apologies to Sam, taking her to the hut? Their discussions, his back-story and divorce, his son? Her story? Gradually falling in love? The repeat situation of Caroline and Bill? His suddenly leaving?

8. Sam, her being upset, returning to New York? The news of Bill’s death, Caroline’s illness? Her going back, being supportive? Her riding the horse, the accident, hospital? Her being paralysed? Her meeting with Timmy, his family, attempting to walk, his giving up, her encouraging him? The drawings? Her giving him the phone number for future reference?

9. Inheriting the ranch, turning it into a home for children? The support of Josh, his helping her to ride, the straps for her legs? The children? Their success? Timmy, his being abandoned by his mother, the social worker, the phone number, his coming to the ranch? Sam adopting him?

10. Tate, his return, respects to Caroline? The encounter with Sam, his not realising she was paralysed? The discovery? Her hostility? The change of heart, love – and the triumphing at the end? Danielle Steel style?

CASE SENSITIVE: THE OTHER HALF LIVES

UK, 2012, 90 minutes, Colour.
Olivia Williams, Darren Boyd, Eva Birthistle, Theo James, Peter Wight, Emily Beecham.
Directed by John Strickland.

Case Sensitive: Point of Rescue and Case Sensitive: The Other Half Lives a to television movies adapted from novels by Sophie Hannah.

The films focus on the work of a rather tough yet vulnerable police detective in a British Town, Charlie Zailer. She is played with great strength, often rugged, often over-sensitive by Olivia Williams. Her associate, Simon, with whom she has a sexual relationship, while in public being severe and sometimes dismissive of him, is played by Darren Boyd. She is both emotional and demanding on those she interviews. He is blunt and seemingly insensitive. There are many scenes at police headquarters, with the chief often critical of Charlie, and one of the officers, Colin, continually mocking her. These characters appear in both films.

The Other Half Lives is much more straightforward in its presentation of its plot but it also has a twist. While life at the centre and the police interactions are immediately to the fore, with Charlie and Simon investigating, but she falling victim to suspicion and jealousy of the younger officer in the force.

A young woman, with the good teaching job, has left her husband and entered into a relationship with a pianist, with whom she is infatuated. He indicates that there is something dark in his past and she becomes suspicious, even to following him into London. Then her husband is murdered. Because she has lied about visiting her husband, she is arrested and is under suspicion. The musician has also clashed with the husband so he too is under suspicion. There is some ambiguity with the name Mary which ultimately leads to the solution of the plot and a happy ending with neither of the suspects guilty of the crime.

The films are interesting as murder mysteries, as police investigations, as well as the unusual relationship between the intense officer and her taciturn associate.


1. The police story, an interesting case, the police and their method of investigation, following leads, gathering information, interviews, police expertise, limits? Twists?

2. The town, the police precincts, homes, schools, atmosphere? The musical score?

3. Olivia Williams as Charlie, age, experience, personality, in command, Simon as her associate, her being his boss, her interviews, his hard style, the toll on her? Detective work, interviews, leads, frustrations, consulting experts, dangers, threats? Handling the situation? And the background relationship between Charlie and Simon?

4. Simon, in himself, serious, his work, his treatment by Charlie, the sexual relationship, unemotional, looking for evidence and facts, following leads, the discussions?

5. The staff, the boss, hard line attitudes, Colin and his cheekiness, the taunts?

6. The initial focus on Ruth and Aidan? Their love for each other? Her teaching in a school and her reputation? His musical background, the revelation about his studies and his ability, pulling out, and not going for his recital, disappearing for 10 years, his work as a piano tuner, his reputation? Ruth and her infatuation, in love?

7. Work of the police precinct, the boss and his severity, the examination of financial fraud? His making demands on Charlie? On Simon? Charlie and her relationship with Simon, severity, the night together? His seemingly unemotional behaviour? Criticisms of Charlie in her excluding him from interviews? Her petulant behaviour? Thinking Simon was flirting with the young officer? Her taking the girl to task? Making demands? Getting over her jealousy, praising the girl? The effect of the relationship on the investigation?

8. Her classes and the martial arts, meeting Ruth, hitting her by accident, their talking, having a coffee, Ruth and talking about her friend, really about Aidan and his hurting someone called Mary? Charlie remembering this, going to visit Ruth?

9. Charlie going to Jason’s house, finding the body, his being dead for some days, tracking his movements, going to the hotel, the CC TV footage? Later identifying Mary in the group?

10. Searching houses, giving evidence? The divorce document, her lies, her fingerprints? Arrest, her explanation about going to the house, the sexual behaviour with Jason, but leaving? Her suspicions of Aiden, his going to London, her following, seeing him with Mary, his wanting to get into the house, the time of her arrest?

11. Charlie and Simon going to the Guildhall, discussions with the music professor, the background to eight and?

12. Going to the hotel, the interview, the CCTV footage?

13. Discovering more about Aiden and his family, Mary as his stepsister, the mother drinking? Going to the house, discussing with the neighbours, the woman falling down the stairs, her being smothered?

14. Mary and her following, stalking Ruth, going to Jason’s house? Meeting with Ruth, Ruth and her realizing the truth, escaping, Mary stabbing her, in the boot of the car?

15. Charlie and Simoon working out what happened, Mary and her infatuation with her brother, protecting him, murdering their mother, Aiden taking the blame, disappearing, Mary finding him again, the truth Aiden dismayed and discovering what Mary had done, her attack on Ruth? His recital?

16. Charlie and Simon, hurrying to find Mary, the confrontation, her going in front of the car, using the phone to find Ruth in the back of the car, the rescue?

17. A satisfying ending for Charlie and Simon, the investigation, a future for Ruth and Aidan?

CASE SENSITIVE: THE POINT OF RESCUE

UK, 2011, 90 minutes, Colour.
Olivia Williams, Darren Boyd, Rupert Graves, Peter Wight, Amy Beth Hayes.
Directed by Charles Martin.

Case Sensitive: Point of Rescue and Case Sensitive: The Other Half Lives a to television movies adapted from novels by Sophie Hannah.

The films focus on the work of a rather tough yet vulnerable police detective in a British Town, Charlie Zailer. She is played with great strength, often rugged, often over-sensitive by Olivia Williams. Her associate, Simon, with whom she has a sexual relationship, while in public being severe and sometimes dismissive of him, is played by Darren Boyd. She is both emotional and demanding on those she interviews. He is blunt and seemingly insensitive. There are many scenes at police headquarters, with the chief often critical of Charlie, and one of the officers, Colin, continually mocking her. These characters appear in both films.

The Point of Rescue starts with a mysterious set of deaths, a seeming killing of a child and then a suicide in a bath with the husband coming home from a business trip and finding the bodies. He is immediately under suspicion and, in his grief, acts in a gruff manner, and gives grounds for suspicion. He is played well by Rupert Graves.

The plot, however, is quite complicated with the young woman confronting Graves in his house claiming to have a relationship. She also gives a false name which leads to the death of the woman whose name she had taken, one of her close friends. She is then abducted and held in an abandoned house. Audiences will probably be surprised at the identity of the killer but as the film moves to its conclusion, a case is made for the plausibility of his criminal behaviour.

The other half lives is much more straightforward in its presentation of its plot but it also has a twist. While the life at the centre and the police interactions are immune to the fore, with Charlie and Simon berse investigating, but she falling victim to suspicion and jealousy of the younger officer and the force.

A young woman, with the good teaching job, has left her husband and entered into a relationship with the pianist, with whom she is infatuated. He indicates that there is something dark in his past and she become suspicious, even to following him into London. Then her husband is murdered. The course she has lied about visiting her husband, she is arrested and is under suspicion. The musician has also clashed with a husband so he too is under suspicion. There is some ambiguity with the name merry which ultimately leads to the solution of the plot and a happy ending with neither of the suspects guilty of the crime.

The films are interesting as murder mysteries, as police investigations, as well as the unusual relationship between the intense officer and her taciturn associate.

1. The police story, an interesting case, the police and their method of investigation, following leads, gathering information, interviews, police expertise, limits? Twists?

2. The town, the police precincts, homes, schools, atmosphere? The musical score?

3. Olivia Williams as Charlie, age, experience, personality, in command, Simon as her associate, her being his boss, her interviews, his hard style, the toll on her? Detective work, interviews, leads, frustrations, consulting experts, dangers, threats? Handling the situation? And the background relationship between Charlie and Simon?

4. Simon, in himself, serious, his work, his treatment by Charlie, the sexual relationship, unemotional, looking for evidence and facts, following leads, the discussions?

5. The staff, the boss, hard line attitudes, Colin and his cheekiness, the taunts?

6. The situation: the bodies, the bath, the husband and his travel, the interviews, motivation, the friend and her child and the discovery of the bodies? The dead wife and her painting? Spanish, the story? Mark and his complaints about the police? The visit from Sally, his anger, her taking the photos, his going to the police, identifying his visitor?

7. The children, as friends, the whisperings, Amy and her mother’s death, children at six years old and what they knew and understood and didn’t understand?

8. Sally, her experience, the weekend with Mark? Confiding in Esther? The work of the hotel? Going to confront Mark, his being the wrong man, giving Esther’s name, taking the photos? Going to the zoo, trying to find out the truth, her fears? Going to the rehuge?

9. Esther, being pursued, killed, floating in the water, Sally blaming herself?

10. The diary, in Spanish, the translation?

11. Going to the expert, family cases, the study, his manner, the media?

12. Jonathan, his work with the expert? Going to the house, Sally present, the story, the threats, his skill in his work, the irony of his wife being the Spanish woman, the deaths in the bath, the child? His infatuation with Geraldine, the jealousies? Killing her and her daughter? Impersonating Mark, the affair with Sally? Abducting Sally, the confrontation with Charlie, his attacking her, backing down, his confession? Sally wanting to get back to her husband?

13. A satisfying ending for the case?