LOOPER

US, 2012, 118 minutes, Colour.
Joseph Gordon- Levitt, Bruce Willis, Emily Blunt, Paul Dano, Noah Segan, Piper Perabo, Jeff Daniels, Pierce Gagnon, Qing Xu, Garret Dillahunt.
Directed by Rian Johnson.

Almost at once, Joseph Gordon- Levitt’s character, Joe, explains what a Looper is and we see vividly how he works. It is 2044 in a futuristic Kansas where gangsters prevail and people live in fear. We also learn that time travel had not been invented but in the 2070s it had and been banned – one of the effects was that it was used as an underground (perhaps more ‘undertime’) by the new mafia to send victims back to 2044 where loopers await their arrival, shoot them and then burn their bodies while they keep the silver bars that accompanied those to be killed.

Joe has no qualms about his profession. He dresses in a dapper suit and tie style, has been secreting silver for himself, is a man about town. However, he is dependent on eye drops which enhance his perceptions. When his close friend, Seth (Paul Dano) confides that his future self has returned and he could not bring himself to kill him, Joe hides him but is summoned by his boss and patron, Abe (Jeff Daniels as a persuasive heavy) to betray Seth.

Then, Joe’s older self arrives in the form of Bruce Willis. To kill or not to kill. In the meantime we have been shown how Joes has survived the thirty years from 2044, gone to China, met his wife, is still addicted to his eye drops, but has been attacked so that the Rainmaker (the ruthless boss of the future) can close Joe’s loop by sending him back to his death.

We are also introduced to Sarah (Emily Blunt) who lives on a corn farm with her son, Cyd. Younger Joe takes refuge with her from Abe’s shooters. Since the older Joe has brought a mysterious number and a map back from the future, Joe is able to work out what his older self’s mission is – (shades of The Terminator movies) to kill the child who will grow into the Rainmaker.

This leads to some tense and some action sequences as older Joe confronts Abe and his henchman and then pursues Cyd – leading to the younger Joe having to make some moral decisions.

Joseph Gordon-Levitt? has become one of Hollywood’s most dependable character actors (Inception, 50/50, Dark Knight Rises). Emily Blunt is effective in a strong and different action role. We have seen Bruce Willis do this kind of this before, but he does it well.

The production design is imaginative for a dingy future. There are some moments of special effects, especially the rising of the characters and the corn to be suspended in the air at the end. Speaking of the end, it is very quiet, almost imperceptible after the drama and the action.

1. Science fiction? Futuristic films? Time travel? The combination?

2. The United States in 2044, the city, expanding, yet the squalor, the streets, the clubs? The countryside, the cornfields? The country homes? The musical score?

3. The future, violent, the nature of society, the role of gangsters? The move to the world of 2072?

4. The title, the explanation, the closing of the loops? The different selves of the Loopers? Present and future? In the future, the destruction of the Loopers? The sending of gangster victims to 2044, the Loopers killing them? The possibility of obliterating memories? Lives? Alternate futures?

5. The plausibility of the plot, time travel and its consequences? The two selves?

6. The special effects? Cid and the explosions? The slow motion? People and things suspended in the air?

7. Joe and his narration, his role as a Looper, his explanations, the killings, the visuals of the transfer of the victims to the present, his shooting them, destroying them? Keeping the silver? The explanation of his feelings? Abe, in charge, choosing him to be a Looper? The comment on his clothes, ties, being dapper? His apartment? His dependence on the eye drops, the continued use? Even into his middle age? The club, the girls, the relationship with Suzie, being a working girl? Seth, close friend, driving with him, watching the Loopers’ lives being closed, his comments that they had few brains? Kid Blue and his competitiveness with Joe? Seth, his story about meeting his older self, letting him go, his arrival at the apartment, his pleading, the shooters at the door, Joe and his choice, hiding Seth in the cellar with the silver? His being summoned to Abe, his being forced to sell out Seth? The issue of the silver? His choice to go to France – and Abe’s advice for China, the future? His character and choices?

8. Seth’s story, as a Looper, seeing his older self arrive, allowing him to live? The older self and his escape, at the barbwire fence, his melting limbs, trying to get to the address, his death and disappearance?

9. Joe’s story, the older Joe appearing, his escape, the issue of life and death, his mission about the Rainmaker?

10. Joe, his French, the woman at the diner? The older Joe coming to the diner to meet his younger self? Their talk, guns, confrontations, explanations? Their being pursued by the shooters?

11. Abe, his appearance, from the future, his control? Destroying the Loopers? Kid Blue, his inability to bring in Joe? His shooting his feet, the injury to his hands? His capturing the older Joe? Abe, control, the final confrontation, his death?

12. The older Joe, the map, the number and its meaning, the three children born in the hospital at the same time? His going to the house, tracking the child and killing it? His surprise at finding Suzie’s house, the baby, his being captured by Kid Blue, his escape? His determination to pursue Cid?

13. Joe, his hiding from his pursuers, in the cornfields, the encounter with Sara? Sara, her chopping the tree stump, alert, her love for Cid, living alone? Her fear of the beggar, mute and deaf? Joe intervening? The explanations, Sara and her giving birth to Cid, her life in the city, her sister looking after the baby? His not saying she was his mother? Joe and playing with Cid, the tension, Sara and the mathematics, the hatred, Cid and his screams? Apologies? Joe, the relationship with Sara, the frog alert? Jesse and his visit, the questions? Joe and his bond with Cid, their talk?

14. Jesse and the house, the interrogation of Sara? Joe and his hiding behind the sofa, Cid on the stairs, enabling them to get out of the house? His intense scream, getting out of the house, the explosion?

15. The older Joe, the massacre of the gangsters at the club and its destruction? Abe’s death?

16. Sara and Cid escaping in the van, Joe in the centre of the road, his pursuit of Sara and the boy? Sara standing her ground, Joe shooting through her, Cid escaping? His scream, everybody in midair, the corn in midair? The younger Joe, his observation, narration, his decision that the mother could help the child not to be the future monster? Changing the future, shooting himself? The older Joe disappearing?

17. The dramatic effect of the very peaceful ending – too peaceful for such a film? Comments that this was intelligent futuristic science fiction?

FACES IN THE CROWD

US, 2011, 103 minutes, Colour.
Milla Jovovich, Julian Mc Mahon, David Atrakchi, Michael Shanks, Marianne Faithfull.
Directed by Julien Magnat.

Faces in the Crowd is a psychological thriller. Milla Jovovich appears as a very competent primary school teacher, meeting with her friends, going home and accidentally witnessing a serial killer at work. As she is pursued, she falls from a bridge, hitting her head, waking up after coma in hospital and finding that she has a condition whereby she cannot recognise faces, the features of which change as she watches, but can recognise other aspects of people and situations.

Milla Jovovich, best known for her roles in the Resident Evil series, is attractive in the central role. A more hefty Julian McMahon? portrays the police inspector. David Atrakchi is his assistant – with a secret. There is a surprise performance by Marianne Faithfull as a psychiatrist.

The film builds up its tension, the teacher finding that she cannot recognise even the man that she lives with, is suspicious of him, finds ways of pretending that she recognises him while she depends on ties and the tying of knots... She is pressurised by the police sergeant.

She relies on her friends for their help – but one of these is also murdered.

The film shows the focus on the serial killer, the profiling, the pursuit, the detection – until it is revealed that it is the associate inspector, the profiler, who is the murderer.

The film uses interesting devices, filmically, to show the teacher’s condition, the changing faces, the mistaken identities, the threats, the suspicions.

1. An interesting serial killer thriller? The focus on the killer and his crimes? The focus on the victim? Detection?

2. The title, the reference to Anna’s situation, inability to recognise faces, the consequences? The fact that the killer could be in the crowd – and was?

3. The American city settings, apartments, schools, police precincts? The streets, the bridges and the river? The musical score?

4. The initial information about the serial killer, brutality, victims? Sam and his work in handling the case? The assistance of Lanyon?

5. Anna, with Francine and Nina? Their night out, the girl talk, relationships? The attraction of men at the bar? Francine and Nina and hits and misses? Anna and her going home, walking, the bridge, seeing the murderer? The pursuit, her fall? The injury?

6. Anna, her condition, unable to recognise faces? The way that the director handled the situation - the variety of actors portraying Bryce, Lanyon? The range of faces? Ordinary people and not recognising them? People’s reactions? Criticisms? Puzzles?

7. Anna, her fears? With Bryce? Her becoming suspicious? His behaviour? Checking on him through his ties? Making mistakes? The killer assuming Bryce’s identity?

8. Sam, his manner, pressure on Anna? The investigation, the profiling, the profiler with the young boy? Making no headway? Sam and the visiting of scenes of the crime? Anna on the bridge? Reconstruction? His feelings for Anna – and ultimately romance? (As expected?)

9. Anna, relying on her friends, the death of Nina?

10. The build-up to the climax, at the bar, the mistaken identity, the threats? The struggle with the murderer? The arrival of Sam? The revelation of the truth?

11. Satisfying ingredients for a popular kind of thriller, serial killer, woman at risk? The particular nature of her disorder, the visits to the doctor, the psychiatrist, the psychiatrist’s help?

AN ANGEL FROM TEXAS

US, 1940, 69 minutes, Black and white.
Eddie Albert, Rosemary Lane, Wayne Morris, Jane Wyman, Ronald Reagan, Ruth Terry, John Litel.
Directed by Ray Enright.

An Angel From Texas is based on a play by George S. Kaufman (The Man Who Came To Dinner) and portrayed in act one by George Hamilton. Co-writer is Fred Niblo Jr, prolific writer at Warner Bros from 1930 to 1950, son of Fred Niblo who made the original silent Ben Hur.

The film focuses on Rosemary Lane as a young woman in a small town who goes to New York to be an actress, farewelled by all the town. She leaves behind her beau, Eddie Albert, living with his mother and pining for her. Eventually he goes to New York and finds she has had no success. However, she is employed by two conmen who are putting plays on Broadway with a blonde actress, Ruth Terry, backed by gangsters. When they hear that Eddie Albert has money to spend on hotels, they realise that they can pay their debts by getting him to invest, he being very cautious. Ultimately, for his girlfriend, he decides to invest, there are ups and downs of fortune, all kinds of con meetings, threats by the gangsters as well as the original actress.

The girl, however, is not a very good actress and her boyfriend is even worse, rather stolid. However, they go ahead with the production – and everybody roars laughing, and the play is a great success as a farce. (Shades of Springtime for Hitler and Mel Brooks.)

However, there are further complications. The two conmen, Wayne Morris and Ronald Reagan (the latter bright in the role, and married on-screen to his wife Jane Wyman), have some tangles and Jane Wyman, teaming with the couple from the country, are able to sell off the company and its success to the two gangsters who immediately are being sued by someone for breach of copyright.

It all takes place in sixty-nine minutes, fast-talking, fast-paced, amusing but slight.

THE ADVENTURES OF HUCKLEBERRY FINN

US, 1939, 91 minutes, Black and white.
Mickey Rooney, Walter Connolly, William Frawley, Rex Ingram, Elizabeth Risdon, Minor Watson.
Directed by Richard Thorpe.

The Adventures of Huckleberry Finn is a pleasant if unremarkable version of Mark Twain’s story. There have been many other versions, including a 70s musical with Jeff East as well as a version with Elijah Wood.

This film was tailored to the popularity of Mickey Rooney at the time. He had already made four Andy Hardy films – and his Huckleberry Finn is obviously a cousin of Andy Hardy.

The film focuses on Huck, his wagging school, his being looked after by Miss Watson, the friendship and support of the Widow Douglass. Jim, classic actor Rex Ingram, is the slave of the household who wants to get back to the free territory to see his wife and son. Victor Kilian is Huckleberry Finn’s tyrannical father who wants to sell him.

Huckleberry decides to run away, he encounters his father again, encounters Jim who has been accused of murdering him. Huckleberry disguises himself as a young girl to find out what is going on, but has to flee on the river. When they encounter the steamboat, they pick up Walter Connolly and William Frawley as two conmen. They pass themselves off as dukes and kings of Europe. They also have a plan to go to a town and assume the roles of long-lost brothers and inherit a fortune. They take Huckleberry along with them. In the meantime, the captain of the steamboat is aware of the plot, is helped by Huckleberry with the promise that he will take Jim to freedom. While the conmen are tarred and feathered, Jim is sent back to stand trial, is the victim of a lynch mob, is finally freed with Huckleberry turning up after he has been bitten by a rattlesnake and taken to the doctor by Jim. There is a happy ending for Jim – but Huckleberry has to wear shoes, go to school and stop smoking.

The particularly significant theme is the racial one, Huckleberry firmly against the abolitionists, presuming that slavery is correct, having a conscience that he should send Jim back to his owners. However, in company with Jim, meeting Captain Brandy, he learns what the abolitionists are about – and the fact that slavery is abhorrent – with a mention of Abraham Lincoln.

1. The popularity of Mark Twain’s novel? The archetypal American novel? Of the South? Of the spirit of freedom? The critique of the South, especially its adherence to slavery?

2. The black and white photography, Mickey Rooney as star? The comic support? The musical score?

3. Huckleberry Finn in the American imagination? Worldwide? As Mickey Rooney? His age, wagging school, fishing in the river, not wearing shoes, smoking the pipe? Not being promoted? His being looked after by Miss Watson and the Widow Douglass? The meals, Jim waiting table? The reading of the Scriptures? His friendship with Jim?

4. His father’s arrival, tyrannical, accusing his son of airs and graces? The encounter with the two ladies? His being willing to sell his son?

5. Huckleberry, the discussions with the Widow Douglass, her kindness, the gift? His leaving it behind as he ran away, his note? The decision to run away, the encounter with Jim? Their sailing on the river together?

6. His going back to the town, disguised as the girl, his being found out? Seeing the lynch mob? The escape? The houseboat, his dead father? Jim’s not telling him – and Huckleberry taking this badly later?

7. Jim, his character, his wife and son, in the free territory? His desire to pay for his freedom? His decision to run away? Miss Watson having to sell Jim to raise the money to buy Huckleberry from his father?

8. Adventures on the river, the two talking? The throwing overboard of the king and the duke? Their being picked up? The fabricating of the dukedom and royalty? Their wanting to be waited on?

9. The comic touches with the king and the duke? Cards? Their going to the town, posing as the brothers? Their being accepted? The two nieces? The will, the strongbox, the money – and the plan to give the money to the women but sell the house? Promising to take them to England? Huckleberry and his objections, his posing as their servant, hiding in the room and hearing the plan? His taking the money?

10. Captain Brandy, the administrator of the will, his suspicions of the conmen? Huckleberry going to him? The money? The issue of Jim? Huckleberry and his being bitten by the rattlesnake, Jim carrying him to health?

11. The news of Jim’s being taken back, the law, the accusation of murder? The trial, the sympathy with the judge, the Widow Douglass and her proposal to go to Pikesville? The prosecutor, the posse? Their attacking the prison, Jim’s fear?

12. Captain Brandy, taking Huckleberry to home? His arriving in time – and the happy ending? Jim and his freedom? Huckleberry staying with the two women – at school, with shoes, not smoking?

DANIELLE STEEL'S SECRETS

US, 1992, 89 minutes, Colour.
Christopher Plummer, Stephanie Beacham, Linda Purl.
Directed by Peter Hunt.

Danielle Steel's Secrets is one of a series of telemovies and mini-series based on the bestselling author's romantic novels. The films, as the novels, are glossy, permissive yet sanitised, all-glamorous. The strength of this film is in its cast, especially with Christopher Plummer bringing his professionalism to the role of the producer and Stephanie Beacham bringing her toughness as well as tenderness to the role of the ageing actress. Linda Purl has a good role as the put-upon wife, actress. The film is set on the set of a mini-series called Manhattan - plenty of New York locations as well as Los Angeles. The melodrama is very much that of the soap opera. Direction is by Peter H. Hunt, better known for such action features as Shout at the Devil, Death Hunt and a version of Gulliver's Travels with Richard Harris.

1.Popularity of Danielle Steel's books? Romance, soap opera? The glamorous transition to the screen?

2.New York and Los Angeles settings? Wealth and glamour? San Francisco and hospitals? Score?

3.The title, audience anticipation? The secrets of the characters?

4.Mel, producer, his abilities, the death of his family in the crash? His meeting Sabina, persuading her to join the cast? His wheeling and dealing, phone calls, secretary? Influencing the characters? The relationship with Sabina, the puzzle about San Francisco, following her, discovery about her son? The reconciliation - and the possibility of a happy marriage?

5.Sabina, the mystery, the encounter with Mel, memories of the past, her disdain for television, reading the screenplay, agreeing to go into the series? Her relationship with Mel? The publicity, the parties? Her going to San Francisco - and the secret not being revealed until the end, her relationship with the politician, her son, his illness, the help of the doctor, the operation? The happy ending - and the possibility of marriage?

6. Jane, her story, actress, her abusive husband and the violent scenes, his turning her daughter against her? Her decision to go for the role, acceptance? Her meeting Zac, his support? Going to New York, her daughter’s visit, gradually realising the truth? Gabi and her advising her? The return to Los Angeles, the party, the relationship with Zac? His affirming her? Her going home, her husband’s attack, the gun, Zac hearing her cry on the phone, his return, the struggle, the daughter and her discovering the truth, reconciliation with her mother?

7. Zac’s story, the film actor, older, his being blackmailed by the two women, his indiscretion, the video? His performance, the attraction to Jane? Supporting her, the romance? Getting legal advice? Jane, her disguise, going to the two women, pretending to be a social worker, the con, getting the tape back? Giving it to Zac?

8. Bill, his drug addict wife, his devotion to her? His audition? His performance? His continual concern about his wife, his agent advising him not to tell the truth? Her disappearances? Her drug addict friends, his ousting them? Going back to Los Angeles, the party, deciding to confront his wife? Going home, finding her murdered? His arrest, the interrogations, the company getting him bail? Mel and his continued support? The networks and their wanting him to be eliminated? The cliff-hanger, his being shot? The cast and the company and their support in the court? Mel and his testimony for Bill? The not guilty verdict? Gabi, her being rich, concealing this, getting the part? The interactions with Bill, her identity being exposed in the papers? Realising that Bill had wanted his wife to have the role? Her lying for him for the alibi? The scenes in the soap opera, in real life, the bonds?

I WISH / KISEKI

Japan, 2011, 128 minutes, Colour.
Koki Maeda, Ohshiro Maeda.
Directed by Hirokazu Koreeda.

About eight years ago, I was very taken with a Japanese films about children who had been abandoned by their parents and who had to fend for themselves. Watching I Wish, again with children as its subject, I was inevitably reminded of Nobody Knows. So, it was a pleasure to find when checking the previous films of writer-director, Hirokazu Koreeda, that he had indeed written and directed Nobody Knows. While I think Nobody Knows is the better film, I Wish offers a lot of enjoyment for the audience.

We open with Koichi, a 10 year old, waking up and looking at the nearby volcano which was erupting. He cleans up the dust. This begins his day, breakfast with his mother and grandmother (father lives elsewhere), off to school with his friends, chatting as they walk up hill, a class and an essay on professions which they mostly get wrong. Later, he phones his younger brother, Ryu, who lives with their father. The two brothers miss each other.

There is a great deal of pleasing detail in the storytelling which, without our immediately recognizing it, permeates our experience of Japanese life in its everyday ordinariness. We feel we are there and getting to know the boys and, to a lesser extent, the adults.

A new bullet train line is about to open and Koichi hears that when trains traveling in the opposite directions pass each other, it is a magic moment to make wishes. Koichi decides to visit Ryu and that they will go with a group of young friends to see the trains passing and make their wishes.

One of the drawbacks of the films, especially for critics judging how well the screenplay is written, but less so for audiences who have surrendered to the tale, is that it meanders, some flashbacks, dreams, imaginings, diversions from the main thrust of the story. However, the two boys, Koichi with his assurance in manner and way of talking, Ryu with his engaging grin, carry us with them, especially when they meet, when they travel to watch the trains and the moments of wishing, are very engaging. Then, we discover that they are brothers in real life and have performed together as a comic group.

This is a sometimes delightful, often charming, introduction to contemporary Japanese life, off the tourist track, out in the provinces, with people that we can identify with, in circumstances that might seem mundane but which come alive with personal vitality.

1. The title of the film? Wishes and miracles? The nature of the wishes? Fulfilment?

2. A picture of Japanese life, the attention to detail, the sense of realism? South-western Japan, the island, the town, the volcano and its erupting? Homes, school, the streets, shops, trains? The variety and the musical score?

3. The jigsaw nature of the screenplay? The diversions? Dreams and flashbacks? The overall effect?

4. The focus on Koichi? Seeing everything through his eyes? His age, his getting up in the morning, looking at the volcano, his reaction to the ash, cleaning the house, relationship to his mother, grandmother and her eccentricities, breakfast, going to school, his friends, walking up the hill, their talk, at school, their teacher, the essay on professions and their making mistakes, the teacher and his focus on Koichi not having a father, his personal helping of him in the corridor? The reaction of the children? The swimming sequences? Snacks? Life at home?

5. The importance of the bullet trains in Japan, the news about the new train, excitement, the urban legend about wishes being fulfilled when trains passed each other, Koichi and his preparations, drawings?

6. Ryu, the actor being the brother of the performer Koichi, the two working together? Living with his father? His age, comparisons with Osaka, the phone calls, at home, the snacks? His talking with his father? Koichi and the phone calls to his father? The mother refusing to talk?

7. The background to the marriage, fighting, the split, the boys being divided?

8. The grandparents, the grandmother and her eccentric movements? Miming? The grandfather and his cooking, making the sponge, Koichi helping him, the taste, the discussions about the taste, his taking some for Ryu?

9. The friends at school, the teachers, the planning of the trip, selling the various possessions, buying the tickets?

10. Meeting with Ryu, the friends, the gathering, the girl wanting to be an actress? The girl wanting to draw? The bonds between the children, the trip and the teachers’ help? All together at the father’s home? The van taking them to the venue, their walking up the hill, the trains passing – the wishes? Koichi and the overview of his life, the visuals, his not making a wish?

11. The return, the girl talking to her mother and leaving to be an actress, the girl drawing, Ryu and his staying with his father?

12. The bonding of the brothers, Koichi going home, meeting his grandfather, talking with his mother?

13. The finale, his standing on the veranda, looking at the volcano – and his future?

14. The detail in the film, the comments on Japanese life, families, marriage break-ups, education, the maturity of children, their autonomy? An optimistic view of Japanese society?

DR KILDARE’S VICTORY

US, 1942, 92 minutes, Black aand white.
Lew Ayres, Lionel Barrymore, Ann Ayars, Robert Sterling, Jean Rogers, Alma Kruger, Walter Kingsford, Nell Craig, Marie Blake, Frank Orth, Barry Nelson.
Directed by W.S. Van Dyke.

Dr Kildare’s Victory was the last of the Dr Kildare films with Lew Ayres – he became a conscientious objector during World War Two and was dropped from the series. His actions are criticised in subsequent Dr Gillespie films.

The film takes up with the aftermath of the death of Dr Kildare’s fiancée, Mary, played by Laraine Day. He goes into exile and everybody makes an effort to bring him back into his old self as well as his work at Blair Hospital.

The victory, however, refers to the turf wars between two hospitals and the regulations.

A young doctor, played by Robert Sterling, picks up an accident victim (Ann Ayars as a socialite) and takes her to Blair Hospital when he should have taken her to a nearer hospital. This leads to his dismissal, the dismissal of his fiancée, one of the nurses, Jean Rogers. Dr Kildare takes up their cause, pleads it with Lionel Barrymore who tends to agree with the administrator, Dr Carew, that it is a breach of regulations.

Eventually Dr Kildare, who becomes the object of affection for the injured woman, is able to get her to put an article in the newspaper by her journalist friend and manager. This embarrasses the board – and the proper decisions are made about patients.

The film has the usual supporting cast in their entertaining ways (especially Molly Byrd and her cigarette hunt and rolling cigarettes for Dr Gillespie). Unfortunately Nat Pendleton as Joe is missing this time.

The film was directed by W.S. Van Dyke, whereas most of the films were directed by Harold S. Bucquet.

1. The popularity of the series? The number of films? The character of Dr Kildare? Dr Gillespie? The staff at the hospital? Audience interest in hospital films? 1940s style?

2. The black and white photography, Blair Hospital, New York City? Atmosphere? Musical score?

3. The context of the story? The death of Mary? Jimmy Kildare’s being upset? Distancing himself from the hospital and his work? His character, his generosity? With the young interns? His friendship with Don Winthrop? The situation with Don picking up Cookie Charles? Taking her to Blair instead of to Emerson? Annabelle and her helping? The relationship between Don and Annabelle? The repercussions? Dr Kildare becoming involved? His meeting with Cookie? Her flirting with him? His response? Her agent and his visits? The discussions with Dr Gillespie? Dr Kildare and his pleading with the board? His arguments? Failure? His decision about the article in the paper, the consequences? His success? A finale to the portrait of Dr Kildare?

4. Dr Gillespie, Lionel Barrymore and his usual grumpiness? His fondness for Jimmy? In the hospital staff, Molly Byrd and the antagonism, the cigarettes? His reaction to Dr Winthrop? Dr Carew and the board? The regulations? His standing by them? The discussions with Dr Kildare? The aftermath with the article, the reasonable regulations? A success for Dr Gillespie?

5. Dr Winthrop, young, enthusiastic, the attraction to Annabelle? The meetings? The proposal? His picking up Cookie, bringing her to the hospital? The objections of the driver? His decision that this was the right thing? The consequences, the interviews, his being fired? Annabelle and her keeping to the rules – and the man taken to Emerson, dead on arrival? Her being fired? Their cause being taken up by Dr Kildare? The happy ending?

6. Samuel Cutter, the interlude with his arrival in the hospital, his being drunk, abusive and aggressive? The reaction of Dr Kildare? His later return, apologies?

7. Cookie, society, the raffle, her injury, the hospital, with Dr Kildare, with Dr Gillespie? Her agent? Her doing the good deed – and her flirtatious farewell?

8. The usual characters in the hospital, audience familiarity and enjoyment, Molly Byrd and her bossing people around, Dr Gillespie included, her stooges, her good nature? Dr Carew and his administration? Nurse Parker and her forever being told off by Dr Gillespie? Sally at the switchboard?

9. The continued entertainment value of this series?

ARGO

US, 2012, 120 minutes, Colour.
Ben Affleck, Bryan Cranston, John Goodman, Alan Arkin, Victor Garber, Taylor Schilling, Philip Baker Hall, Tate Donovan, Chris Messina, Kyle Chandler, Clea Du Vall, Adrienne Barbeau, Zeljko Ivanek, Titus Welliver, Bob Gunton, Rory Cochrane, Scoot Mc Nairy, Michael Parks, Richard Kind.
Directed by Ben Affleck.

The plight of the hostages trapped in the US Embasssy in Tehran from 1979 to 1981 was a strong political focus at the time – and was considered one of the reasons by Jimmy Carter was not re-elected as president. However, there was a story behind the headlines, a story that still seems far-fetched, but which was released for the public only in 1997 by President Clinton.

Argo is that story.

How it relates to current attitudes to Iran and its nuclear program as well as its staunchly religious administration of the country will be an interesting issue with this film’s release, reminding audiences of Iranian history. There is an interesting summary (with images) at the beginning of the film: critique of the British and American colonial behaviour in the first part of the 20th century, the brief attempt at democracy and the nationalizing of oil in the 1950s, the placing of the Shah as ruler and his brutal and luxurious regime, the revolt and the accession of Ayotollah Khomeini as supreme ruler.

Protestors went rampant outside the American Embassy, vividly re-created here, with the infiltration of the embassy, the flight of six staff members and their refuge in the home of the Canadian ambassador, with the rest of the staff (around sixty) trapped for over a year.

We are taken into the workings of the American government. There are bizarre plans to rescue the hostages (cycling to the Turkish border, agricultural experts visiting – but it was winter – and teachers visiting, but the international school had been closed).

An expert on hostage release is called in who proposes an extraordinary scenario – which worked, Tony Mendez.

The film is very well-paced, building up the details of the plan, to send in Mendez as scouting for locations in Iran for a science-fantasy (after all, it was the era of Star Wars). An Oscar-winning make-up artist for Planet of the Apes, John Chambers, agrees to participate. John Goodman gives a great and funny performance as Chambers. So does Alan Arkin as a has been director who agrees to join in the plan and move things along – with deals with agents, storyboarding and a full-dress reading of the script. It was called Argo (which leads to a frequently mouthed insult, Aah, go…).

While the planning is interesting, given the time restraints (and the toing and froing of official okaying of the venture), the scenes of the six at the Canadian house, showing them to be generally young men and women, are fascinating. But it is Tony Mendez’ daring, getting advice in Istanbul, entering Iran, visiting the minister of culture, briefing the six with new identities, Canadian passports and professional skills for Argo, which create plenty of tension for the audience even though we know the outcome.

A scene where they all go to a market, pass through a riot and cause one of the own, builds up the atmosphere for the actual departure. The scenes at the airport – will they, won’t they get away – are particularly effective.

Great credit to Ben Affleck who co-wrote the film and expertly directed it – after making the fine dramas, Gone, Baby, Gone and The Town. He also plays Tony Mendez, making his character, plan and the carrying out, always amazing.

As thrillers for 2012 go, this is one of the best.

1. A true story? Successful as a thriller, as political memory? The 70s and the 80s? The United States, Iran?

2. Audience knowledge of Iran and its history, the introduction, the history from 1950, the president, the oil nationalisation, the assassination in 1953, the shah, his regime, its cruelty, extravagance? The revolution? Ayatollah Khomeini? An interesting outline?

3. The political stances of the film? On Iranian nationalism? In its period? In later times and Iran’s nuclear ambitions and nationalism? The attitudes of the British and the Americans, their installing of the despot shah? American patriotism? Praise of Canada?

4. The role of the CIA, the State Department, President Carter? The importance of the Iran hostages – at the time, in the national memory? The revolution not foreseen by the diplomats in Teheran? The consequences? The shah and his escape, the Iranians demanding his return for trial and execution? Anti-American? sentiment, the protests, the vastness of the riots? The staff, the shredding of all the material – and its later being pieced together by the children and the women? The escape of the six? The sixty hostages within the embassy? The hostages during 1980, the 1981 release? The attempts to free the six in the Canadian embassy? Secrecy?

5. Covert operations, public knowledge and ignorance? Tony Mendez, his achievement, his later awards? Praise from President Carter? The Clinton declassification?

6. The dramatising of these historical events? The far-fetched plot – and the Hollywood references? Characters, tensions? The six in the Canadian embassy for two months, having to compress all this tension into a two-hour film? The fear and tension, the Canadians? The characters in the film – and the final credits and their resembling their actual characters considerably?

7. The credibility of the plot, its seeming far-fetched, yet its happening? The importance of President Carter’s final speech at the end of the film?

8. The use of Turkish locations, the feature shots of Teheran and its mountains? An authentic feel? Editing and pace? The musical score and the range of moods?

9. The picture of American authorities, Washington, DC, CIA offices, state? The details of the room, the personnel, the equipment? The contrast with Los Angeles, the world of Hollywood? John Chambers’ world, makeup and movies, fantasy? The Hollywood agents and deals? Plants of information in Variety, making a fake film?

10. The establishing of Iranian history and tradition? The status in 1979? The protests, the staff, the people queuing for visas, the decision to shred the material, the crowds, the breaking in, the unbolting of the gates, inside the embassy? Final decisions, those staying? The group escaping, the car, welcomed by the Canadian ambassador, in his house? The sixty remaining as hostages?

11. The introduction to Tony Mendez, a real character, his fictional name for the operation, separation from his wife, the contact with his son – and the idea of the film from watching The Planet of the Apes films?

12. Washington, the variety of scenarios and discussions, the futility of the bike-ride to the Turkish border, food inspection during the winter and the snow? The closing down of the international schools and teachers not admitted? The authorities and their serious approach? When confronted with the fake film scenario?

13. The fake film? Jack O’ Donnell and his working with Tony Mendez? His giving the all-clear? The time needed to set up the film? Tony and his visit to John Chambers – and John Goodman’s style and the funny remarks about Hollywood and fakery? The meeting with Lester? His cynicism? His career? His wit? The scripts and their searching for a suitable film? The discovery of Argo – in the wake of Star Wars? The ironic swearing with the title of the film? Going to the agent, the dealing, the bluff about Warren Beatty? The leaks to Variety? Setting up the reading, the cast in costume, the performance? An authentic feel?

14. Trying to persuade the authorities, the visit to the White House, Secretary of State? The go-ahead?

15. The Canadian embassy, the ambassador and his wife, their courage, Britain and New Zealand refusing to shelter the hostages? Keeping them for two months, the prospects? The maid, suspicions? Her later behaviour, helping conceal the Americans, the scene of her entering into Iraq and safety?

16. The personalities of the six, the variety of jobs, seeing them in action, marriages? Ordinary?

17. Tony and his travelling to Turkey, the British informant and the help with procedures? Passports? The script? The drawings? A suitable cover? The recommendation to go to the ministry for culture?

18. Tony and his arriving in Teheran, the questions, going to the minister, discussing the project, meeting with the group, their reactions, the ability to trust or not, suspicions, fears? Giving them their identities, the script, the information? Their learning them, his testing them? Their new identities? Requested to go into the city, in the minibus, moving through the protest with its hostility, in the market, the taking of photos, the guide and his work, the shopkeeper and his protests, the near-riot and its effect?

19. CIA and state? Stopping the project? The plans for the release of the sixty hostages? Tony and the night before, pondering, Jack O’ Donnell’s message? His decision, phoning O’ Donnell? O’ Donnell going to the authorities? The passports, the tickets, the appeal to President Carter to authorise the tickets?

20. Going to the airport, Tony and his explanation of the steps, the problem of the tickets and the lack of reservations, split-second timing? Examination of the passports, the white slips missing, their convincing the authorities that all was well? The guard, looking at the script, looking at the drawing boards? The official and his being able to speak Farsi? Phoning the company in Los Angeles? The delay, the final decision to let them go?

21. The children and the women piecing together the shredding? Making the connection and the missing Americans from the embassy? The photos in the market – and the identifying of the face? The emergency, the split-second timing, the chase, smashing the doors at the airport, the cars going on the tarmac?

22. Getting into the plane, the pilot, seconds to take-off, the final take-off, the allowance of alcohol? The phone calls? The relief?

23. The welcome home, the authorities, Jack O’ Donnell meeting Tony, their remarks and praise? The secrecy, the award made in secret? His going home, relationship with his wife? Seen with his son?

24. President Carter, the comments on the achievement? The meeting of fiction and real-life?

RESIDENT EVIL: RETRIBUTION

US, 2012, 95 minutes, Colour.
Milla Jovovich, Sienna Guillory, Michelle Rodriguez, Bingbing Li, Kevin Durand.
Directed by Paul W.S. Anderson.

Number 5 in the franchise. And the film: shootouts and chases, chases and shootouts, then more shootouts and chases. The series derives from computer games and has that kind of aggressive plot, characters who are more cyphers of good and evil rather than personalities, special effects that enable guns to blaze, blaze and then blaze some more.

The opening does give a resume of what happened in the previous episodes (the first one ten years ago), so we are reminded of the dastardly doings of the Umbrella Company and how it developed malicious viruses which by this stage are monstrous zombies (who do a fair amount of chasing and of being shot) whose mouths open to repulsive extended tongues.

Milla Jovovich (who is now married to her director, Paul Anderson) is once again heroine Alice, svelte, leatherbound, agile and nimble – and deadly. Except that he has acquired a daughter (with happy memory implants), which gives her more motive for defence and attack. There are her old allies, her old enemies.

There is an interesting feature in Rainbow’s setting up experimental neighbourhoods, Moscow, New York and Suburbia. The Moscow sequences at least arrest the eye with something different.

Retribution? Not exactly. Rather, when the film looks as if it will end, it goes on to a Washington DC, White House sequence which, we realise, serves as a trailer for the next installment. Maybe retribution will come next time. In the meantime, it’s repetition!

1. The place of this film in the series? The development over ten years? Repetitions?

2. The visuals: the sets, the special effects? Suburbia, the streets and homes? Moscow, the streets, the underground railway stations in detail? New York City? The fleet, the submarines, the sea? The finale and Washington, DC and the White House? The pounding musical score?

3. The title? Retribution for whom? Alice? The Rainbow Corporation and its leaders?

4. The stunts, the chases, the shootouts, the weaponry? The martial arts and agility?

5. The special effects and the zombies, the monsters and their behaviour, the confrontations?

6. Alice, at home, the husband, the daughter? The attack in the house? The zombies? Her husband overpowered? Her taking Becky to save her? The pursuit? The various adventures? Her being transformed? The Rainbow Corporation, restoring her to the warrior? Her clothes? Seeing her in action, the pursuit, the chases, the railway station, the young woman helping – and her death? The pursuit by Jill Valentine and Rain? The men? Her allies, coming to her help? The plans?

7. The journey, searching? Alice and the various activities to save Becky? The truth about Becky, seeing the clones? Her memories? Her husband amongst the attackers?

8. The Rainbow Corporation, the head, the history of the virus, its being unleashed, its effect, on Alice? The elimination of the human race?

9. The final confrontations, the defeat of the enemies? Taking Jill Valentine’s brooch and restoring her to normal? Rain and her death?

10. Going to Washington, DC, the explanations, the White House – the group assembled on the roof? Ready for the next film? Appropriate retribution?

MADAGASCAR 3: EUROPE’S MOST WANTED

US, 2012, 93 minutes, Colour.
Voices of: Ben Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen, Cedric the Entertainer, Andy Richter, Tom Mc Grath, Frances Mc Dormand, Jessica Chastain, Bryan Cranston, Martin Short.
Directed by Eric Darnell, Tom Mc Grath, Conrad Vernon

It’s seven years already since Alex, Marty, Melman and Gloria left their New York Zoo home and were transported to Africa. In the sequel, they were still having African adventures. This time, they decide to leave Africa and make for home, setting out first for Monte Carlo where the villainous and scheming penguins have flown their plane with no intention of coming back to rescue the stranded group. The familiar voices are back: Ben Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith along with Sacha Baron Cohen as the mischievous King Julien.

The writers must have more than a soft spot for Europe. We spend a lot of time in Monte Carlo, not only at the Casino, which they leave the worse for wear, but the whole city as they flee, penguins and monkeys along with them, from the relentless and ruthless pursuer of animals, Mademoiselle Dubois voiced by Frances Mc Dormand with determined relish. After the mayhem in Monaco, they arrive in Rome, having bought a run-down circus so that they could escape in their train. Disaster – though the film spends some pleasing time in Rome for those who have visited the city. The marquee is set up in the Colisseum (which the pragmatic penguins decide ought to be torn down for something new and efficient). Julien visits the Vatican and kisses the Pope’s hand – and swallows the papal ring which he tries to pawn.

What are stranded animals to do? They decide that the show must go on, so they spend time in the Alps inventing new acts, getting a Russian tiger who has lost his mojo, Vitaly (Bryan Cranston), to rediscover his courage, helping out the maestro sea-lion, Stefano (Martin Short), Alex falling for Gia (Jessica Chastain). This is mainly where there are some funny parts, especially Marty being shot out of a canon and fulfilling his dream of flying. There is quite some amusing use of music and songs from Pomp and Circumstance, Non je ne regretted rien (from Mlle Dubois) and Born Free.

It’s on to London where they want to impress an impresario who could take them back to New York and home at the Zoo. It won’t spoil things to say they do get back to NYC, but they realise they have discovered life in the world and their cages are too confining for them. Scarcely have they had time to realise this than there is Mlle Dubois in a final face to face confrontation.

It’s all rather bright and breezy, which is how it should be.
1. The popularity of the Madagascar films? The zoo story? The African stories? Animals stranded in Africa? Wanting to go home?

2. The animation style, bright, colourful, characters and action, backgrounds, editing and pace? The use of Monte Carlo and Monaco, Rome, the Alps, London? The score and the songs?

3. The audience familiarity with the characters, memories of Alex, Marty, Melman, Gloria, Julien and the penguins?

4. The opening, Alex and his nightmare, growing old, stranded in Africa? The desire to go home?

5. The penguins, mischievous as ever, the plane, the jewels, the monkeys and the flying of the plane, leaving, lying, going to Monte Carlo?

6. The animals and their decision to go home, Monte Carlo as the goal, swimming, arriving in the Mediterranean? Monte Carlo and its backgrounds? The casino, gambling (the penguins and the monkeys)? The mayhem?

7. Mademoiselle DuBois?, her intensity, hunting, her trophies, her voice, singing the Edith Piaf song, going into action, tracking the animals? Haughty and relentless?

8. The pursuit, going through Monaco, over the roofs, into the water? Going to the train?

9. The train, the circus, encountering Stefano, Vitaly (the flashbacks to his successful career going through the burning hoops)? Gia and her falling for Alex? Hiding in the train, the discussions? Circus people? Their being persuaded to buy the circus – and the owners hightailing it away? Going to Rome?

10. The scenes in Rome, the Colosseum, the marquee, the penguins’ comments, the streets, the Vatican, the pope’s ring, the performance, the disaster, their being ousted, the people pursuing for the return of their money?

11. Going to the Alps, the discussions, determination, rehearsing, creating new acts, the trapeze, Marty and his flying, Stefano and the cannon? The bear and Julien falling in love with her – and the comic sequences of romance?

12. London, the atmosphere, the performance? Vitaly and his insecurity, the hairspray, his being persuaded to perform, his success? The entrepreneur?

13. Going to New York, their going back to the zoo, their disappointment, the crowds, the media?

14. Mademoiselle DuBois?, her pursuit from Monaco, behaviour in Rome, the Italian police? To New York? Relentless? The darts?

15. The build-up to the confrontation with Mademoiselle DuBois?, her failure?

16. Alex and his leadership, audiences liking him? Marty and the jokes and humour? Melman and his concentration on danger? The awkwardness of the giraffe and the various escapes and hiding? Gloria and her love? Julien and his behaviour? Happy in New York, but having seen the wider world? Audience hopes for a sequel?