JOHN LOVES MARY

US, 1949, 96 minutes. Black and white.
Ronald Reagan, Patricia Neal, Jack Carson, Wayne Morris, Edward Arnold, Virginia Field, Katharine Alexander, Paul Harvey.
Directed by David Butler.

John Loves Mary is based on a very popular play by Norman Krazner, adapted for the screen by Henry and Phoebe Ephron (the parents of director and writer Norah Ephron). The film is very much a stage play, most of the action being confined to a hotel room.

Ronald Reagan is bright and breezy as the hero, John Laurence, returning from the war to his fiancée, Patricia Neal in her introductory role. His life has been saved by his best friend, Jack Carson, who turns up to welcome him home.

Patricia Neal, Mary, has a father who is a pompous senator. He is played in his usual style by Edward Arnold. Katharine Alexander is her indulgent mother. There are various jokes about American politics. This is particularly interesting in hindsight, with Ronald Reagan up there onscreen and much discussion about the Senate, Congress, legislation...

There is a complication that John Laurence has gone through a ceremony of marriage with his friend Fred’s girlfriend. Fred had thought she had been killed during the Blitz and has married and is expecting a child. However, John is about to reveal this to his fiancée when her father turns up – and he is changing his trousers. If only he had had time to pull them up, there might have been an explanation and no film. As it is, one lie leads to another, cover-ups, all kinds of plans – and farcical episodes with people moving in and out.

One of the plans is to persuade their old lieutenant whom they detested (Wayne Morris) who is now an usher at the cinema, to pretend to be an officer ordering Laurence back to service for sixty days, just enough time for a divorce and everything to be all right. However, the British wife turns up a day early and complicates affairs.

The film works all its clues rather well together – it is a very verbal film, a lot of humour, Reagan being particularly bright and breezy, Edward Arnold pompously laughing at his own jokes, Wayne Morris acting the fool, Virginia Field not particularly convincing as the British wife. However, Patricia Neal seems in herself not to be ditzy enough to be Mary. Patricia Neal was an accomplished actress, intelligent actress – but is not persuasive as a dumb blonde type.

All’s well that ends well – the film was directed by David Butler, a regular at Warner Bros, especially for many of its musicals at this time.

1. An entertaining film of the 1940s? A piece of Americana? Post-World? War Two?

2. Based on a play, the scenes in confined spaces, the hotel room? The hotel lobby? The cinema? The importance of dialogue? Wit? The complications of the plot – and the coincidences, touches of farce? Musical score?

3. The title, the commonplace of John Loves Mary? A universal story?

4. Mary, her love for John, letters during the war, parcels? Anticipating his return? In the hotel, wealthy, Oscar and his preparing the room? Fred and his arrival? Her listening to Fred’s story? Sympathetic? Fixing things up when John arrived? Her wanting to start again? Her love for John, her being a touch ditzy? The plans, the wedding? John and his change of clothes? Her father arriving? The tantrums? Love for John, criticising him, disappointed in him?

5. John, the phone call, Ronald Reagan, genial? The arrival, love for Mary? His meeting Fred? The revelation of the story about Lily, her seeming death, her surviving, her wedding with John so that she could come to America? The plan for the Reno divorce? And that all would be well? The pressure of Mary for an immediate wedding? His reminiscences about the war, reliving Fred saving his life?

6. The senator, pompous, the humorous comments about t Senate and the Congress? His criticisms of Mary, his criticisms of John? Phyllis and her trying to calm everything down, support Mary? The plans for the wedding, the mayor, the detail? The short weight? The documents and the blood test?

7. The plan, O’ Leary and their dislike of him, his working in the cinema, his pretending to be a lieutenant, his drinking, his making the case for John to go into service? His return to the cinema – and the story of the general, his encounter with O’Leary? drunk, the fight? The irony of his turning up at the end, wanting to get the story straight, encountering the general? His past relationship with Lily?

8. The plans, buying the ticket? Mary and her mother encountering the general, the general and his phone calls, the mix-ups, trying to find the orders? The exception and marriage on the same day?

9. John, giving up, despair? The truth?

10. Lily, her visit, the revelations? Her smooching with Fred? Her return, being left in the taxi while Fred went to the birth of his baby? Her explaining everything?

11. The resolution, the relief? The fact that Mary loved John? And approval all round? Fred and the birth of his baby boy?

KING SOLOMON’S MINES

UK, 1985, 100 minutes. Colour.
Richard Chamberlain, Sharon Stone, Herbert Lom, John Reece-Davies?, Ken Gampu.
Directed by J. Lee Thompson.

H. Rider Haggard’s King Solomon’s Mines has been filmed a number of times, in the 1930s with Leslie Banks, in 1950 with Stewart Granger and Deborah Kerr. While this film does take some of its inspiration from Haggard’s novel, it is very much in the line of Indiana Jones films, Raiders of the Lost Ark appearing in 1981.

The setting is the First World War, a focus on German occupation in Africa, a German official wanting to get locals to help him to find the mines in order to finance Germany’s activities. His agent is Turkish. Richard Chamberlain is Rider Haggard’s famous hero, Alan Quatermain. Chamberlain had been Doctor Kildare and in many popular films of the 60s, had leading adventure roles in the 1970s including The Three Musketeers, Four Musketeers and The Man in the Iron Mask.

Herbert Lom overacts as the German official – and was nominated for a Razzy as worst supporting actor (which he should have won). John Reece-Davies? thunders and shouts. He was also in Raiders of the Lost Ark. However, this was the first major feature film for Sharon Stone. She had appeared briefly in Woody Allen’s Stardust Memories, a number of supporting roles and television appearances in the first half of the 80s. This film should not have given any producer encouragement to employ her again. However, they decided to produce a sequel, Alan Quatermain and the Lost City of Gold. She gives overacted underacting in both films – and was nominated for a Razzy as worst actress for the Alan Quatermain film. This she also should have won. It is very difficult to see the future suave and possessed Sharon Stone in these erratic and flighty performances.

The storyline of Alan Quatermain and the Lost City of Gold is straight Raiders of the Lost Ark.

The producers were Menahem Golen and Yoram Globus, the famous Israeli couple who made many action films in the 1980s.

The films were made in Zimbabwe, good location photography, with a lot of artificial sets, especially in the second film, sets which resemble those in Raiders.

The first film follows the general outline of King Solomon’s Mines, but with 1914-18 there are cars and train trips. There are a lot of African tribes presented, various fights – and a generally superior attitude, even racist, towards the Africans. The film builds up to a climax, many threats for Quatermain and Jessie, a whole range of cliff-hanging episodes which were popular from the weekly serials.

With the second film, Quatermain and Jessie are about to be married but Quatermain’s brother is reported as lost. Quatermain decides to pursue his brother, allegedly knowing a lost city of gold. Jessie intends to go back to America, changes her mind, drives perilously close to a cliff edge and comes into the expedition with her usual flighty and bumbling presence. Once again Sharon Stone gives no indication of the star she was to become. Anchoring some of these proceedings is the presence of James Earl Jones, his famous voice used as one of the local heroes. Henry Silva gives an appalling performance as the priest in the city of gold, a black fright wig, terrible delivery, melodramatic performance.

The first half of the film is in the King Solomon’s Mines vein, a whole lot of cliff-hanging adventures. However, there is the presence of Swama, an excruciating performance from Robert Donner. In the second half of the film when they discover the lost city of gold, it turns out to be a strange kind of Utopia, with white-garmented white men, women and children as well as local Africans. A high priest has the population in control – and there are two queens, one vampishly bad, the one glamorously good. Once again there are all kinds of cliff-hangers – and a culminating battle.

These are matinee action adventures – but not for the discriminating audience.

LAST NIGHT

US, 2010, 93 minutes, Colour.
Keira Knightley, Sam Worthington, Eva Mendes, Guillaume Canet, Griffin Dunne.
Directed by Massy Tadjedin.

Last Night was written and directed by Teheran-born Massy Tadjedin. It is a story of a marriage, fidelity and infidelity, the span of the drama over two days – with memories of the past.

It is basically a two-hander between Keira Knightley and Sam Worthington. Eva Mendes appears as a business colleague of Sam Worthington, testing his commitment to his wife. Guillaume Canet appears as a French writer, a friend of Keira Knightley from the past. Griffin Dunne is a friend of the author who probes the relationship in the marriage.

Keira Knightley is strong as the wife, Sam Worthington rather ordinary as the husband. It is basically a film for people in their twenties and thirties, reflecting on the nature of marriage and commitment, truth.

1. The title? Joanna and Michael, their characters, their past, experience, decisions?

2. The New York City settings? A world of those in their twenties and thirties? The world of real estate? The world of writing? Fashion? Apartments, offices, hotels, restaurants? The real world? The background piano score? Its moods?

3. The introduction, the couple in the taxi, tense, establishing the situation for the flashbacks and friendship curiosity concerning the tension?

4. Themes of love, commitment, fidelity? The college past and falling in love? The break? The interlude where Joanna met Alex? The marriage? The quality of the marriage? Tension, suspicion, jealousy? Betrayal?

5. Joanna, her age, experience, English background, her writing, her book, Freelance and Fashion? Her diffidence? The social, getting ready, meeting Laura, Stuart? Discussions? Her looking at Laura, the meeting, jealousy? The silent treatment? Confronting Michael? At home, the nature of the argument, drinking, the tantrum? Michael, his approach during the night? Joanna making breakfast? Michael and the trip, away for the day, the phone connection?

6. Michael, age, work? Real estate, the projects, with Stuart? At the party, with Laura? Laura and her flirting? Michael’s response? Getting ready to go to the party, his behaviour at the party, his reaction in the taxi, at home, Joanna and her jealousy? The arguments, his defence? The night, the breakfast, the trip and the meeting?

7. Michael, the train trip, checking in at the hotel, the work, Laura and the drink in the bar, their talking, their past stories, swimming at the hotel, the temptation, Michael going to Laura’s room, the reaction, his coming home early?

8. Joanna, going for the coffee, the encounter with Alex in the street? The promise to go out, getting ready, the makeup? The drinks, talking about the past? His character, relationship with Helen? Going to dinner, the meeting with Truman and his wife? The suspicions? The discussions about temptation? Joanna and her response to Alex, the kiss, taking the dog for a walk, being locked out, the reactions of Truman and Sandra at the return to the party, seeing Joanna as honest? The return home, Joanna’s motives, lying together, Alex leaving?

9. Laura, vampish, her work, the story of her husband’s death, her principles, the party, the flirting with Michael, the swim, the hotel room, the sexual encounter? The aftermath?

10. Michael, his return, his sense of guilt? Going out with Joanna – and the film ending with the possibility of their both telling the truth? Or not?

LAWYER MAN

US, 1932, 72 minutes, Black and white.
William Powell, Joan Blondell, David Landau, Helen Vinson, Claire Dodd, Allen Jenkins.
Directed by William Dieterle.

Lawyer Man is one of many films directed by William Dieterle in 1931-32. Born in Germany, he directed and acted in many films in his native land, moving to Warner Bros in 1930 for American versions of German films. However, he had a successful career in the United States in the 30s, 40s and 50s, returning to Germany to make films there.

He is particularly well remembered for the biographies with Paul Muni as well as The Hunchback of Notre Dame.

William Powell had been acting in silent films including the Oscar-winning The Last Laugh. He was emerging as a popular star at Warner Bros at this time (The Jewel Robbery) but was to move to MGM where he established himself as a charming lead, especially in the Thin Man series. Joan Blondell worked in film and television from 1930 to 1980, a bright character – here the secretary to William Powell’s lawyer.

The film is slight on characterisation, very quick in editing and pace, focusing on the plot. William Powell is a lawyer to the poor, gets an opportunity to go uptown, is betrayed and falsely accused of blackmail, is an antagonist to the political bosses of the period but winning a case becomes the assistant district attorney. When he achieves his revenge on those who took him down, he returns to his poorer origins. There are some glamorous femme fatales played by Helen Vinson and Claire Dodd. David Landau is the boss.

Powell is given a very strong speech about integrity, the law, corruption and politics at the end of the film – it is topical, with explicit reference to Al Capone.

1. The title, expectations? 1932? Tough Warner Bros dramas with comic touches?

2. New York City, the poorer area, upmarket, restaurants, courtrooms? The district attorney? The musical score – and the background of popular songs of the period?

3. The character of Anton Adam, his work, his clients, his success in court, Izzy Levine and his ingratitude? Bentley and his offering him the partnership? Olga as the devoted secretary? His new premises? His roving eye, the initial encounter with Barbara Bentley, going out to meals with her, the flirtation? The encounter with John Gilmurry, the political boss? The girls? Meeting Virginia? Her case of breach of promise, the documents, the case, the journalists and their questions, the disappearance of the letters? The quick outlining of the court case against him and his loss? Bentley moving out? Barbara disappearing? Olga and her being faithful? The years passing, his being on the outer? In the sauna, the old man, his case, Anton taking it on, winning against Gilmurry? Gilmurry and his previous offers for Anton to join the political party? Anton and his accepting the nomination for assistant district attorney? The case against the blackmailers? Gilmurry and his admiration? His continued offers? Barbara and her marriage? Olga, always faithful? Their going back to the poor area?

4. The significance of Anton’s final speech to Gilmurry, the criticism of political bosses, parties and politicking, judges and lawyers in the pay of the political party? The reference to the times – and the references to Al Capone?

5. The women, Olga, bright and breezy, her continued comments and advice? The contrast with Barbara Bentley, the society woman? Flirtation? Virginia, in a show, mixing with criminals?

6. The world of lawyers, Bentley and his integrity? The world of thugs? The world of politics? A mirror of American society in New York in 1932?

MAGIC MIKE

US, 2012, 110 minutes. Colour.
Channing Tatum, Alex Pettifer, Matthew McConaghy?, Cody Hawn, Olivia Munn.
Directed by Stephen Soderberg.

Actually, magic is not the word that leaps to mind while watching this story of male strippers at a small club in Tampa, Florida, which is said to have been based on some events in the real life of the star, Channing Tatum. His gymnastic gyrations during some of his acts would support the claim.

However, unless you are an inveterate clubber (probably under thirty, or, maybe forty, by the look at some of the matrons who flock to the club), Magic Mike might seem more than a little tedious.

Of course, there are the acts which pepper the film throughout, tongue-in-cheek contrivances for shirts-off, pants-off performances and some lewd interactions with the clientele. Other than that, it is a more conventional story of a young man, turning thirty, who is tops at his game (well, at least in Tampa), works on construction sites and has an ambition and a skill in making furniture. Channing Tatum is quite convincing in his performance both on stage and in the more personal and humane sequences.

He finds a protégé (Alex Pettyfer who has not always been impressive up to now in films like I am Number Four and Beastly) who laps up the bright light life, seeing it as absolute freedom, meaning self-indulgence in drink, drugs and sex. Will he come to his senses? In the meantime, there are half a dozen other strippers whose lives we don’t really see much of and the boss, played with exuberant relish by Matthew McConnaughey?, who opens the film with his hedonistic philosophy of life and gets a lot of the lines explaining how the club works on the fans.

One of the drawbacks of the film is the picturing of the responses of the fans, squealing and screaming over and over again.

There is something of a moral anchor in the character of the young protégé’s sister, played by Cody Horn. She tries to look after her brother and casts a cold, rather judgmental eye over the performances and the responses. You know she is going to end up with our hero but that she will try to challenge him for the better.

Director Steven Soderbergh can make arthouse films, from Sex, Lies and Videotape to his two part, Che. He can also do commercial films like the Oceans trilogy and his recent martial arts thriller, Haywire. He can also do satisfying entertainments like the conman story, The Informant, or the health thriller, Contagion. Magic Mike is, maybe, another experiment or, now for something completely different.

A mixture of the earnest and the romantic with the lewd and the sleazy.


1. The work of Stephen Soderberg? The variety of his films and styles? His interest in this story?

2. The film based on Channing Tatum’s life and experience? The energy he brings to the film? The credibility of the plot?

3. The Florida settings, Tampa, building sites, bars, clubs? Ordinary homes? The beach and the sea? The blend of the surreal and the real?

4. The title, the focus on Channing Tatum as a stripper? His performance, from experience? The introduction, his work as a stripper, saving money, for his company and building furniture? His work of the building site? The discussions with the boss? With Adam and his false credentials? Mike’s own life, relationships, the opening with the two women? His encountering Adam, taking him to the club? Getting him the job? The performances? His taking it all very lightly? His relationship with the other strippers? The crisis, Adam going on? Adam and his training? Mike promising to look after him? The relationship with Brooke? His promises to her? Her coming to the club, leaving? The Fourth of July holiday, the boat ride and the beach? The serious discussions with Brooke? The money, trying to get a loan, to form his company, being turned down? The relationship with Joanna, calling her, her coming to the house, his meeting her fiancé? Her behavioural studies? The episode at the birthday party, Adam and his going downhill, the drugs, the fight? Rescuing him? Giving up on him? The standover drug dealers, Mike giving the money? His final discussions with Adam? With Brooke – and a future with her? The confrontation with Dallas, the plans for Miami, his walking out? The possibilities of a new life?

5. The contrast with Adam, his age, dropping out, the football scholarship? On the building site, false credentials? His relationship with his sister, his going out with her? Being bored at the meal, walking along the road, encountering Mike, the club, the jobs, his going out, stripping? Dallas endorsing him? The scenes of training him to dance, the provocation? His success, with the other men, his initial naivety and their having him on? His living what he thought was the good life, women, the drugs, his trying to deal? The blow-up at the party, his irresponsibility, not coming home? The confrontation with Mike, his promising to pay him back? Going with Dallas to Miami?

6. Dallas, the introduction, the rules at the club, the women as lawbreakers? His management of the team, ambitions for Miami? His personality? Friendship with Mike, the partnership? With Adam? Running the club, the plans, the Fourth of July party? The clash with Mike, Mike walking out? The final night, his own stripping, his future?

7. Brooke, medical assistant? Looking after Adam, sense of responsibility? The encounter with Mike, the puzzle, Adam and the clothes that he bought for the act, going to the club, her walking out? Hoping it was a joke? The Fourth of July, seriously talking to Mike, challenging him? Her being the moral focus of the film? Her telling Mike off, appreciating his generosity towards Adam, the finale?

8. Joanna, her being a groupie with the strippers? Her studies, relationship with Mike, her becoming a psychologist?

9. The men in the team, Tarzan, the drugs? Ken and his wife? The promiscuous background? The drug-taking? Their careers – but in a small-time operation?

10. The presentation of the women, their age, going to the clubs, continually squealing and screaming? The cast pandering to lewdness and sexual behaviour?

11. The perspective on the strippers – a dead-end job? Or breaking through – and the fact that Channing Tatum became a leading star?

NED

Australia, 2003, 81 minutes, Colour.
Abe Forsythe, Felix Williamson, Damon Herriman, Nick Flint, Josef Ber, Jeremy Sims, Drew Forsythe.
Directed by Abe Forsythe.

Ned is a spoof of the Ned Kelly story. It is mainly silly, undemandingly funny (with a capital U).

The film was written by Abe Forsythe, in his early twenties at the time, after he had made a prizewinning spoof of The Matrix (Computer Boy). It is said that he wrote this screenplay in three weeks.

The film opens in Glenrowan in the present, with tourists visiting the town and capitalising on all the tourist attractions for Ned Kelly. A young boy listens to an old man on a bench (played by the director’s father, comedian Drew Forsythe).

The flashbacks tell the Kelly story – with quite a number of references to the present (including such jokes as dot.com.au). Jeremy Sims is Mr Kelly, a syphilitic farmer who has sold his oldest son to get passage to Australia. Ned grows up in the rubber farm of the family – the father not realising that rubber will not be the future. When he dies, Ned goes on his travels, wanting to be a magician. He encounters a group who rob banks and joins them. By accident, he gets his tin helmet. The members of the group, Steve Hart, Dan Kelly and Joe Byrne, mimic the original members of the Kelly gang.

There are robberies, magic tricks. There is also the local governor, played with camp style by Felix Williamson, with his dumb soldiers in attendance.

If audiences stay with the film, they may find some humour in the spoof. Otherwise, many audiences will probably opt out at the silliness. There are a lot of bodily function jokes as might be expected, and a surprising number of camp jokes which may be rather controversial with the intended audience.

Ned is ignorant of sexual matters – but this is remedied by the end of the film. He finally achieves his success as a magician.

Abe Forsythe was young when he made the film, shows some competence with the film-making, capitalising on a small budget with some lavish sets and costumes. Forsythe can be seen to much better advantage in the miniseries on Kerry Packer, Howzat, where he portrays John Cornell.

The film came out soon after the more serious film version, Ned Kelly, with Heath Ledger.

THE PROPHECY

US, 1995, 98 minutes. Colour.
Christopher Walken, Elias Kotias, Virginia Madsen, Eric Stoltz, Vigo Mortensen, Amanda Plummer, Moriah Shining Dove Sneider, Adam Goldberg.
Directed by Gregory Wyden.

The Prophecy is an entertaining, though sometimes confusing, piece of supernatural gobbledygook.

It takes its thesis that there is a war in Heaven, God favouring humans more than angels. Gabriel is one of the chief warriors, comes to Earth to find a soul in an evil person who will be able to change the situation in Heaven. Simon, a good angel, is roaming the Earth, finds a soul in a general who committed war crimes in the Korean
War and hides it in a little girl in a remote town, on an Indian reservation. Vigo Mortensen appears late in the film as Lucifer.

Elias Kotias is very strong as a trainee to become a priest, who is haunted by memories of the war in Heaven. He has a breakdown at the time of his ordination and later becomes a police officer, investigating mysterious deaths – including that of Simon, which takes him to the school and the reservation. Virginia Madsen is the local schoolteacher. Adam Goldberg has a rather strange role as Gabriel’s human sidekick, doing Gabriel’s dirty work for him. The cast is good – with Christopher Walken giving yet another idiosyncratic performance.

The film was popular and led to two sequels as well as a later spin-off.

1. The popularity of this kind of supernatural film? Angels and demons? In the 1990s? Beyond?

2. The settings, the church and the ordination, detective work in Los Angeles, going out to the school, the reservation? Authentic atmosphere? The contrast with the flashbacks to the impressionistic battles in Heaven? Angels in battle, torment and defeat?

3. The special effects? The picturing of the angelic war? The angels themselves? Their movements? The portrayal of the fights between the angels on Earth? Deaths?

4. The focus on Thomas, his ordination, the solemnity of the situation and the ritual, the previous candidate, Thomas and his breakdown and screaming? The transition to his work as a detective? His faith? Hard-boiled? In action? With fellow officers? The discovery of the dead man, eyeless? The fight, Simon and his killing the man and the audience knowing this? Thomas’s thesis in the room?

5. Thomas and the transition to the reservation and the school? The abandoned town, the few children? Katherine as the teacher? The singing of the Hail Mary, the children’s choir? The celebration afterwards? The importance of Mary, her response in the choir? Her encounter with Simon? Simon breathing the soul into Mary? Mary being taken to the reservation?

6. Simon, his character, coming on Earth, the confrontation with Joseph, the fight and his death? Simon and his going west? His meeting with the general, taking his soul? Breathing it into Mary? Gabriel, the confrontation, Jerry and his assistance? Simon’s death? Thomas coming to investigate?

7. Gabriel, his personality, his role in the angels’ war? Coming to Earth, looking for Simon, wanting the soul? Jerry as his sidekick, his insulting him, getting him to do the dirty work? Especially with Simon? Gabriel, his interrogating the children, trying to find out about Mary? The background of the dead general and the Korean War? His grave, his body? Gabriel and his mission?

8. Thomas, the investigation, the discussions with Katherine, with Mary? The build-up to the confrontation with Gabriel? The memories, the rivalries, the appearance of Lucifer, his sinister presence, his motivations? Rachael and her presence?

9. The final confrontation? Thomas and his asserting himself, rescuing Mary? Gabriel and his defeat – and the future, the sequels?

THE PROPHECY 3: THE ASCENT

US, 2000, 84 minutes. Colour.
Christopher Walken, Vincent Spano, Dave Buzzotta, Kayren Butler, Steve Heitner, Brad Douriff, Scott Clevedon, Jack Mc Gee.
Directed by Patrick Lassier.

Prophecy 3, as the name suggests, is the third of a trilogy with characters created by Gregory Weiden who directed the earlier films. This is the first feature film directed by Patrick Lassier, long-time editor, especially of the films of Wes Craven. He was soon to make the Dracula trilogy, go on to make My Bloody Valentine, Drive Angry.

The film focuses on Danyael (Dave Buzzotta) who is half-angel, half-human and leads a group in denouncing God. He is assassinated by a zealot played by Brad Douriff. However, he is resurrected in the morgue, finds that he has a destiny, to confront the powers of evil, especially Zophael who wants to reverse the sides in the war against good and evil, angels and demons, as well as Pyriel, the Angel of Genocide. Vincent Spano stands out as Zophael.

However, each film has Christopher Walken – a bit different from the rest of the characters in the films. He plays Gabriel, who in the second film has become human. In the third film he is very much a Christopher Walken character, wisecracks, an earthiness that does not suggest anything of Heaven. As a human, he walks the earth, a kind of guardian angel to Danyael, helping him to his destiny – and glad that he is human, wanting to stay human because he has a driving licence.

The film is partly tongue-in-cheek – but treats the rest of the story in a most straightforward way, all the more successful for that, bringing a rather B-grade but interesting trilogy to a close.

1. The Prophecy trilogy? Audience interest in the clashes between angels and demons? The archangel characters? The fictitious? In the human context?

2. The title, The Ascent, Danyael and his mission, his achievement?

3. The American city, the sinister aspects, the religious rally hall, the dark streets, the police precincts? The musical score?

4. The introduction to Danyael, his speech to the crowd, audiences thinking he was on the side of God, his change, denouncing God? Maggie and her egging the people on, love for him?

5. The zealot, his glasses, sinister? His shooting Danyael? Danyael taken away, Maggie bespattered with blood, at the police station? The morgue? The police interrogations?

6. Gabriel, Christopher Walken and his appearance, style, comments? His going to the rally? His watching over Danyael? Going to the police station, the comic interview? His avoiding giving his identity – and the stories about the driver’s licence...? His continued concern, following Danyael, advising him, protecting him? The confrontation with Zophael? With Pyriel? His staying as a human – and the comments about the driving licence? Seeing him drive, not effectually?

7. Zophael, his arrival on Earth, his relentless walking through the streets, his pursuit of Danyael, the confrontation with Gabriel and their discussion about what had happened, the restoration of the peace? The failure? His stalking Danyael, the reasons for his wanting to defeat him, the fight to the death?

8. Pyriel? Genocide? His sinister presence? The final confrontation?

9. The doctor, his knowledge of the past, his concern about Danyael? Looking at the symbols and the tattoos? Reading the books? His having to let Danyael go?

10. The pursuit, the angels and their fights, Gabriel and his protection? The apocalyptic aspect of the final confrontation?

11. The year 2000, the release of the film, the popularity of this kind of apocalyptic story at the end of the 20th century?

PSYCHO

US, 1998, 105 minutes. Colour.
Vince Vaughn, Julie Anne Moore, Anne Heche, Vigo Mortensen, William H. Macy, Robert Forster, Philip Baker Hall, Chad Everett, Rance Howard, Rita Wilson, James Remar, James Le Gros.
Directed by Gus Van Sant.

Purists devoted to Hitchcock's classic have been horrified with the idea of Gus Van Sant remaking Psycho, in colour, using the original screenplay and Bernard Herrmann's famous score. In fact, there have been three sequels to Psycho so it is not as if it has not been imitated, even re-made (and with Anthony Perkins).

Rather than a re-make, this version is a re-enactment, something that is always done in theatre as a new cast takes the place of the old cast. It is the same play, but the performers bring their own presence, intonations, body language.

Van Sant has followed Joseph Stefano's screenplay fairly closely, sometimes making it a little more explicit sexually and violently than Hitchcock was able to do in 1960. He has also had it photographed, especially in the Phoenix and highway scenes, to look like a film that was made in colour in those days.

The cast makes a difference. Vince Vaughan is solid and ordinary looking, relying on a silly giggle to suggest all is not well. Anne Heche looks more worldly-wise than Janet Leigh and Julianne Moore is a bit tougher than Vera Miles. Viggo Mortensen as Sam Loomis is a distinctly earthy improvement on the stolid John Gavin. William H, Macey is very good as the investigator Arbogast (and his death is just as shocking as in the original).

Purists will prefer the original (and why not?). But younger audiences and those interested in performance will be interested in this version (and why not?).

1. The classic status of Hitchcock’s Psycho? Black and white? The cast? The Bates Motel? Bernard Herman’s score?

2. The status of this film? Colour, the use of Herman’s score? The comparisons with the cast? The effect of the colour photography? In terms of drama, suspense? The poor critical reception?

3. The work of Gus Van Sant? His decision to remake Psycho in this way? The condemnations?

4. The cast? Vince Vaughn in comparison with Anthony Perkins? Anne Heche in comparison with Janet Leigh? Age, build, appearance? Norman Bates and his maniacal grin, laugh? Marion Crane and her age? Julie Anne Moore and Vera Miles? Vigo Mortensen and John Gavin? William H. Macy and Martin Balsam? The effect of the comparisons?

5. The credits, the split words? Herman’s score? The cityscape of Phoenix, Arizona? The entry into the hotel, Marion and Loomis?

6. The introduction to Marion Crane, her relationship with Loomis? Her going back to work, the headache? The chats with Caroline at the office? The boss, coming in with Tom Cassidy – and his leering? The issue of the money? Marion and her headache, taking the money, the trust of Mr Lowery? Her taking the money, in the car, Lowery and Cassidy passing in the street?

7. Marion and her drive, her nervousness, being pulled over by the officer, the interchange, her edginess? The policeman following her, going to the car sales? The salesman and his earnestness? Her haste, buying the new car? The policeman and seeing her sleeping on the side of the road?

8. Driving, tired, going to the Bates Motel? The visual impact of the Bates Motel – in colour, the neon lights? The initial encounter with Norman Bates? Vince Vaughn, tall, well-built? His laugh? Hospitality? Audiences suspicious of him or not?

9. Mrs Bates, in the window? Her movement? Norman and his conversations with her? Signing in Marion, her false name in the register? The number one cabin? Norman offering the meal, bringing it, in the room, the stuffed birds? His explanation of taxidermy? His beginning to speak, his mother’s madness? Marion and her faux pas? Edgy?

10. The hole in the wall, Norman’s sexual behaviour, spying? Marion and her having the shower, Mrs Bates coming in? The shower scene and the almost exact replicating of Hitchcock’s filming and editing? The impact of the blood, colour?

11. Norman, mopping up the blood, transferring the body, the car in the water? The money in the newspaper, in the rubbish?

12. Leila, her coming to Loomis, her aggressive nature? Wanting to find out about Marion? Abogast and his following, the discussions with Leila and Loomis? Loomis and his bewilderment?

13. Abogast, his visit to the motel, his interrogations of Norman? Norman and his reaction, his answers, his lies? Abogast and his wanting to talk to Mrs Bates? Phoning Leila, going into the house, the stabbing and his death and fall – and the using of Hitchcock’s style for the killing? Leila and Loomis and their waiting?

14. Leila, her impatience? The decision to go to the Bates Motel? Posing, going into the room? Loomis and his engaging Bates in conversation? Leila and her going into the house, the search, Norman realising she was in the house? His pursuit? Leila, the basement, the discovery of Mrs Bates’s corpse? Her screaming? Norman and his attack, Loomis and the fight? The overpowering of Norman?

15. The sheriff, his wife, Loomis and Leila visiting him? Their knowing Norman, the explanation of the story, his mother, the lover, the poison?

16. Norman in custody? The psychologist? Norman reverting and being overtaken by the personality of his mother? Explaining everything that had happened? Leila and Loomis and their listening? The doctor’s explanation of the psychological state?

17. The final scene of Norman, becoming his mother, sitting alone in the cell?

18. The impact of this film in itself – and in comparison with the original?

SOLARIS

US, 2002, 99 minutes, Colour.
George Clooney, Natascha Mc Elhone, Viola Davis, Jeremy Davies, Ulrich Tukur.
Directed by Steven Soderbergh.

An exploration of themes of God, death, relationships in the guise of a non-action science fiction film. George Clooney plays a psychologist who is asked to travel to a space station to assess what has gone wrong with the mission and with the minds of the crew. While there, his dead wife re-appears, raising puzzlement about life after death, the impact of love and the possibility of forgiveness. Perhaps the planet, Solaris, is meant as an image of Purgatory/Heaven.

Clooney describes Solaris in these terms, "What makes Solaris relevant today, is that it deals with the basic issues we constantly question and wonder about: love, death, after-life. The things we don't have answers to. We want to define things and those things we can't define, terrify us. We want to know how high is up, how old is eternity. Everything we know as humans has limits - a beginning, a middle and an end. No one in this story has answers, they just have really good, smart questions."

Audiences who appreciate more thoughtful drama, rather than slam-bang action, will see the similarities between Solaris and Stanley Kubrick's cinema-poem, 2001: A Space Odyssey, which raised similar questions in 1968.

Solaris is based on a Russian novel by Stanislaw Lem. It was filmed in the USSR in the early 1970s by a Russian director who is now considered one of the masters of cinema, Andrei Tarkovski. Thirty years ago, audiences noticed the similarities with 2001 and were intrigued by a Russian film-maker venturing into themes of spirituality. Clooney's Solaris is directed by Steven Soderbergh whose recent successes include Traffic, Erin Brockovich and Ocean's Eleven. Soderbergh did not want to do a remake. Rather, he wanted to offer the themes and the questions to a contemporary, wider audience. Many have found it beautiful to look at but too puzzling and demanding. But Soderbergh and Clooney are trying to show how films can take us deeper than simple entertainment.

1. The impact of science fiction? Blended with philosophy and theology?

2. The influence of 2001: A Space Odyssey? The Russian version of Solaris? Visuals? Effects? Intelligence? The future?

3. The work of Steven Soderbergh, working in a variety of genres? Adapting the Russian novel?

4. The quality of the visuals? Earth and its ordinariness, the train, the clubs, homes? The contrast with Space? The spaceship and the interiors? The technology? Solaris itself? The beauty? The musical score and its tone, piano?

5. The focus on Chris Kelvin, George Clooney and his presence, his character? His ordinary life, at home, alone? The call, the visitors, the request to go to Solaris? His decision? His arrival, the atmosphere of mystery?

6. Hearing the sounds, Snow and his listening to the radio? Snow as a character, young, his style, offhand? His explaining that Gibarian had killed himself? The presence of Gibarian’s son?

7. The contrast with Gordon, alone in her room, refusing entry? Opening the door, talking with Chris? Her scientific and technological background? Her experiences, the Depression?

8. The ownership of the spaceship, governmental, selling it to private enterprise? Harvesting Solaris? Energy? The film’s comment on multinationals, ownership, exploration of Space, exploitation?

9. Rheya? Appearing, her character, her presence, the mystery? The verbal interchanges with Chris? The memories of the past? Her being a fantasy? Chris and his sending her into Space?

10. The flashbacks for the past, the encounter on the train, going out, the dance, sharing, the sexual relationship, the sensuality, sharing of mind and heart? The nature of love? Her erratic behaviour? The discussion with Chris and his friends, especially about religion and God? Her own beliefs?

11. Gordon, the explanations of what was happening? Her advice? Snow and his seeing his brother, like confronting himself, the corpse in the roof?

12. The effect on Chris, Rheya’s reappearance, continuing to talk, the puzzle, her being herself and not herself? Her realising this?

13. Chris, his wish fulfilment, forgiveness of Rheya for her death, wanting to hold on to her? Letting her go?

14. The reality of the situation, Gordon and her wanting to return to Earth?

15. Solaris – as a location, as a state of mind, purgatory, heaven or hell? The philosophy of relationship? Relative reality? The spirituality of love? The psychological dimension of wish fulfilment? Love and identity?

16. Solaris, its power?

17. The film not popular with audiences – but in a strong tradition of intelligent science fiction?