WOMAN ON THE RUN

US, 1950, 77 minutes, Black and white.
Ann Sheridan, Dennis O’ Keefe, Robert Keith, John Qualen.
Directed by Norman Foster.

Woman on the Run is a brief film noir from Universal Studios. It is a star vehicle for Ann Sheridan who had been prominent in Warner Bros films in the 1930s and 40s. She had a lesser career during the 1950s. Dennis O’ Keefe also began acting in the 1930s and was a reliable hero – but in this film, seeming hero, actual villain. Robert Keith is the police inspector.

The film is more man on the run rather than woman on the run. An artist witnesses a murder, can identify the killer, flees from the police. His estranged wife begins a search for him, discovers his talent, his heart condition, his loving her. She avoids the police but is helped by a newspaperman, played by Dennis O’ Keefe. The film takes place over a short period of time as the search for the artist continues.

There is a tour de force sequence towards the end of the film with O’Keefe? and Ann Sheridan on a roller coaster, Ann Sheridan by herself, black and white photography effective, editing effective to convey the terror of the woman as well as her desperate wanting to help her husband.

The film was co-written and directed by Norman Foster, who directed seven Mr Moto films and three Charlie Chan films in the 30s, directed more prestigious films like Rachel and the Stranger and, for Orson Welles, Journey Into Fear.

1. The popularity of film noir during the late 1940s, early 1950s? This film as an example?

2. The title, the role of Eleanor, her searching for her husband, the husband on the run?

3. The black and white photography, atmosphere? The roller coaster sequence and its effect? Style? The musical score?

4. The opening, Frank and his walking the dog, the murder, the light, recognising the killer’s face? The reference to Danny Boy?

5. His reporting to the police, the inspector and his interrogation? Frank and his running away? The fear of the killer going after him?

6. The visit to Eleanor, her relationship with her husband, the estrangement? Yet her concern? Her dislike of the police? The search? Her husband being an artist? The later discovery of his heart condition, the need to find tablets for him?

7. Dan Legget, turning up, on the roof, encountering Eleanor? Offering to help? Newspaperman?

8. Eleanor and Dan and their search? Going to the club, the Chinese dancers, the information? The phone calls by Dan? The address on the menu? Their going to see Maibus? Eleanor discovering more about her husband’s art? Maibus’s praise of the artist?

9. The continued police investigations, encountering Eleanor? Questions? Following her? The woman tailing her and her confrontation with her?

10. The message, the phone calls? Eleanor trying to remember the place where they would go in the past? A rendezvous? Dan Legget and his urging her to find the place?

11. Going to the entertainment park, the rides, on the roller coaster? Eleanor and her finding her husband?

12. Dan, his being revealed as the killer, his pursuit of the artist? The fight, the gun?

13. Eleanor, on the roller coaster, her fear, wanting to get free, find her husband? The body in the water? The inspector, the shooting of Leggett? The saving of the artist?

14. Brief ingredients, 40s and 50s style? Crime thriller?

THE YELLOW HANDKERCHIEF

US, 2008, 103 minutes, Colour.
William Hurt, Maria Bello, Kristen Stewart, Eddie Redmayne.
Directed by Udayan Prasad.

While The Yellow Handkerchief begins with a man released from prison, this is a rather gentle film. William Hurt portrays a worker who accidentally kills a man in a fight and goes to prison. He has been in a relationship with a middle-aged woman, played by Maria Bello, whom he wants to marry. On his leaving prison, he encounters a young man, Eddie Redmayne, who is itinerant, native American Indian, driving around the United States. He also sees a fifteen-year-old girl, played by Kristen Stewart before the Twilight films, and through a series of circumstances, especially deluge weather, they make a journey towards New Orleans, some suspicions, some trust, some misunderstandings, some truth-telling. The film ends optimistically.

The film was directed by Udayan Prasad, an Indian director who has worked mainly in the United Kingdom, especially in the late 90s with race-themed films, My Son the Fanatic and Brothers In Trouble. The film offers a benign look at human nature, offending others but being forgiven, reconciliation and love.

1. The title, the end, the yellow banners to welcome Brett Back?

2. Louisiana, the towns, the river, motels, abandoned buildings, New Orleans and the waterfront, the hospitals, the destruction from Katrina? Authentic feel? Musical score?

3. The film as a road movie, travellers, their interactions? The goal of the journey?

4. An odd trio, fate and destiny bringing them together, their interactions, differences, their talking, truth, love? Trust?

5. Brett, the scenes of his leaving prison, the release, others with someone to meet them? His going into the town, the cup of coffee, watching the teenagers out the window, listening to Gordy and his questions about cameras? Travelling south, Gordy and the car, the group together, the ferry, the pouring rain? His mailing the postcard? His personality?

6. The flashbacks, their being inserted throughout the journey, Brett’s memories, happy memories, his work on the rig, his meeting May? The discussion about the job, his making the advances, working, May repelling him? Their talking, his comments about her face, love, the proposal of marriage? The tensions? Their being together, her pregnancy, the miscarriage and its effect? On her? On him? Blame? Brett and his lifelong sense of failure? His fight, his going to prison? May’s visit? His decision to send the postcard?

7. Martine, at fifteen, the story about her father, travelling with him, her interaction with the boys, her being put off by Gordy, accepting the lift, wanting to go south, to New Orleans? Trusting Brett? The ferry, the rain, the motel, Gordy and his advance and her anger, Brett and his looking after her, her staying with Brett and talking when Gordy left? Eliciting Brett’s story from him, Gordy’s return, the gas leak, the abandoned building, the photos and Gordy’s skill? Talking with Gordy, acceptance?

8. Gordy, the photos, Native American background, camerawork, photographing Martine, the car, the cash that he was carrying, paying for the ferry, the rain, in the room, his advances, his reaction to Martine? His leaving the car, returning because no public transport, buying the coat, awkward, faux pas? Talking with Brett? The gas leak and fixing the car? Talking with Martine, changing?

9. Listening to Brett’s story, the interruptions, continuing?

10. New Orleans, the images of the city? Disruption? May not seeming to be home? Going to the waterfront – the ship, the yellow banners – May and Brett being reunited? Martine and Gordy happy with the achievement of their goal?

360

UK, 2011, 110 minutes, Colour.
Anthony Hopkins, Rachel Weisz, Jude Law, Jamal Debbouze, Lucia Siposova, Gabriela Marcinkova, Ben Foster, Moritz Bleibtreu.
Directed by Fernando Meirelles.


Not exactly a perfect circle, one episode leading into the next and then the next…, even though this film takes its inspiration from Arthur Schnitzler’s La Ronde. Rather, there are all kinds of interconnections within the circle – which does lead us back to where we started. And that is with a Slovakian woman posing for a photographer who is, in fact, a pimp, sending her out on an assignation which leads us to a British businessman, Jude Law. But the scene shifts to Paris and another story, and to the United States where a convicted sex offender is being transferred to a parole situation. And so on. By the end, we have discovered the various degrees of separation and the surprising degrees of connection.

Some of the episodes are quite dramatic, others much milder. The latter is particularly true, unfortunately, of the British episode with Jude Law and Rachel Weisz as unfaithful husband and wife who rediscover something between them. Perhaps the most interesting story centres on Ben Foster as the sex offender - Foster seeming to specialise on repellent characters (3:10 to Yuma, The Mechanic). Delayed at Denver airport by snow, he is tense, wary of re-offending, chatting to a young Brazlian woman, returning home after a bad relationship with a photographer in London (who was having an affair with Rachel Weisz, so one begins to see connections and tangles) who is very confronting, alarming him. She had been sitting next to Anthony Hopkins on the flight. And so on.
The screenplay is by Peter Morgan who has shown more insight and versatility in his political dramas, The Deal, The Special Relationship, The Last King of Scotland, The Queen. One arresting sequence concerns Anthony Hopkins at an AA meeting. His words might have been written by Hopkins himself about his own recovery from alcoholism decades earlier. He then pays tribute to a priest who had helped him considerably, a Jesuit who alerted him that he would have a moment of grace and would recognize it. Quite a positive image of a priest for contemporary films.

It is the actors from Eastern Europe who make an impact, especially in a climax that is a combination of exploitation, violence, romanticism, and undeserved luck.

More of a time-passing entertainment than a study of human nature.

1. The work of the director, the writer, their combination?

2. The title, not a La Ronde story but degrees of separation and connection? 360 degrees and the circle?

3. An international production, emphases, Austria, France, the UK, US, Brazil?

4. The international cast? The range of languages? Music styles? Songs? The credibility of the stories and their connections?

5. The situations, the characters, the connections, coincidences?

6. The manner of storytelling, the episodes, the links, the interconnections, the revelations?

7. The emphasis on sexuality, fidelity, infidelity, prostitutes and pimps, clients? Photographers, models? International rings? Platonic love and disappointments? Families? The sexual offender? The provocative aspects of the film, daring? Chances and risks? Running away from the truth? Deaths? Alcoholics Anonymous? The business world? Psychology and counselling?

8. The introduction, Mirka, the photos, the photographer, the poses, the money? Anna, Mirka’s sister, the Slovakian background? Willing to help, not? Vienna and Bratislava? The family? The reaction of the parents? Mirka and her rebellion? The job, the bar, meeting the businessmen? The setup? The salesmen and their contacts? The Russian, the hotel, the time, texting? The violence, the money, leaving?

9. Michael, the book, the bar, his being caught out, the appointment with the prostitute, open to blackmail, the deal, the phones, his loneliness, his ringing home?

10. Rose, the photos, Rose with her lover, talk, sexual encounter, going home, getting ready for her husband, playing with her daughter, at work, the jobs, the photographer, the later connections? Berlin, the salesman Michael and the possibility of reconciliation?

11. Paris story, the cab, the airport, Valentina, going to the counsellor, the discussions with the imam, the Muslim conceptions of sin? Advice, the psychiatrist, permissive? The dentist not? Telling Valentina, watching her leave?

12. Tyler and the counsellor, ready for parole or not, granted? His character, hard? Survival in an all-male situation, the transition, the airport, the snow, the plane held up? The phone and touching his shoe? Meeting Laura, his being careful, the puzzle, the drinks, going to the phone, checking with the officer? The PA? Laura, the audience knowing her, the explanation, her going to the room with Tyler, feeling rejected? Reaction, the bathroom, masturbation, the washing? The audience questions? Affirmed, the choice? A moment of grace and Laura being saved?

13. John and Laura, their talking on the plane, her story about herself and her boyfriend, his infidelity (and the link to Rose)? From Brazil? John, his story, the affair, his daughter, her leaving, her ultimatum, his not knowing whether she was dead or not? Going to Phoenix, to identify the body, the bond with Laura, at the airport, the note? In Phoenix, the AA meeting, his story, his story about the Jesuit, the prayer, the issue of a moment of grace, accepting?

14. Valentina, at the AA meeting, the story, her boss, returning? The husband and the clash? The divorce? John and his hopes?

15. Sergei, the phone, relationship with Valentina, obeying the Russians, driving? His English lessons? The meeting at the airport, the rebuke, checking Mirka, Mirka and her client, time up, texting – and the ensuing violence?

16. Sergei, the car, meeting Anna, her questions, the car and the rain, their driving, talking, the return? The phone call, the lie, the killing? Risking everything and going with Anna?

17. An existential film, life, the forks in the road – and which ones taken? A satisfying two hours of stories and issues and morals?

THE ANGELS’ SHARE

UK, 2012, 101 minutes, Colour.
Paul Brannigan, John Henshaw, Gary Maitland, Jasmin Riggins, William Ruane, Roger Allam, Siobhan Reilly.
Directed by Ken Loach.


Ken Loach has been directing films on the working classes for almost fifty years. And he is definitely still on their side. And, as this film goes on, we are invited to be on their side – with mixed results, on side with some, yes, and others…

The film opens with the dopiest of the lot, a bespectacled nong on a railway station, almost killed by a passing train. But, he finds himself in court as do a succession of men and women charged with petty crimes, quite an entertaining credits sequence. Then they are sentenced to do community service. (Actually, the film makes a very good case for community service instead of prison sentences.) They are under the care of the rather benign Harry (John Henshaw) with the focus narrowing to Robbie (Paul Brannigan) who has been in jail, is bashed by his prospective father-in-law and other thugs, especially when he goes to hospital for the birth of his son.

With Harry and Robbie, the audience gets involved empathetically with them and to some of the rest of the group who paint halls, clean cemeteries and other jobs.

Harry is fond of whisky and knows more than a bit about malts. It emerges quite quickly that Rob has a nose and a palette for tasting and identifying the whiskies. He shines at a competition and makes a contact with an expert. Will it lead to something substantial for Rob, for Leonie and their son Luke?

What it actually leads to is a clever whisky heist, stealing some of the whisky, that which may not be missed, the angels’ share.

This is a film about hope, Robbie’s hope, and the possibilities of overcoming one’s background and mistakes. It is both serious and funny (especially that dopey character from the opening).

And, if you find you are leaning forward in your seat, you soon realise that it is not because you are involved (which you are) but you are straining to understand as much of the heavily-accented dialogue as you can!




1. The work of Ken Loach? The touches of comedy? Serious issues? Social issues? The Scottish background?

2. Loach and his concerns, bringing the lighter touch, his writer, Paul Laverty, and the Scottish perspective?

3. The locations in Glasgow, the city, the railway station, the courts, the restoration of the building, the gardens, the countryside, the roads, the distillery? The feel and the songs?

4. The title, whisky, the share of the whisky that could be stolen – for angels, and others?

5. A whisky film, the taste of malt, scotch, varieties, treasures, stealing and deals?

6. The credits, the introduction to the characters, Albert and his stupid behaviour at the railway station, his surviving? Themes of stealing, violence? The characters in the courts? The judge, the sentences?

7. Community service, John, a kind man, his interest in his charges, the painting, the garden, the graves, the restoration?

8. The film’s focus on Robbie, his having been in prison, his own violence, his girlfriend, her pregnancy, her family and her father’s hostility, the gang bashing him, the threats, preventing him from seeing his girlfriend in the hospital?

9. John, the whisky-tasting, Robbie discovering his skills, his capacity for taste, discernment? The competition and the result? The other members of the group, their attitudes, discussions? The later plan? The interest by Thaddeus? Honesty and dishonesty, taste, selling, offering jobs?

10. The group and their work with John, Albert and the comedy of his being so dumb? Mo, the girl, the background of her surliness? Rhino, genial?

11. The plan, hitchhiking, going to the distillery, Robbie hiding, stealing the whisky, overhearing Thaddeus and his bribe? The effect?

12. The scene of the auction, the American, his bidding, delight in winning? The chairman of the auction? The expert and his scene at the initial tasting, at the auction?

13. The return to Glasgow, being held up by the police, the interrogation, fending off the comments, the comedy with the kilts? Albert, his stupidity, spilling the whisky?

14. Robbie, his shrewdness, getting in touch with Thaddeus, selling the remaining whisky, distributing the money, getting a job? His girlfriend, the baby?

15. A happy ending, despite all the problems along the way?

ANNA KARENINA

UK, 2012, 129 minutes, Colour.
Keira Knightley, Jude Law, Aaron Taylor- Johnson, Matthew Macfadyen, Kelly Macdonald, Emily Watson, Domhnall Gleeson, Ruth Wilson, Michelle Dockery, Shirley Henderson.
Directed by Joe Wright.


Theatricality.

Perhaps not the most obvious word to use in connection with Anna Karenina. After all, Tolstoy’s novel has vast scope, life in Moscow and St Petersburg as well as in the Russian countryside, aristocratic classes, the military, the peasants. There have been several film versions of Anna Karenina, plenty of interpretation and background and images of Greta Garbo, Vivien Leigh, Jacqueline Bissett, Sophie Marceau.

But, director Joe Wright, with a screenplay by playwright Tom Stoppard, has decided to keep his treatment indoors, in fact, within a complex theatre, characters moving in and out of rooms, wings, the audience supplying the links and recognising locations. The film does go outside for the scenes of the harvest and Levin working with the peasants, a contrast to the artificial world of the aristocrats.

The audience has to accept this instantly, with the curtain literally rising. If not, no hope for this version.

Costumes and décor are more than elegant, so is the 19th century like orchestrated score. Visually, it is something of a feast.

That means, when we accept the style, we concentrate on the performances and the issues. Kiera Knightly is a younger Anna, not realising how much she is imprisoned in a formal, arranged marriage, visiting Dolly (Kelly Macdonald) to ask her to forgive her comically eye-roving husband, Stephen (Matthew McFadyen? giving a funny and striking performance). But, Anna’s eye strays. She is attracted to a young officer, Count Vronsky, flattered by his attentions and gradually becoming aware of her feelings. She is more attracted to Vronsky than most of the audience will be. Aaron Taylor Johnson is a bit vapid, infatuated, then tormented, but not the kind of man that we imagine Anna would be attracted to.
It is Jude Law as the intensely serious and upright Karenin who gives the impressive performance, a man of principles and law, taking a harsh stance but then becoming far more human and kind than we imagined he could be.

There are some excellent supporting performances, bringing society to life. Tolstoy contrasted the world of ordinary people with those who lived in artifice. This is reinforced by Levin (Domnhall Gleeson) who is part of society but whose life and beliefs are with the common people. He is the moral focus of the film and, as with Shakespeare’s plays, after the tragedy (and Anna’s fate is a tragedy) comes the restoration of order.

If we accept the theatricality and allow for the interpretation of Vronsky, there is much to enjoy and think about in this version of the classic.

1. The status of Tolstoy’s novel? His perspective on Russia, on the 19th century? The story, the themes? A classic?

2. The various films, the range of interpretations of Anna, Vronsky, Karenin? The theatricality of this film and interpretation?

3. Russia in the 1870s, interiors, wealth, society, the contrast with ordinary people, the farms, the fields and the harvest? Meals, balls, theatre? Costumes, decor? The score and its reflecting the period and its compositions?

4. The theatricality, the curtain rising, the action in the theatre, the stalls, balcony, the stage, the wings, the heights? The editing and transitions, to preserve the theatricality? Opening doors, passages? The opening out into the fields by contrast? The action and the harvests? The effect of this kind of theatricality in a film?

5. Society, royalty, the number of princesses, the world of elegance, the elite, snobbery? The contrast with middle-class people, Stephen and Dolly, their home, the office and the picture of the bureaucracy, caricatured? The world of gambling?

6. Keira Knightly as Anna, her age, mother of her son, wife to her husband, the traditions and expectations, her comfortable life, servants? Karenin and his age, work, the importance of his contribution to the State? The contrast with Stephen and Dolly, Stephen and his philandering, Dolly and her being upset, Anna travelling to see her, help her, the talk, the issue of forgiveness?

7. Stephen, pleasant, rather stupid, philandering, his relationship with Dolly, his children, his age and being conscious of change? Dolly, a good woman, listening to Anna, forgiving, carrying on with her life?

8. The introduction to Vronsky, the train, with his mother? Young, his appearance, military, his commissions, intending to marry Kitty? His social life? His glimpse of Anna, following this up, helping her, the number of encounters, her effect on him, Anna noticing and the effect on her?

9. Levin’s story, the moral core of the film? His friendship with Stephen and Dolly, his meeting with Kitty? Awkward, love, quiet, not expressing it? Kitty and her aloofness? Levin going back to the country, his family, the work, the discussions with the peasants? Social comment? Russia and the social divisions at the time?

10. Anna and Vronsky, the effect on Anna’s personality, her coming out of herself, yet the tensions? The continued meetings, Vronsky’s pursuit? Their discussions? Anna and her confusion, the response, the moral issues, the gossip, Princess Betty and the contacts, the occasions, clothes, Karenin and his warning? The risk of losing her son?

11. Karenin, a stern character, loving his wife, introspective, reading, thinking, hearing the gossip, talking with Anna, refusing a divorce?

12. The contrast with Vronsky, the army, his career ahead of him, the proposition that he go to Tashkent, his not wanting to go? His relationship with his mother, her dominance and control?

13. Anna, the change, leaving her husband, the passionate affair, the critique, the visits to her son, Karenin’s visits?

14. Levin and Kitty, Kitty and her disillusionment with Vronsky, becoming herself, loving Levin, the pregnancy, the ordinary life, the pattern for a good marriage?

15. Anna, the affair, her becoming neurotic, even paranoid, Vronsky and his exasperation?

16. The growing sympathetic portrait of Karenin, his visits, helping Anna, at her bedside?

17. Anna, the build-up of emotions, the way she had been brought up, her family life, her son, absence of her son? The torment with Vronsky? Uncertain, accusations? The initial train imagery – and the early death in the film? Anna, the station, falling to her death?

18. The tragedy of Anna, Karenin, Vronsky, Anna’s son?

19. After death of Anna, the restoration of order, Levin and Dolly signifying order? Order for society and individuals?

BERNIE

US, 2011, 104 minutes. Colour.
Jack Black, Shirley Mac Laine, Matthew Mc Connaughey.
Directed by Richard Linklater.

Adult audiences should find Bernie an interesting and entertaining film.

However, it is best to go into it knowing as little of the plot as possible. There are several very well portrayed character developments.

The film is both comic and serious, the work of director, Richard Linklater, who has had a successful career in independent and smaller-budget films. Matthew McConnaughey? worked with him in one of his earliest films, the slacker comedy, Dazed and Confused. Jack Black worked with him in one of his most popular films, School of Rock. Linklater also made the romantic-conversation films, Before Sunrise and Before Sunset.

It doesn’t hurt to know beforehand that this is one of Jack Black’s best performances. He throws himself into the part without the manic energy that we usually associate with him. He is Bernie personified, even to his stance, his way of walking, his mannerisms. He is a funeral attendant, a fussy but kind man, a little prissy with some dismissing him as a sissy. But, his concern for clients – and for everyone – means that he is very popular in the small Texas town where he lives.

Linklater has based his film on a true story. He also uses the device of having the townspeople give to-camera interviews and testimonies about Bernie. Some of these are very funny, with quite some criticism of Texas, its traditions and attitudes, a mixture of the sardonic and the affectionate. We welcome the testimonies and enjoy Bernie seeing Bernie show how true they are.

The other main character in the film is Mrs Nugent, the widow of a wealthy self-made banker who is gruffness and meanness personified, Mrs Nugent that is. Shirley MacLaine? can do mean disdain and imperiousness with no trouble at all. At almost 78, she is portraying an 80 year old woman. In the photo of the actual Mrs Nugent at the end of the film, she looks far kinder than Shirley MacLaine? does. Bernie treats her well and she takes a shine to him. The actual Bernie seems a very nice man too.

The other main character is the sheriff, played by Matthew McConnaughey? as a good ole Texas boy, someone who dislikes Bernie and casts aspersions on him.

That is probably as much as a review should say, an indication of themes, of treatment, of characters, of tone – and leave the plot itself to please and surprise.

1. Based on a true story? A Texas story and tone? The 1990s?

2. The portrait of eccentric Texas? The map and the districts, the ironic commentaries? Visuals of the history of Texas? The beginnings of wealth? Oil? The use of interviews, the sardonic tone, yet affectionate? Kindness and unkindness in the satire? Portrait of a small town? The testimonies, their insertion, the pace of the film, the changing perspectives on Bernie? The continued perspectives on Bernie?

3. Carthage, Texas? The town, small, homes, shops, restaurants? Church? The funeral home, the cemetery, the countryside? An authentic feel? The musical score?

4. Jack Black’s portrait of Bernie? The strong performance? An idiosyncratic character? The introduction, the demonstration to the class, the praise of the professor, the tone? The flashback to the job interview, his impressing the funeral director? Everything nice, everything good, always kind? Bernie’s live illustrating the testimonies of the townspeople? His conduct of the funerals, prayer, singing? Comfort, hymns, Amazing Grace? The visits after, his sensitivity? His skills as a salesman, the tall customer and the short coffin, persuading them to get the deluxe? Yet with kindness?

5. The chapter headings throughout the film? Their framing? Questions about Bernie himself, his manner, considered a sissy, questions of whether he was gay? Danny Buck and his strong opinions? The Christians and their opinion, given their moral stances? The comment about Jesus, his disciples, St Paul?

6. Texas religion, the Methodists, the services, the congregations, their beliefs, the fundamentalist touches? Sincerity?

7. Shirley Mac Laine’s portrait of Mrs Nugent, the introduction, the explanations, people not liking her, considering her mean? The testimonies? Her husband, the flashbacks to his history, his wealth? His funeral? The family background, her sisters and not talking, her granddaughter? The bank, her stern management, throwing plans in the garbage? Bernie and his visits, slamming the door, responding to his kindness, letting him come in? Her character, wilful, mean, spoilt? Her money, her demands? Her mellowing? The meals – and her chewing and this irritating Bernie? The trips, the postcards? At home, her life, going to the rehearsals with Bernie? Church, the bible group, clutching her bag at the mention of donations? Her becoming more demanding, giving him the pager, the phone calls, sacking the gardener?

8. The pressure on Bernie, his continued kindness, at Mrs Nugent’s beck and call? His participation in the town’s activities, his being welcomed, culture, the opera, the musicals, the rehearsal scenes, The Music Man? His still keeping the funerals? The testimony of the director? The gardener and his helping him? The pager, his being summoned, Mrs Nugent closing the gates on him? Wanting to shoot the armadillo, his not being able to? Her chewing irritating him?

9. His following Mrs Nugent, the pressure, suddenly shooting her in the back? Life after Mrs Nugent? Using her money, the gifts, benefits for the town, the playhouse for the children, the donations to the church? The praise of Bernie as a donor?

10. Lloyd, managing Mrs Nugent’s money, his suspicions, the money, irritated, Mrs Nugent always hanging up on him, his organising the search of the house?

11. Mrs Nugent’s sister, talking with Bernie, the granddaughter, participating in the search, the background of suing her grandmother, her testimony on the cross-examination, her being exposed as not being close?

12. The sheriff, nice, talking to Bernie, the search of the house, the discovery of the truth?

13. Danny Buck, his speeches and testimonies, his attitudes, his stalking the criminals in the town, the competition for hands on the car and his arrest of the defaulting fathers? His attitude towards gays? Anti-Bernie? His vindication at Bernie’s confession? Preparing the case, transferring the case to a less-friendly town, his speeches in the prosecution? His TV interview? Comeuppance?

14. Bernie, his being with the children, his arrest, the interrogation, his admitting the truth? His understanding of what he had done? Yet thinking he was like Dr Jekyll and Mr Hyde? His remorse?

15. In the court, testimony, his explanations, Danny Buck and his condemnation of Bernie’s high life, the joke about Les Miserables?

16. The jury, the personalities, their faces? The contrast with the people attending the case, protesting Bernie’s innocence? The testimonies and people not being able to believe in Bernie’s guilt? Even though he confessed?

17. The verdict, Bernie going to jail, people’s reactions? The woman visiting him in jail? His work in jail? Doing good for the prisoners?

18. The final information, the photos, the clips of the real Bernie – and with Jack Black?

19. Audiences and their changing estimations of Bernie, personality and character? Issues of appearance and reality? Issue of temporary insanity? Goodness, forgiveness, rehabilitation and service of the community?

BLACKJACK: IN THE MONEY

Australia, 2005, 90 minutes. Colour.
Colin Friels, Marta Dusseldorp, David Field, Max Cullen, Bille Brown, Russell Dykstra, Gigi Edgley, Paul Gleeson, Mary- Ann Halpin, Elaine Lee, Damian Richardson.
Directed by Ian Watson.

Black Jack: In the Money is part of a series of Channel Ten productions focusing on a detective, Jack Kempson, played by Colin Friels. Jack Kempson is in charge of cold cases and opening up investigations and solving them. Colin Friels is at home in this kind of role after his starring in the series Water Rats. Marta Dusseldorp, who appears in many of the films, is an engaging assistant. David Field is the obtuse police commander. There is an interesting supporting cast of character actors from Australian television, including Max Cullent and Bille Brown.

The film, as with a number in the series, was directed by Peter Andrikidis who has worked in television direction since the late 1970s.


1. The place of this film in the series? Police thriller? Expectations? Australian style?

2. Sydney, the overviews of the city, the suburbs, the police offices, the greyhound track? The musical score?

3. The title and the theme?

4. Colin Friels as Jack Kempson, developing his character in the series, his relationship with Liz, the suicide of his wife, conditions at home? Kavanagh and his inabilities, seeking promotion, his antagonism towards Kempson? The work and the cold cases? Sam, working with her, the relationship? The Chinese assistant? Christine? His inability with computer programs, getting information, his strong detective work? His expectations of people, doing police, clues?

5. Howard, his wife’s death, the funeral, Jack late, the wrong music? At home, the talking, inviting Howard to stay, the drinking, Liz and her relationship with her grandfather? The truth about the affair, the motivation for the murder? The suspects?

6. The opening, Julia in 1993? The black and white photography? In the city, Olympic news, going home, the gun, her death? Her relationship with her family? The affair with Howard? Wanting to leave her husband? Audience suspecting the family?

7. Sandra, her work as a beautician, the appointment with her father, the sign that the lift was out of order, his leaving, going down the stairs, his collapse? His disappearance, the search, the rescue, her helping him? Her animosity towards her father? Steve, his relationship with his father, the work with the greyhounds, at home? Gary, in jail for the murder of his mother? The eleven years? The issues of the money, the mother leaving it to Sandra? Sandra wanting to sell her business, the threats? The discussions with Jack? The hostility of the family? Sandra being abducted, in the zoo, Sam and Jack finding her, leaving her? The issue of the secret hiding place, the diaries, Jack and his getting the camera, photographing them?

8. Gary, simple person, the years in prison, his personality, working with people, the visits from the family, Jack and the discussions, the possibilities of his getting out? His becoming hostile? His brother’s visit? Sandra not visiting? The truth, Jack and helping Gary to face reality, getting out of prison?

9. Steve, his relationship with Sandra, his father, Gary, the training of the dogs, Frank Bird as the corrupt official, the wins, Jack and the interrogation, his being devastated by the truth about his father?

10. Tes, his life, tough, the antagonism with Julia, Gary taking the prison rap for Steve, for his father? His imposition on Gary? His heart, with Sandra, the collapse, in hospital, antagonism towards Sandra, organising her abduction, to warn her? With Steve at the races, his hold over Bird, Bird and the abduction? Jack seeking out Bird, getting him to admit the truth?

11. The solution, the arrest of Tes? Gary getting out? Reassurance for the others? The resolution for Jack, for Howard – and Jack driving him to his home and explaining the truth on the way?

12. An efficient and effective police investigation thriller?

BREAKING DAWN PART 2

US, 2012, 115 minutes, Colour.
Kristen Stewart, Robert Pattinson, Taylor Lautner, Peter Facinelli, Elizabeth Reaser, Ashley Greene, Jackson Rathbone, Kellan Lutz, Nikki Reed, Billy Burke, Maggie Grace, Michael Sheen, Dakota Fanning, Cameron Bright, Lee Pace.
Directed by Bill Condon.

Only for those who have followed the series until this last episode. It presupposes knowledge of what has gone before – though it does give an overview at the end and generously shows the faces and names of all who have had featured roles in the five films.

So, there is very little to say. Bella and Edward love each other (lots of that). Bella is adjusting to being a vampire (lots of that as she moves as swiftly as the pack, flies over forests and cliffs, tries to control her desire for blood). Their baby, mortal because half human, is able to communicate by touch (illustrated as Jakob helps as a kind of nanny) and grows quickly to the stage of a seven year old.

And plot developments? The Volturi are still hostile (and looking pasty-faced as ever, especially Michael Sheen as their malevolent leader), discover the secret of the child and prepare for war. In the meantime, members of the Cullen family (who look and act like any other very nice family in America) go abroad to get witnesses who will prove that it is all right to have a half-vampire, half-mortal child. There are some flashbacks to the Volturi condemning a woman who bore such a child – and they massacre her.

So, all is set on a frozen lake for confrontation. Actually, the film has it both ways with a spectacular battle between foes, with the werewolves lending paws and teeth to help. Then, we discover that this is a vision of what might be – and peace is nicely established and a happy ever after, and after, and after, and after… ending.

Only for those who have followed the series until this last episode. It presupposes knowledge of what has gone before – though it does give an overview at the end and generously shows the faces and names of all who have had featured roles in the five films.

So, there is very little to say. Bella and Edward love each other (lots of that). Bella is adjusting to being a vampire (lots of that as she moves as swiftly as the pack, flies over forests and cliffs, tries to control her desire for blood). Their baby, mortal because half human, is able to communicate by touch (illustrated as Jakob helps as a kind of nanny) and grows quickly to the stage of a seven year old.

And plot developments? The Volturi are still hostile (and looking pasty-faced as ever, especially Michael Sheen as their malevolent leader), discover the secret of the child and prepare for war. In the meantime, members of the Cullen family (who look and act like any other very nice family in America) go abroad to get witnesses who will prove that it is all right to have a half-vampire, half-mortal child. There are some flashbacks to the Volturi condemning a woman who bore such a child – and they massacre her.

So, all is set on a frozen lake for confrontation. Actually, the film has it both ways with a spectacular battle between foes, with the werewolves lending paws and teeth to help. Then, we discover that this is a vision of what might be – and peace is nicely established and a happy ever after, and after, and after, and after… ending.

1. The end of the saga? The impact for fans? As a stand-alone film?

2. The popularity of the series, the vampire world, vampire societies, mythologies? The intersection of the real world with the vampire world? Mortality and immortality? Love, family, children? Enmities?

3. The location photography, the forests and the mountain scenery, homes, Voltoro? The iced river as the battleground? The musical score?

4. The title, the visuals, breaking dawn and new life?

5. Audiences and their response to Robert Pattinson as Edward, as a vampire, gentleman, his love for Bella, Kristen Stewart as Bella, forthright and headstrong, love for Edward, marrying him, the birth of the child, her living in the vampire world?

6. The opening, Bella and Edward in love, the child, Jacob and his care for the child, Bella and her adjusting to vampire life, the swiftness of movement, her toughness, fighting the animals, her desire for blood? Her flying, the scene on the cliff?

7. Charlie, Bella preparing to meet her father, the group tutoring her on how to move slowly and act as a human, slouching? Charlie and his disbelief, Jacob telling the truth, the transformation into the werewolf? Charlie’s discussions with Bella, the need to know for information?

8. The Cullen family, their secret life, the parallel to ordinary humans? The birth of the third daughter and its being seen as a crime in the vampire world? Her way of communication? Their fear about the crime being exposed?

9. The scenes in Voltoro, the sinister world of the vampire aristocracy, Aro and his appearance, leadership, sinister and smiling? Jane and the other members of the court? Their control?

10. The flashbacks, the Voltoro and the human child, the massacre? Irina, her seeing what was happening with the Cullens, going to Voltoro, the information, joining Aro against the Cullens?

11. Carlisle, Esme, their leadership in the Cullen family, concern? Jacob and his being part of the extended family? Bella and her becoming more at home, arm-wrestling with Emmett Cullen?

12. The challenge from the Voltori? Going to Egypt, seeking out the vampires, getting them as witnesses, Benjamin and his powers? The daughter and the confrontation with the women, their disbelief, the little girl and her way of communication, their change of heart? The two Scandinavian vampires and their wanting a fight with the Voltori? The warriors from Brazil?

13. The gathering, the vampires and the help from the werewolves? The small group to confront the Voltori?

14. The coming of the Voltori, in great numbers, the frozen lake, the confrontation?

15. The double ending, the violence and the fight? Then the truth that this was Alice giving Aro a vision of what might be? The visuals of the fight, Benjamin and his splitting the earth, the vast caverns, people falling into the crevasses, Edward and his falling? The graphic fights, the beheadings?

16. Aro, his conceding what would happen? Retiring with the Voltori?

17. The happy ending, Bella and her conjuring up the visuals of the memories of her meeting with Edward, the courtship, the love? Hopes for the future?

18. Why the popularity of the novels? The films? The niche female audiences? A fantasy escape from harsh realities?

DJANGO UNCHAINED

US, 2012, 165 minutes, Colour.
Jamie Foxx, Christoph Waltz, Leonardo DiCaprio?, Kerry Washington, Samuel L. Jackson, Dennis Christopher, James Remar, Don Johnson, Don Stroud, Russ Tamblyn, James Russo, Amber Tamblyn, Bruce Dern, Jonah Hill, Lee Horsley, Tom Sevini, Michael Parks, John Jarratt, Quentin Tarantino.
Directed by Quentin Tarantino.

It’s twenty years since Reservoir Dogs and Quentin Tarantino’s making an instant impact on critics and the public. He won the Cannes Palme D’Or? two years later with Pulp Fiction and an Oscar for Best Original Screenplay. ‘Tarantinoesque’ became a frequently used word in describing not only his films but those which imitated his sardonic style as well as his blood-spurting sequences. With a career that produces a film every two or three years or so (Jackie Brown, the Kill Bill series), he is still a stylish director, a clever writer (a moderate actor, here with his faux Australian accent) and someone who knows and pays homage to a wide range of genre movies as well as an eclectic taste for his musical scores.

All of this is particularly true of Django Unchained (with acknowledgement of the 1966 Italian Django, with Franco Nero, who guest appears here). It is a Western, it is a bounty hunter tale, it is a film of Southern racism in the years prior to the Civil War, it is a condemnation of slavery, it has some Mandingo sequences. And all as a tribute to Spaghetti Westerns, allusions to the films of Sergio Leone, though this time the man has a name, Django, and he is black. There is even some Ennio Morricone music and songs.

For those a touch wary of Tarantino and blood, the major part of the film does have some shootings and beatings but not as graphically seen as before. But… there is an apocalyptic shootout towards the end, large body count and blood. And, but… that was not the ending we thought it might be, there is another shootout and a concluding, really apocalyptic conflagration.

As storytelling goes, there is plenty of plot, mainly about a German bounty hunter who frees a slave, Django, and together they go hunting murderers and robbers – dead or alive. There are some serious and some funny sequences, especially the mocking of the Ku Klux Klan (led by Don Johnson with Jonah Hill in tow) as they go on a raid and have a loopy argument about how well the holes have been cut in their hoods. The two bounty hunters get involved in some cliff-hanging crises which seem impossible to get out of – but they do.

Most of the action takes place on a Mississippi plantation, presided over by Monsieur Caddie, who indulges in Mandingo fights and is advised, even supervised, by his obsequious black slave, Stephen.

Time to talk aabout the cast. Jamie Foxx showed his effectiveness in his Oscar-winning role as Ray Charles in Ray. Here he is a fine, strong presence, a bewildered slave who has lost his wife, who is taken on as a valet (dressed in sky blue), then a partner (dressed like a Western’s hero), a free man, who has learned to read, to be shrewd, determined to find his wife. Christoph Waltz is the dentist become bounty hunter. His career was made by Tarantino in his Cannes-winning, Oscar-winning role as the SS officer in Inglourious Basterds. Waltz has more than acknowledged his debt in a very arresting performance. He has lots of wry remarks, is pedantic about his vocabulary and generates a lot of humour even in dangerous situations. He is very good.

Leonardo di Caprio is Monsieur Caddie, a presumptuous brat plantation owner. Interesting to see how well he does a villain. Samuel L. Jackson is the slave adviser, currying favour with his master – and often over-the-top in his performance. Kerry Washington is Django’s wife. In the supporting cast there are lots of character actors whom Tarantino obviously admires. Even John Jarratt is there (Australian accent and all) – Tarantino must admire Wolf Creek.

Very clever film-making for Tarantino admirers – but it may not make many converts.


1. Critical acclaim, awards? Quentin Tarantino and his career?

2. The tradition of American westerns? Texas, the southern states? The 1858 setting? Slavery, the impending Civil War? The lawless West, the role of the bounty hunters? The tradition of the spaghetti westerns?

3. Tarantino’s use of the spaghetti western traditions? Comic, symbolic, the nature of heroes, the nature of villains? Locations and their variety? The visualising of violence? The roles of men, of women? Guns, whips, fistfights?

4. The strength of the cast, the stars, embodiment of their characters? Some playing against type?

5. The blend of the serious and the humorous, the sardonic? Tarantino and strong dialogue? Remarks, irony, the Ku Klux Klan’s argument? King Schultz and his use of English, as a second language? The cowboys and others in the West not understanding the words?

6. The visual violence, Tarantino’s style? The bounty hunters, the shootings, the Mandingo episodes? The two endings?

7. The issues of racism, the critique of white Americans and their attitudes towards blacks, towards the slaves? A criticism of the US? The pre-Abolition setting? Prejudice and practice, the fate of the slaves, hatred of their masters, or obsequious? The dignity of the slaves? Tarantino vocalising bigotry? The triumph of the black over the white? Audience responses?

8. The original Django, 1966, Franco Nero, the story – and the many sequels?

9. The use of music, the score, the range of songs and composers, from Beethoven, classics, to contemporary songs, Ennio Morricone, rap?

10. Tarantino’s knowledge of cinema, the range of visual references and quotations?

11. The focus on Django, in the chain gang, Texas? Doctor Schultz, talking, with the slave-owners, the sales and the bargains, freeing the slaves, his mission? Information from Django? Django’s decision to go with Schultz? Django’s character, his dignity, Jamie Foxx’s performance? Learning, the law, learning to read, to shoot, the German wife? Her being taken away? The hunters and the killing of the sheriff, the marshal and his comment, the debt of two hundred dollars? Scouting out the criminals, the shootings, producing the documents? Django and his change of clothes, 19th century court? Learning more, becoming an equal? The flashbacks to the story of his wife? Going to the mountains, the snow, the gangs? The encounter with the plantation owner, his control, the confrontation with the Ku Klux Klan? Going to Mississippi, the slaves, Mandingo, Candie? Django and Schultz and their plan, the plan for buying the slaves? The high bid, Schultz’s technique? Going to the plantation? The gun? Broomhilda in the box? Candie’s assistant, Leonide? The meal, Stephen’s presence and his role? Candie and his reactions, the discussions, suspicions? The aftermath of the meal, the humiliation of Broomhilda? Django meeting her in the room? The guns, Candie shot? His henchmen? The shootout in the house? The capture? The hanging and the castration? The law, the Australians going to the mine? Their being shot? Django and his return? Broomhilda, Schultz’s death? The final explosion, confrontation with Stephen? Leaving – and becoming a western icon?

12. The contrast with Schultz, dentist, travelling the West, German background, vocabulary and accent? His cart and the symbol of the tooth? The revelation that he was a bounty hunter, the documents, the initial encounter, the men not understanding him, the change of mood, the killings, the racist attitudes? Django being freed? The others having their choice, pursuing their captors? Schultz and Django travelling, the plan, going to the town, the killing of the sheriff, dealing with the marshal, the documents and collecting the money? Going to the farm, the three brothers and their being stalked, shot, Django becoming active in bounty hunting? Big Daddy, the homestead, his racism, his slaves, the Ku Klux Klan, the pursuit, the explosion? Schultz and his ability to escape cliff-hanging episodes? Django becoming a partner, changing his clothes, becoming a man of the West? Travels and achievement? Going to Mississippi, the pose, Django and his authority, the plan with the Mandingo? Candie, in the household? Broomhilda in the box, her speaking German, being brought in, meeting her in the room? Reunited? The fights, the dogs and their viciousness, revulsion? Candie and the meal, the bargain about the price, Stephen and the truth, the build-up to the confrontation, Candie being killed? Schultz himself being killed – allowing himself to die? Django inheriting from him? His character, humour, appeal to audiences?

13. Candie, the fop, owning the plantation, his lawyer associate, his henchmen, Stephen and his presence, controlling Candie, the fake limp? His being obsequious in manner, shrewd? The dogs, the death? Candie and Broomhilda, the meal, speaking German? Django and the revelation of the truth, the confrontation, his death?

14. Stephen, his appearance, manner of talking, advising Candie, suspicious, getting the truth? Broomhilda and the box? The information to Candie, capturing Django, Django’s escape, the final confrontation, the explosion? The critique of the obsequious slave?

15. Broomhilda, her marriage, the bond, her being whipped, tortured, the German speaking and her story? Django, the reuniting? Sharing the vengeance with Django?

16. The picture of the Wild West, wild and harsh, the initial traders, Big Daddy and the clan (and the ridiculing of the Ku Klux Klan with the argument about the holes in their hoods)? Their being killed off with the explosion? The contrast with southern courtesy and viciousness? The brittle Brothers, killers? The sheriffs? The hotels, refusing to let the travellers in? The gunfighters? The Australians brought over to work for the mines?

17. The picture of slaves, men and women, the nature of slavery, the treatment, house slaves, field slaves, the humiliation and punishment?

18. Women, generally absent from the film? Candie’s sister, her racism, her being shot? The black women, slaves, their rebellion?

19. The drama, the humour, the violence – especially the two endings? The film in the light of western movie traditions?

DRACULA 2: ASCENSION

US, 2003, 85 minutes. Colour.
Jason Scott Lee, Craig Sheffer, Diane Neal, Jason London,
Roy Scheider.
Directed by Patrick Lussier.


The two Dracula sequels (Ascension and Legacy) were actually filmed together and then split by the director. In the first film, a continuation from Dracula 2000 (though with a different cast and only briefly referencing the fact that Dracula was Judas Iscariot), the action takes place in Louisiana. With the second film, there is a transition to Berlin and then to travelling through Romania.

The film introduces a quotation from Cardinal Sequeri (Roy Scheider) about the nature of vampires and their presence in the world. We are also introduced to a vampire hunter, Father Uffizi (played by Jason Scott Lee). The film opens with his pursuit of the Twins of Evil and his conquering them, though he is also bitten and has to undergo rigorous physical reactions, exposure to the sun, penitential whippings in order to maintain his humanity. In the meantime we are introduced to some university students and their crippled lecturer, played by Craig Sheffer. As the film proceeds, with the group wanting to get vampire blood in order to analyse it, the professor intends to have it for himself so that he will recover his limbs and have immortality. He is at first betrayed by one of his students who takes the blood, but he is killed in the chase by Father Uffizi. The student who works in the morgue, Jason London, is devoted to another student, Elizabeth (Diane Neal) who is infatuated with the professor. She too becomes infected.

With the pursuit of the Dracula character, and his imprisonment (played by
Stephen Billington) there is a flashback once again to the crucifixion of Jesus, and the role of Judas who then becomes Dracula. The film builds up to a climax with the confrontation with the professor and his death.

The second film opens in Berlin with Father Uffizi, having been dismissed from the priesthood by the cardinal because of his unwillingness to obey orders, he meets up with a British journalist, played by Alexandra Westcourt. As they travel through Romania, war-torn, they are in pursuit of Dracula. This time he is portrayed by Rutger Hauer. He also has Elizabeth in his entourage. Luke is also present, helping Father Uffizi.

After a set of adventures, clashes, threats, the death of Dracula, Elizabeth and her sacrificing herself for Luke – the film ends with a restoration of some kind of order.

The films were directed by Patrick Lussier, who was the editor for Wes Craven thrillers, including some of the Scream series.

1. The impact of the original film, Dracula in modern times, New Orleans? The revelation of Dracula as Judas?

2. The sequels, the development of the plot, less classical treatment of vampires? Updating to the 21st century?

3. The title, Dracula, his experiences, in command – and then captured and destroyed?

4. New Orleans, the modern city, the university, apartments, the plant where Dracula was held, the church? The morgue? The musical score? The introduction, Father Uffizi, the twins, the chase, his innocence, changing? Uffizi and his stances, the danger, his scratch, decapitating the vampires? The sun, his surviving? His penitential behaviour to retain humanity?

5. Father Uffizi and the church? The quote from the cardinal? The vampires having no shadow? The visit to the cardinal, discussions, his help? Uffizi and his penance? Chasing Dracula, finding him? The role of the cardinal?

6. 6. The lecture, Lowell, his situation, the wheelchair, Elizabeth and her devotion, his relationship with her? Elizabeth at the morgue? Luke, his love for Elizabeth, his work with the body, the rivalry? At the apartment?

7. The taking of the corpse, the burning? The diagnosis? The phone call, the agent searching for the body? The substitution?

8. Eric, his control, his destination? The group, the blood, the analysis? The holy water taken from the church? The investigation? Eric and the transformation, motivation, in the girl’s apartment, the cat, vampyrising her, Uffizi and his pursuit, Eric’s death?

9. The irony about Lowell, the agent looking for the blood, the drinking of the blood, Lowell recovering?

10. Dracula, alive, the lights, the blood, his being reinforced with strength, Elizabeth and the scratch?

11. Uffizi, his arrival, the confrontation, the mesh for Dracula, the fight, Luke and Elizabeth, the options?

12. The visuals of the crucifixion – and Dracula as Judas?

The build-up to the deaths, those who survived – and the transition to the sequel?