DRACULA 3: LEGACY

US, 2005, 86 minutes. Colour.
Jason Scott Lee, Stephen Billington, Diane Neal, Jason London,
Rutger Hauer, Roy Scheider, Alexandra Westcourt.
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 continuation of the other films? The logical developments? The character developments? The transition to Europe?

2. Berlin, the train, the Romanian settings, the devastation? The build-up to the castle, the interiors? The visit to the cardinal in Italy? The musical score?

3. The title, the irony of the title? The nature of Dracula’s legacy?

4. The focus on Father Uffizi, his visit to the cardinal, his being considered disobedient, his penitential behaviour, his leaving the priesthood? Yet still relying on the background of the priesthood? His going to Europe, his encounter with Julia? The working together, the relationship?

5. Dracula, played by Rutger Hauer, in Romania, the flashbacks to the former Dracula? In Romania, his powers, the confrontations, the fight and his death?

6. The cardinal, in retirement, the confrontation with Uffizi, his withdrawing his support?

7. Julia, her background, journalist? Encountering Uffizi? Their travelling together, the Dracula story, the dangers? The threats to her?

8. Elizabeth, as a vampire, with Dracula? Finding Luke again? The death – and her love for Luke?

9. Luke, his work with the group in the second film, his supporting Father Uffizi, travelling with him, the search, his help with Dracula, encountering Elizabeth, willing to give his life? Elizabeth’s death?

10. The familiar confrontations with vampires? The means to destroy them? Father Uffizi, his having been scratched, the nature of his blood? His confrontation with Dracula, with Elizabeth?

11. Audiences enjoying the trilogy of Dracula films – a particular perspective on the legends? Dracula into the 21st century?

IN DARKNESS

Poland, 2011, 145 minutes. Colour.
Robert Wieckiewicz, Benno Furmann, Agnieszka Grochowska.
Directed by Agnieszka Holland.

Poland’s nominee for Oscar for Best Foreign Language Film, 2011.

We are taken back to the city of Lvov, at the end of 1942, beginning of 1943, a severe winter. Lvov is occupied by German forces. Jews are being rounded up or fleeing. This is material from many a similar story. However, director Agnieszka Holland, returning to her Polish roots (both Jewish and Catholic) and drawing on a book about these events and the memoirs of one of the children, has made quite a distinctive and powerful drama. In some ways, it is reminiscent of the story of Anne Frank and her family and friends, trapped for safety in an attic. Where this family and group are trapped is far more difficult, even grotesque, than the Frank story.

At first, we are introduced to two sewer officials who are seen robbing the homes of Jews who have fled. No righteousness here. The central character, Leopold Socha (Poldek) (Robert Wieciewicz, seeming at first like an anonymous, ordinary man who could have a supporting role) has a wife and sick daughter in their impoverished home. Poldek is also beholden to a local policeman who is determined to find and root out Jews. Then Poldek discovers a group of Jews who have been digging through their floor to the sewers. What will he do? Report them? Or capitalize on their predicament? He chooses the latter, taking money after bargaining with them, supplying them with food and necessities as they conceal themselves, literally, in darkness.

This is a long film (almost two and a half hours) and immerses the audience for a long time in the squalor, the stench, the cramped spaces, the darkness, as day after day the small group, supports each other, squabbles, hangs on to life to survive.

It is something of a relief when the audience is able to get out of the sewers and see Poldek in his daily rounds, the fear of his partner, being upbraided by his wife who is suspicious of the Jews. There is a disaster when a German guard is killed by Poldek and Mundek, one of the Jews who is able to come out of the sewers. The Germans exact a terrible toll on Lvov, hanging many locals. This affects Poldek who has become attached in some ways to the hideaways. And it is compounded as the film proceeds: the birth of a baby in the sewers and his and his wife’s willingness to take the child in – but there is no easy solution to this crisis. He helps Mundek to go into the concentration camp to find some of those interned there. And, after his daughter’s first communion Mass and the thunderous storm which floods the sewers, threatening the lives of the Jews, venturing in to lead them to safety.

Eventually, the Russians drive the Germans from Lvov.

At the end, there is a tribute to Poldek and his wife, their being acknowledged as Righteous Persons because of their sheltering the Jews. It is a sombre reminder that many of the Righteous helpers, like Oscar Schindler, were not as noble as they became – that involvement with suffering people drew on their better selves and enabled them to be heroic.

This is a holocaust and help story for a 21st century reminder of suffering and kindness.

1. World War Two and Holocaust films? The 20th century tradition? The stories for the 21st century?

2. The film based on the memoir of a daughter and her experiences? A book about the events?

3. Agnieszka Holland, her perspective, Polish background, Polish history, Jewish background, Catholic background?

4. The film based on a true story, 1942-3? The city of Lvov? Poles, Ukrainians, Germans, the advance of the Russians?

5. People assisting the Jews, helping them to escape, hiding them during the war? The final tribute in Jerusalem to the righteous? Ordinary people and the possibilities of becoming righteous by helping the Jews?

6. The anti-Semitism of the Germans, of the local Poles? The Catholics, their bigotry?

7. Poldek and Szczepek? Their robbing the empty Jewish house, taking the money? Their job in the sewers? Home life? Poldek and his relationship with Wanda? The scenes at home, in bed, the sick daughter? Their way of life during the German occupation?

8. The Chiger family? The mother and father, the children? Their life in Lvov? Their extended friends and family? The digging through the floor, having to hide in the sewers? Issues of money, jewellery?

9. Poldek and the work in the sewers, the reaction to the Jews’ hole in the floor? Poldek’s reaction, his friend? The decision, the motivation, the deals, the money?

10. Poldek and his setting up the family and the group? The husband and wife, the husband in charge? The children, being occupied? Children and the need for play, the drawings, illnesses? The women and the men? Mundek and his strong character? The other Jews, their being transferred to the concentration camp? Life in the sewers, the darkness, the stench, the filth?

11. Poldek and his developing an interest in the Jews, the money, the supplies? Becoming personal or not? Szczepek and his opting out of helping the Jews? Wanda, her discovering the truth, her reactions? Negative? Yet accepting?

12. The local inspector, his antipathy towards the Jews, wanting them found, to be killed? His drinking? Friendship with Poldek, the visit, Poldek’s daughter and her mentioning the Jews, covering up by her story of the gift of the dolls? The inspector going into the sewers, after the storm, Poldek and his attack, the inspector and his drowning?

13. The details of life in the sewer, sexual relationships, privacy, the children drawing, the robbery, those escaping, not getting far, their deaths?

14. The dangers of discovery, continued hiding, the group getting through the tunnel, the pregnant woman and her difficulty, her confession of the truth, the birth sequence?

15. Poldek’s daughter, the first communion, the severe storm, the flooding of the sewers, the group nearly drowning? Poldek discovering them, going home, the dry clothes? Wanda and her leaving – and her return?

16. Mundek and his going outside, the encounter with the soldier, pretending to be in the workforce, the death of the soldier, getting rid of the body, the discovery?

17. Mundek going to the camp, Poldek arranging it, substituting for a man who wanted to search the ghetto? Mundek, the treatment in the camp, the brutality, the issue of the cap, the threat of shooting Mundek? The commander and his shooting the man next to him, wanting to keep the able bodied alive? The humiliation, the Jews crawling on their knees, Mundek getting out after talking to Clara’s sister?

18. Mundek, his relationship with Clara, returning, the shower, their love, accepting the fact that the sister would not come out? Clara’s memory of her sister and her being spoilt by their father?

19. The end of the war, the Russians advancing, the sounds of the tanks, coming out into the rubble? Poldek and his Jews, Wanda and the cakes? The people coming to greet the Jews, bring them food?

20. Life in the streets of Lvov, the Russian occupation, changes?

21. The final information, the sadness of Poldek’s accidental death? The testimony to Poldek and Wanda that they were considered by the Jews among the righteous?

LES MISERABLES

UK, 2012, 158 minutes, Colour.
Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Sacha Baron Cohen, Helena Bonham Carter, Eddie Redmayne, Aaron Tveit, Samantha Barks.
Directed by Tom Hooper.

For over twenty five years, (French opening, 1980, London, 1985) theatre audiences around the world have been profoundly moved by Victor Hugo’s classic story, by the book and music of Alain Boublil (lyricist) and Claude-Michel? Schonberg (composer). The wonderful English lyrics were written by Herbert Kretzmer whose fine work is not acknowledged enough. There has been a DVD of the 25th anniversary performance. Wisely, the writers and director have decided to honour the theatre experience rather than ‘opening up’ the musical to a ‘realistic’ presentation.

This means that the audience who have seen the stage version will continue to remember and re-experience what they enjoyed. It is over to the power of the plot, the music and the performances to win over those who may have seen versions of the Hugo novel (1930s with Fredric March and Charles Laughton, 1950s with Michael Rennie and Robert Newton, 1990s with Liam Neeson and Geoffrey Rush) and those who have not. It may be a hard sell for those not used to this kind of musical theatre on screen. It is very long (157 minutes). It is basically sung. The locations (galleys, French mountains, town, Paris, the barricades and sewers) are real but stylized.

What the film adds to the theatre experience is the decision to film most of the songs in close-up, something audiences cannot do in theatres except with theatre glasses. We realise this early in the film with the well-known song, sung by Fantine, I dreamed a dream. The camera stays close on Anne Hathaway’s face throughout the whole song, drawing the audience to see her, hear her, feel with her and to do this intensely. It is a powerful experience.

The same method is used for songs by Jean Valjean, Inspector Javert, Cosette, Marius and Eponyne.

While there are close-ups of the Thenardiers at the inn and in Paris, the Thenardiers offer the only comic relief in this long saga of the miserable and the suffering. With Helena Bonham Carter, again looking bonkers as in so many of her films – just as well she portrayed the Queen Mother which reassures us she can do normal – and Sacha Baron Cohen bringing his satiric style to try to steal the show, there is a lot of singing, thieving, cooking and hypocritical lying to contrast with the somber story.

No complaints about the acting. Hugh Jackman is a wonderful presence as Jean Valjean, ranging through many emotions as he survives almost twenty years after his servitude in the galleys. Russell Crowe looks the part as Javert. Amanda Seyfried is Cosette and Eddie Redmayne is surprisingly strong as Marius. The drama of the film is communicated powerfully.

The singing? It was all recorded in performance rather than pre-recording for lip-synch during filming which offers more authenticity than in most films. Hugh Jackman is very good, though his tone and range are best suited to his successes on stage in Oklahoma, Beauty and the Beast. Others who have sung Jean Valjean have had a more operatic range that suits such songs as ‘God, on high’. Colm Wilkinson, who plays the Bishop here, sang Jean Valjean for the tenth anniversary concert and has the ideal voice for the role. Russell Crowe’s singing does seem forced at times and his singing voice is not the purest or clearest. The others are impressive, especially Anne Hathaway, as well as Eddie Redmayne and, particularly, Samantha Barks very moving as Eponyne.

Tom Hooper has directed after his Oscar-winning work for The King’s Speech.
Jean Valjean is one of literature’s great Everyman characters, living through humiliation for a meagre crime, bitter but redeemed by the kindness of the Bishop, able to do good for people, even when he is hounded by the legal rigidity of Javert. He learns to forgive, not hate. His joy is in Cosette as his daughter. This is powerfully seen when, as Javert says, he gives him his freedom but, in fact, has killed him and his reliance on the law for controlling his life.

Les Miserables has been popular with religious groups. With the film drawing us to the close-ups, we listen attentively to the lyrics, the language of grace, God and heaven, ‘ to love another person is to see the face of God’.

1. The impact of the film? The theatre reputation for so many years? Characters, situations, stagecraft? The score, the songs and the lyrics?

2. The decision for staging the film in relationship to theatre performance? The stagecraft? The film designed for the cinema audience – and the focus on close-ups to give the full impact of the songs and characters?

3. The blend of the stylised and the realistic, the sets, the situations? The fantasy and dream sequences?

4. The music and the melodies, the themes, recurring, with different characters?

5. The lyrics, wit, clever, emotional, religious? Depth?

6. Victor Hugo’s plot, the 19th century, the role of the law, justice and injustices, the miserable and the poor? The galleys? The background of the French Revolution, the new monarchy? Idealism? Complacence of the people? Heroism?

7. Jean Valjean as an everyman? A good man, his caring for his sister, the taking of the bread, becoming a victim, nineteen years, suffering, humiliated? The visuals of the pulling of the galleys, the picking up of the log with the flag? Freedom? His being spurned, no work available? His turning to robbery? A chance for a new life, the grace from the bishop? His using his wealth to establish a new character, tearing up the parole papers? The interactions with Javert? His being hounded? The new identity, the factory, his success, respect as mayor, Javert’s arrival? Taking the man to court, Valjean and his decision to be honest? The interaction with Fantine, her being sacked from the factory, seeing her in trouble, his rescue, concern for Cosette? His interactions with the Thenardiers? Fleeing to Paris, being pursued, arriving at the convent, the life in Paris for many years? Javert’s arrival in Paris, Cosette and Marius, changes, his decision to leave? Going to the barricade? Letting Javert go, saving Marius’s life, the sewers? His going away from Cosette, his dying? His advocating love rather than hatred? Hugh Jackman’s image, singing, acting? The lyrics dramatising his character?

8. Comparisons with Javert, his explanation of his poor origins, his embracing the law, relying on rigidity of the law for his identity? Hard, supervising the galley slaves, addressing Valjean as a number? Demanding that he pick up the flag? His reluctantly seeing Valjean go on parole? His arrival in the town, his respect for the mayor, the stirring of memories, seeing Valjean lift the wood on the cart to help the man pinned under? His going to find a victim to identify as Valjean? Saying that his failure was a crime, Valjean letting him go? The courtroom, the prisoner, Valjean’s confession? Allowing him to go to the Thenardiers? Pursuing him to Paris? His appointment in Paris, his role as a policeman, official, promotions, his disguise as a spy on the barricades? His being exposed by Gavroche, his being tied up, Enjolras allowing Valjean to execute justice on him? Valjean saving him? The scenes of Javert on the rooftop, overlooking Notre Dame, the song about the stars? The reprise after his being freed? Saying that Valjean had actually killed him by letting him go? His final song, plunging to his death?

9. The visuals of the galleys, the song, inhuman treatment, the men, the various men singing the song about their suffering? Valjean fearing his rearrest and being returned to the galleys? Keeping his identity a secret, finally revealing it to Marius?

10. The scene with the bishop, the bishop welcoming him in, the sisters in attendance? The meal, his hunger, the saying of Grace? The stealing of the silver, his being arrested and returned, the bishop and his graciousness, giving him another opportunity, the Gospel values? Giving him the candles? The bishop reappearing at the end, part of Valjean’s life of redemption and grace?

11. The town, the factory, the foreman and his leering, the women working, Fantine amongst the women? The chorus and the lyrics of the women about their plight? The fights in the factory? The foreman and his advances on Fantine? Her resistance? The revelation about her child? Her being flung out, resorting to prostitution, selling her hair, selling her teeth, Javert and the fop complaining about her, her arrest? Valjean seeing this, his conscience stirred, taking her to the hospital?

12. Fantine as a character, one of the most miserable, the father of her daughter, her love for Cosette, with the Thenardiers? Her being sacked, on the streets, the pathos of selling her hair, the pain of her teeth? The prostitution and the way she was treated? The fop and his accusations? The hospital, her singing, her relying on Valjean? Anne Hathaway’s performance – and the close-up for her song? Her reappearance at the end?

13. The Thenardiers, providing some comic relief, the thieving routines, preparing the food – low-class food? Cosette and her sweeping? Their love for Eponine? Their wanting money? Their allowing Cosette to go, M’sieur Thenardier and his mispronouncing her name? Their greed? Their giving the information to Javert? Their reappearance in Paris, poor, spying and informing? Their dressing up and gatecrashing the banquet? The challenges? Their treatment of Eponine? M’sieur Thenardier in the sewers, taking Marius’s ring, later going back and telling Marius what happened?

14. Eponine, as a little girl, favoured by her parents, in Paris, with the barricade leaders, in love with Marius, seeing Cosette, finding Cosette for Marius, her carrying the notes? Her disguised as a boy on the barricades, saving Marius’s life? The pathos of her songs and her love for Marius?

15. Marius, rejection by his father, his friends at the barricades? The plans, the leader and his death? The visuals of the barricades? The songs, Drink With Me? Marius and Enjolras? Enjolras’s leadership? Idealism? Marius seeing Cosette, she seeing him? His going to the convent, the songs, the notes? His decision to fight? Javert as a spy? Gavroche, his song about little people? His unmasking Javert? His boldness on the barricades, his death? Enjolras and his leadership, the furniture thrown out of the windows to form the barricades? The military, the demand for surrender? The population of Paris not rising? The deaths at the barricades? Valjean, the encounter with Javert, his taking Marius through the sewers, Javert letting them through? Marius’s revival, the visit of Thenardier, the ring? Valjean telling his story? The reconciliation with Cosette?

16. Cosette as a little girl, her songs, working for the Thenardiers? Her going to Paris with Valjean, climbing the wall of the convent, their being received? The picture of the nuns and their hospitality? The social life, meeting Marius, in love, his visit to the convent, Valjean and his wanting to leave Paris, her reluctance? The end and the wedding? The celebration?

17. The emotional impact of the story, the issues of justice? The religious dimensions, the bishop, the language of God, the language of grace, falling from grace, God in Heaven? To love another person is to see the face of God?

18. Victor Hugo and the history of Paris in the first half of the 19th century? The Revolution, the triumphant idealism, the song of Red and Black? Tomorrow?

19. Audiences accepting the stylised format of the film, the effect of the close-ups for all the songs? Appreciating the drama? The universal themes?

THE LOSS OF A TEARDROP DIAMOND

US, 2008, 102 minutes. Colour.
Bryce Dallas Howard, Chris Evans, Will Patten, Ann-Margret?, Mamie
Gummer, Jessica Collins, Ellen Burstyn.
Directed by Joyce Markle.

The Loss of a Teardrop Diamond is from a screenplay by Tennessee Williams, discovered some time after his death. It takes its audience back into Louisiana and the South, the world of Blanche Dubois from A Streetcar Named Desire.

The film focuses on Fisher, the daughter of a plantation owner, wealthy and spoilt, having spent some time in Europe, also in a mental institution. She returns home, despises everyone – and is despised in return. However, she takes up with the daughter of a poor farmer, Jimmy, played by Chris Evans (Captain America). The father is portrayed by Will Patten, a drunk whose wife has been put into a mental asylum.

In the meantime, the wilful Fisher does what she likes, contrary to the instructions of her aunt, played by Ann- Margret. When she goes to a Halloween party hosted by Julie, Mamie Gummer, she takes Jimmy along, where he meets an old friend, Vinnie, played by Jessica Collins. She also loses her teardrop diamond earring – which is found by Vinnie, who is forced to give the earring back by a very principled Jimmy. In the meantime, Fisher is summoned to Addie, the aunt of the hostess. She is ill and wants Fisher to administer an overdose of tablets so that she will be released from her illness.

The film offers many of Tennessee Williams’ themes of Southern families, wealth, illness, madness. The film was directed by actress Joyce Markle.

1. Tennessee Williams, his career, his plays, films? The discovery of this screenplay? The links with his previous work?

2. The 1920s, the look, costumes, decor, cars? The world of the South? Southern mansions, poor farmers’ houses? The roads, the levees? The musical score?

3. The social status of Jimmy and his father’s drunkenness, the mother and the scenes in the institution, Jimmy visiting her? His father giving up? The contrast with Fisher, the mansion, her aunt and the instructions, the parties?

4. Fisher’s story, her father and his wealth, her inheritance, the discussions with her aunt, her aunt’s disapproval, her wilfulness? The sojourn in Europe? In the institution? Her snobbery? Jimmy, the attraction, using him? The rides in the car? The visits and the parties? Her manner? Disdain for people? Her aunt offering her choices? The decision to go to the Halloween party? Jimmy and her supplying the clothes? Her wearing the teardrop earrings? The levee, the arrival, Julie and the welcome, meeting Vinnie and her being rude to her? Her carrying on about the loss of the earring, the search, the accusation and Jimmy’s reaction? His protesting his innocence, being examined in the kitchen? Addie and her summoning Fisher, her story, travels, writing, her illness, the addiction to opium? Wanting to die? Fisher and her being called back by Julie? The game, her playing the piano, the behaviour of Jimmy and Vinnie? Confronting Vinnie, the recovery of the earring? Her return to Addie, administering the pills? Her choice for Jimmy, her change of heart, the possibility of character change, her future?

5. The aunt, the traditions? The contrast with Addie? Addie’s life in Asia, Hong Kong, writing, the opium addiction, the strokes, the request? Influencing Fisher?

6. Jimmy and his background, past, politicians, poverty, his father and his drinking, his mother and the insanity, the scenes at the asylum? With Fisher, his motives, liking for her, love? The outings? His personality, quiet, the awkwardness of the formal clothes? With Fisher on the levee, his bad reaction to her accusation, glad to see Vinnie again, sitting with her, the game, the sexual encounter, the car, Vinnie and the earring, Jimmy’s demands, Vinnie and her protests, wanting the money, a future? Not working in the drugstore? Her returning the earring to Fisher?

7. Julie, as the host, puzzled by the behaviour? Vinnie, her life, the drugstore, as wilful as Fisher in her own way, the final decision?

8. Tennessee Williams and his past in the American South, the early 20s? A 21st century interpretation of his work?

THE MILL AND THE CROSS

Poland, 2011, 92 minutes, Colour.
Rutger Hauer, Michael York, Charlotte Rampling, Joanna Litwin, Dorota Lis.
Directed by Lech Majewski.

The Mill and the Cross is a Renaissance story, focusing on a painting by the artist Pieter Bruegel. While it focuses on the biblical theme, the crucifixion, those in attendance, used the people in the town to be the subjects of the painting. The film opens with the townspeople donning their costumes and makeup and finding their places in the painting.

The story then moves to looking at various characters in the town, the religious background, interactions and relationships, issues of justice.

The film employs an international cast, Rutger Hauer portraying Bruegel as he prepares for his painting, moves around the town, meets the people, does his work. Michael York plays one of the dignitaries of the town. Charlotte Rampling is one of the family women in the town.

The film raises issues of the period, civic organisation, tensions, enmities, politicking. There are also issues of personal relationships.

Lech Majewski, director and writer, has made films with such intellectual titles as Angelus, Metaphysics.

1. Audience knowledge of the artist? His work? The introduction to his work, the tableau vivant? Art, art history, politics and religion?

2. The director, his perspectives and work? Religious and secular?

3. The response of the audience, art appreciation, art come alive, history alive, understanding the period, the dramatic perspectives?

4. The importance of the photography, the lighting, production values, costumes, sets, backdrops? The musical score?

5. Bruegel, his paintings? The plan for this painting, setting the stage, positions, costumes, the range of people? Coming together at the end, the stills, the gallery, the painting, appreciation?

6. Rutger Hauer as Breugel, his arrival in the town, with the family, his continually observing, interactions with the townspeople, keeping aloof, the positions for the painting, his creativity?

7. Michael York, the aristocrat, the life, observation, the town and its government, ordinary people, soldiers, the issues of religion, heretics and judgment? His place in the painting?

8. Charlotte Rampling as Mary, in herself, in the house, her work, ordinary, at the door, her role in the painting, reflection and contemplation?

9. Jesus as a character, the man portraying him, the background, his being stripped, flogged, walking, the persecution as a Protestant?

10. The soldiers, Spanish occupation, cruelty, religion and heresy, brutality, arrests and torture?

11. The issue of the heretics, their arrest, keeping them in custody, their suffering, the coffins, transport?

12. The ordinary busyness of the town, businesses, the people wanting to be in the painting?

13. The celebration, music, dance, the Ring of Life?

14. The film stylised yet realistic, a portrait of society, the status of people and their activities?

15. The overall cinematic effect over and above that of music and painting?

MINDHUNTERS

US, 2004, 106 minutes, Colour.
Jonny Lee Miller, Christian Slater, L.L. Cool J, Eion Bailey, Clifton Collins Jr, Will Kemp, Val Kilmer, Kathryn Morris, Patricia Velasquez.
Directed by Renny Harlin.

Mindhunters is one of those ‘and then there were none’ kind of murder mysteries. This time the focus is on agents in training, their capacity for reading situations, their capacity for reading each other’s characters. Val Kilmer is the trainer for one of these programs. The group then is taken to an isolated location, asked to make a report, but find themselves being murdered one by one. The trick is used in Agatha Christie’s Ten Little Indians/And Then There Were None films.

The film has a group of young actors, strutting their stuff, interacting melodramatically then being killed. The film was written by Wayne Kramer, who made an impact with directing such films as The Cooler, Running Scared, Crossing Over. The film was directed by Finnish director, Renny Harlin, director of many action films including a Nightmare on Elm Street film, a Die Hard film, The Long Kiss Goodnight.

1. An entertaining thriller? FBI, training, agents? The Agatha Christie device for the murder mystery?

2. The opening, the two agents, their failing? The FBI and simulations? Offices, bars? The island, the equipment, real and unreal? Stylised? The musical score?

3. The action, the opening with J.D. Reston and Sara Moore? Their working together? Their decisions, the house, going into action, their mistakes? Harris and his supervision?

4. Harris, his job, self-important? His attitudes towards the agents? The documents and failures? The setup? Audience suspicion of him – until he is found dead?

5. The meetings, the training, the transport to the island, the introduction to Gabe, his job, the truth, suspicions?

6. The characters, their weaknesses, clues, traps and their effect?

7. The issue of profiles, the skills for making profiles, the opening, the bar and the bets? The later use of the flaws for destroying the agents?

8. The town, the scenario, the meetings, sleep, rooms, the banter, tensions?

9. The process of elimination, audience suspicions, recognising clues?

10. J.D. Reston and his capacity as leader, the dry ice, his death?

11. The decapitations, the testing of equipment and death?

12. The whole group collapsing, the letters – and this providing a time for the setups for the further killings?

13. Nicole, her moves, distrust, the cigarettes as her flaw?

14. Lucas Harper, his capacity with guns, his death, his re-emerging, the survival with Sara, the clash with Gabe? His overreaching himself?

15. Gabe, suspicions, his being tied up, his work with Vince, the chair, turning off the power, audience suspicions of him – but his being the hero?

16. Vince, the gun, going into the elevator, his death?

17. Sara and Gabe remaining, the mutual suspicions, handling the tension?

18. Lucas and his reappearance, his explanations about himself, his motivations, fighting Sara, Gabe and the confrontation and death?

19. Popular ingredients for a popular mystery in an action context?

MY BIG FAT GREEK WEDDING

US, 2002, 95 minutes, Colour.
Nia Vardalos, Michael Constantine, Lainie Kazan, Andrea Martin, John Corbett, Louis Mandylor, Gia Carides.
Directed by Joel Zwick.

Muriel's, My Best Friend's, Monsoon - plenty of cinema wedding titles in recent years. All these films are comedies and offer plenty of laughs. However, under the bright surface, there are much more serious issues. This means that, as the films entertain while they are on the screen, they have something more to say, for audiences to take away and think about.

The obvious thing about a Greek wedding is that it is a profoundly as well as superficially cultural affair. Everybody is in on it. It is loud, exuberant, full of eating, drinking and dancing. Which is all right if you are Greek. But, what if you are from a traditional American WASP style family and exuberance is not your middle name? Then you have to learn to open up and break out. This must be a significant message in the US today because this modestly-budgeted film has taken well over $US100,000,000 in America alone.

It also travels quite well because the issues are pretty universal: the patriarchal culture where the father decides everything (or where the shrewd mothers make the fathers think they have decided everything), where no one is supposed to marry outside the culture, where the old country traditions are the only ones because they have formed the greatest culture the world has every known! Of couse, this could be an Italian wedding or an Irish wedding...

The film was originally a one-woman theatre piece, performed by Nia Vardalos. The story is that Rita Wilson saw it and enjoyed it, mentioned it to her husband Tom Hanks who invited Nia to Los Angeles not only to write it for the screen but to be the star. And so it is. Nia Vardalos appears as frumpy but, before our eyes, gains self-confidence and transforms into a fine-looking (as distinct from pretty/beautiful) woman. Into the Portakalos restaurant and into the family comes Ian Miller (John Corbett) and, for a while, pandemonium ensues. But, you know that in this era of multi-culturalism, the Millers will have to learn to be more Mediterranean and the Portakalos family will have to add their Greek heritage to the American tradition. And that's it.

1. The success and popularity of the film? Stereotypes in good humour? The film as funny?

2. The work of Nia Vardalos, the script, her performance, her character, change?

3. Chicago, the Greek community, homes, restaurants, agencies?

4. The Greek community, pride in the heritage, the father and all words derived from Greek, the range of traditions, family, the expectations of marriage, the enclosed community, changes in contemporary America, the image of the Greeks, learning from the Americans, vice-versa? What the Greeks have to offer?

5. Toula, the opening, the disputes with her sister, her place in the family, the dominance of her father, the support of her mother? Her brother and his work in the restaurant, his ambitions for drawing? The practical jokes? The range of cousins? Toula as plain, awkward, going to school, with other students, her self-consciousness, her age, her jobs in the restaurant, the expectations of marriage? Seeing Ian at the restaurant, awkward, clumsy?

6. The portrait of the father, his life, sad-faced, proud, the success of his restaurant, the Greek traditions, the son and his art, the patriarch of the family, his criticisms of Toula? His wife, keeping her husband under control without his realising it? Persuading him with the aunt for Toula to go to study? The agency?

7. Maria, the matriarch, sympathetic, her relationship with her sister, their plans, her working with her husband, making her ideas his?

8. The agency, Toula’s skills, the gradual visual makeover, makeup, clothes, the effect? Affirmation? Her skill at her work in the agency, her courtesy? Seeing Ian outside the agency, hiding from him?

9. Ian, typical American, friendly, at the restaurant with his friend, their discussions, the encounter with Toula and her awkwardness? Passing the agency, the window? Talking with her, the comic touches, their outings, recognising her? The effect on Toula, their sharing, discussions, differences? Toula pretending she was at an art course, the cousins as spies, reporting her?

10. Ian and his parents, quiet Americans, awkward with the Greek visitor, the contrast with Toula’s family, the invitation, the mixing up of the names of Ian’s parents? Crowds, drinking, dancing, the Americans uncomfortable? The move to change?

11. Ian and his meeting the parents, the crowd, the discussions about vegetarianism and meat, the Greeks and the rude words, tricking Ian? Nikki and her flirting? Ian and his getting used to the community, the tricks? His agreeing to the baptism? The ceremony and its detail? The plans for the wedding?

12. Toula and her changing, in love, valuing relationships, the visits, the arguments as to how Greek the wedding should be?

13. The immediate preparations, the zit, the fuss, the dresses, the bridesmaids, the fittings?

14. The ceremony, solemn? Acknowledgments of the traditions of the Greek Orthodox?

15. The happy ending, the joy, the gift of the house – and their living next door?

16. A US story, Greek story, American values and spirit?

THE NUTCRACKER: THE UNTOLD STORY

UK/Hungary, 2009, 110 minutes. Colour.
Elle Fanning, Nathan Lane, John Turturro, Frances De La Tour, Aaron Michael Drozin, Richard E. Grant, Yuliya Vysotskaya, Charlie Rowe, Peter Elliott.
Voices of: Shirley Henderson, Alan Cox.
Directed by Andrei Konchalovski.

The Nutcracker: The Untold Story was not popular at the box office – in fact, a box office failure. It is an ambitious film, an expensive film, set in 1920s Vienna, bringing to life some of the stories of The Nutcracker Suite and using some of the music. There are also some lyrics composed by Tim Rice to the melodies – which do not necessarily work particularly well.

Andrei Konchalovski is a celebrated Russian director, a career in the Soviet Union before moving to the United States in the 1980s with such films as The Runaway Train. His career has been a mixture of Hollywood popular films as well as serious films, moving from the United States back to Russia at times after the collapse of Communism.

Elle Fanning is Mary, a little girl whose parents (Richard E. Grand and Yuliya Vysotskaya) are due to go to a social event. She is waiting for Uncle Albert (Nathan Lane) to come and babysit her. He tells her stories.

The stories come to life in a fantasy world, partly delight, the discovery of The Nutcracker (with Shirley Henderson’s voice) who comes to life as the prince. However, all is not easy in this fantasy world. It is ruled by the Rat King (John Turturro) with the advice of his mother (Frances De La Tour who doubles as the maid in the household). Max, Mary’s younger brother (Aaron Michael Drozin) is a mischievous boy and teams up with the Rat King to his own dismay and his need to be rescued.

The various adventures are probably exciting for very young audiences. Adults will find them a bit trying. In fact, that is the main impact of the film, probably enjoyable for children who want some fairy tales, some fantasy, a Christmas setting. Older and and their parents might find the film rather hard to sit through.

After production, it was reworked in 3D......

A PRICE ABOVE RUBIES

US, 1998, 117 minutes, Colour.
Renee Zellweger, Christopher Eccleston, Julianna Margulies, Allen Payne, Glenn Fitzgerald, Kim Hunter, John Randolph, Kathleen Chalfant, Edie Falco, Phyllis Newman.
Directed by Boaz Yakin.

is set in the New York Jewish community and in the jewellery market. It opens in Europe, with a mysterious bond between a young girl and a boy who accidentally dies. He remains with her in spirit when she grows up and finds herself trapped in the expectations and regulations of the Jewish traditions.

She breaks free but at some cost to her marriage, her reputation and her future. But her defiance is also a critique of the suppressing of women in all societies. Renee Zellweger (so mousy opposite Tom Cruise in Jerry Maguire) shows herself to be a strong actress and keeps us interested in her even while we disapprove of what she is doing (although not why she is doing it).

1. A Jewish story? Orthodox Jews? The United States, New York?

2. The prologue, Yossi and his telling the story, Sonia listening? His fervour? Her critical attitude? The quotations from the Torah and respect for the Torah? The visuals of his pessimistic story? The bond between Yossi and Sonia? His going for the swim, his death, his reappearing, the bond between the two in Sonia’s life?

3. Yossi always present, giving advice, guidance? The beggar woman in the street, her seeing Yossi? Her following Sonia or Sonia following her? In Sonia’s imagination, conscience? The comments on God, having God onside, yet God being a bully?

4. The New York settings, the neighbourhood, the atmosphere of the Orthodox, an enclosed community? Streets, homes, studies, the school, the synagogue, the ceremonies, circumcision, funerals? The importance of Torah, the men, the separation of the women?

5. Sonia’s story, her journey, a Jewish journey, a religious journey, a woman’s journey, the nature of freedom?

6. The birth of the child? Her dreaming, calling out Yossi? The baby being called after the rebbe? Sonia wary of the circumcision, the name, her reaction, Mendel and his fainting?

7. The portrait of the family: Sender, the oldest, relationship with his wife, children, head of the family, at the table, his story about morals and amorality, his later comments on his father and his father’s advice? An amoral man? Rachel, her family, her support of Sonia? Yet Sender and Rachel dominating Mendel? Dominating Sonia?

8. Sonia and Mendel, moving into the new apartment, the bossy lady with the curtain material? Rachel helping? The aftermath of the birth, the baby crying, Sonia weeping, under the covers, discovered by Sender? Her depression? Her relationship with Mendel, the nature of sexual relationships, his reserve, focus on God, the Torah, obeying the regulations? Not enough for Sonia? The visit to Rebbe Moishe, his sympathetic listening to Sonia? Her description of her body and soul, the hot soul, the wife present, the later comments from the wife at the funeral, thanking Sonia? Sonia visiting her at the end, the explanation, the rabbi and after twenty years his declaration of love to his wife, how much it meant to her? His final word? Her helping Sonia with the Orthodox men recover her property from Sender? The meals at home, Mendel not remembering her birthday, his later apology, the gift of the ruby? The desperation, going to the counsellor, his turning out to be a rabbi, his comments on prayer, on God, the last straw for Sonia?

9. Sender, his visit to Sonia, asking her for the appraisal of the jewel, the sexual encounter, his offer, the price, his control over Sonia? His quoting the Book of Proverbs, the woman who was worth more than rubies? His own apartment, his hold over Sonia, her final rebellion, their comments on freedom?

10. Sonia, her job, liking it, her gifts, her experience with her father, not being allowed to go into the business? The basement? Three days in the city, three days in the shop, the baby? Coming home late, Mendel and the microwave meal, the upset? Her visits to the various buyers, to Kapoor and Ramon? Her hold over Kapoor, his ignorance of jewels, his bad taste? Her getting the discount of eighty percent? Interest in Ramon, the variety of clients, the sexual advances of the men, her being persuasive? Success?

11. Her seeing the jewels, the special ring, the earrings with the woman in the park, following the leads in Chinatown, leading her back to Ramon? Her surprise at the discovery? Ramon’s mother, Puerto Rico, the couple posing for Ramon’s sculptures, his hobby, his art, his skills?

12. Sonia encouraging Ramon, Ramon wanting to hold on to his job? Taking the samples to the buyer, success, keeping the ring? Her being accused of having an affair with Ramon?

13. Rachel, her harsh attitudes, dominating, keeping the baby? Contacting Sonia’s mother, the mother not wanting her to come home because of chances for the other daughter’s marriage? Her being ousted from the basement?

14. With Ramon, the sexual encounter, his offer, taking the ring, Mendel coming to the shop, their frank talk, making peace with each other? His language, the gift of the ruby, allowing her access to the child? The final credits and the mounting of the ruby?

15. Mendel, his learning process, his narrowness, love for Torah, the role of the men studying, their camaraderie, support, Sonia shocking them by walking into their midst? Mendel with a certain independence and yet believing in God and Torah? Sonia, herself, her choices? Her final saying of ‘God bless you’ to Mendel?

SLIVER

US, 1993, 108 minutes. Colour.
Sharon Stone, William Baldwin, Tom Berenger, Polly Walker, Colleen Camp, Martin Landau, C.C.H. Pounder, Nina Foch.
Directed by Philip Noyce.

A thriller with voyeurism (of the characters and of the audience) as its theme. A sliver is one of those thin New York high-rise aparnnent buildings. Sharon Stone, an editor, moves in, discovering the previous occupant resembled her and had killed herself - but the audience knows it was murder. Two mystery men in the building become involved with her. Which is the murderer?

The plot involves one of the men wiring the whole building so that he can do an updated Rear Window via screens and pry into everyone's behaviour. The heroine is drawn into this invasion of privacy but has to take a stand. The audience is drawn into complicity as we watch with avid curiosity as well. But we are also voyeurs of a close-up sexual relationship. Should we, should we not?

Sliver is quite an effective thriller-mystery (with a neat twist). Sharon Stone and Tom Berenger fit their roles. William Baldwin ultimately is persuasive, although the behaviour of each man is ambiguous. Some quite explicit sequences. A voyeur thiller.
Phillip Noyce on making Sliver: I just became so tired I couldn't get off the floor. I had to have doctors constantly injecting me with vitamins. I was trying to give up smoking at the time and I don't think I was all that stable myself, as I had been inhaling up to six packs a day previously; I was terribly addicted and had decided to give up before Sliver. This probably wasn't a good idea for my equilibrium. But every day of pressure on the Sliver set caused bad nicotine-induced panic attacks, so the chaos of the whole thing was not something I could blame on others. The film had become a Hollywood nightmare with a producer (Robert Evans) who, from the beginning, had dreamt of his movie being directed by someone else, a writer (Joe Eszterhas) who had abandoned a best-selling novel to pen his own version of the story, an actress (Sharon Stone) who I couldn't communicate with and who loathed her co-star (William Baldwin) and producer, and a cinematographer (Vilmos Zsigmond) who was creating beautiful images at a snail's pace, on a set that made more noise than the actors when they spoke their lines. At night I dreamt of turning up at a schoolboy rugby match and then running onto the field only to discover I'd left my football boots at home. I'd wake with a deep sense of dread. Facing another day at the factory that filmmaking had become.

1. A 1990s thriller? In the aftermath of Basic Instinct? Sharon Stone, her screen presence, exploitation? A novel by Ira Levin?

2. New York City, the apartment blocks, the Sliver block, the visuals? New York atmosphere, the publishing house, parties, the police? The musical score?

3. Introducing the theme, Naomi, the hooded murderer, her death? The mystery?

4. Sharon Stone as Carly, her presence beauty? At work? Her discussions with Judy, Judy and her sex talk? Alex, the staff and their talent? Her marriage failure, seven years? Freedom, wanting to be in control – or not? Alex, taking her to the restaurant, the setup to meet Jack? Jack and his self-confidence? The visit to the apartment, Evelyn McEvoy?, the phone call, moving in? Meeting Zeke? Meeting the professor?

5. The issue of surveillance, the video monitoring, the breaching of privacy, intrusion into people’s lives? Mirrors, photos, binoculars, the telescope – and the Rear Window kind of looking at the apartments opposite? Adding to the mystery?

6. Jack, confidence, smug, the writer? With Carly, the attraction? Carly seeing him talking with Vida? His denying it? His getting into her apartment, badmouthing Zeke?

7. Vida, her return, talking with Carly, lies, her being in a hurry, unable to talk with Carly? The brutality of her death?

8. The professor, his chatting, friendship with Naomi, talking with Carly, the visuals of his death?

9. Zeke, inviting Carly, talking to her, the gym, food, the sexual encounters, his confidence, telling the truth about his ownership of the building, the story of his mother, her looking like Carly? The surveillance and his intrusion in people’s lives? Seeing the man molesting his daughter, in the elevator – and his phone call warning him off? The effect of seeing the surveillance screens on Carly, her playing with them, spying?

10. Vida’s death, Jack and his being discovered with the body, the police? Carly, not being sure? Seeing Jack in the stairwell? The photo of Zeke’s mother?

11. Zeke, his manner, his hobby, perverse? Relationships? His reassuring Carly? How plausibly?

12. In the apartment, Carly fighting with Zeke, the gun, finding the key? The police interrogation?

13. Carly suspicious, whether Jack was the killer or Zeke?

14. Carly, the discovery of Jack on the screen, the murderer? Carly looking at the screens, challenging Zeke, her shooting and smashing?

15. The end – and Carly telling Zeke to get a life? How satisfying the sex drama, Carly, her own behaviour, her relationships? Zeke, Jack, Vida, Judy and her talk? How satisfactory as a mystery thriller?