ONE FATAL HOUR / TWO AGAINST THE WORLD

US, 1936, 56 minutes, Black and white.
Humphrey Bogart, Beverly Roberts, Linda Perry, Henry O’ Neill, Helen Mac Kellar, Harry Hayden.
Directed by William C. Mc Gann.

One Fatal Hour is the title of the Turner Classics movie print of Two Against the World (and it is billed as eight minutes shorter than Two Against the World).

The film is a remake of a successful 1931 film about newspapers, Five Star Final, with Edward G. Robinson and Boris Karloff.

This film was directed by B-budget director William C. Mc Gann, offers a starring role for Humphrey Bogart who was emerging at this period. The focus this time is on a radio station – and the screenplay is quite hard-hitting about exploitative radio and the ruining of people’s reputations.

Humphrey Bogart is the programming editor of the radio station, wanting it to be more upmarket, but allowing a scurrilous story to be presented. Harry Hayden is very slimy as a fake minister who investigates the story and promotes it. Henry O’ Neill and Helen Mac Kellar are the people affected by the scandal.

The film is brisk, makes a lot of points about the media, programming, audience responses, advertising, exploitative use of the media.

1. The impact of the film? For the 1930s? Later decades? The media? Exploitation?

2. Warner Bros B-budget, the cast, black and white photography, the score?

3. The two titles and their impact? Relevance to the characters?

4. Radio in the 1930s, popularity, the studios, the large audiences, orchestras? Advertising and sponsors? The management? Exploitation? The head of the studio, the underlings? The role of Doctor Martin Leavenworth? Sherry Scott and Alma Ross, their attempts to improve the station? Scott’s capitulation?

5. The story of the murderess? The decision to revive it? The film not giving an any explanation about the murder except to identify the murderess and explaining she did her time? The investigations of Doctor Leavenworth, his visit to the Carstairs? His deception? His promotion of his story – his final comeuppance?

6. Sherry Scott as a character, hard-bitten? Alma Ross, devotion, drinking, supporting him? His meetings with the head? His executive skills? His realising what had happened? His taking a stance against the authorities, his regrets to Edith Carstairs?

7. The Carstairs, respectability, Edith and the marriage, Malcolm? The news of the broadcasts? The appeals, the discussion with Doctor Leavenworth, going to the minister – and his going to the radio council and their decision to move against the head of the radio station?

8. Edith and Malcolm? Romance, preparation for the wedding, the gift of the radio? His parents and their snobbishness, forbidding the wedding?

9. Jim Carstairs, his going to the bank, his appeals? Martha and her ringing the station? Their cutting her off? Her decision to kill herself? Jim, discovering her body, his killing himself?

10. Edith, her going to the station – with the gun? Her being overcome?

11. The grim aspects of the story – and the relevance of this kind of media muckraking?

ON THE INSIDE

US, 2011, 95 minutes, Colour.
Nick Stahl, Dash Mihok, Olivia Wilde, Pruitt Taylor Vince, Shohreh Aghdascloo.
Directed by D.W. Brown.

On the Inside is a drama that is better than might have been expected. It opens with an irrational revenge murder by a young student played by Nick Stahl. It is a case of mistaken identity. He is sent to an institution for the criminally insane. While there he encounters an odd prisoner played by Pruitt Taylor Vince, as well as a convicted murderer, played by Dash Mihok.

The film has surrealist touches in its presentation of the murder as well as life inside the jail. There is an encounter between the young man and a bipolar woman prisoner. She is played by Olivia Wilde.

As the film develops, with psychological meetings (Shohreh Aghdaschloo playing the psychiatrist) as well a sympathetic matron in the women’s prison, the opportunity arises for the young man and woman to meet. However, there is a melodramatic crisis as the Dash Mihok character wants to escape, brutally rapes the matron, attacks the others with a knife. It is the opportunity for the young man to redeem himself (having been visited by the father of the victim and trying to offer him some kind of repentance). The film has something of a downbeat ending – but in harmony with the general thrust of the film, the exploration of erratic anger, crime, punishment, reparation.

1. An interesting crime film, prison film, psychological drama, rehabilitation? With the touches of melodrama?

2. The opening, the suburbs, the murder in the garage – and its being reprised throughout the film? The visuals of the prison, details of cells, rooms, life in the prison, arts and rehabilitation? The musical score?

3. The title, jail, American policy, crime and punishment, justice? The staff at the prison, the guards, the treatment, the psychologists, the officer and his art projects? The life of the criminally insane?

4. The structure of the film: the crime, the judge, Allen entering prison, his character, in the holding area, the special areas, treatment, the minimum security, visits, the father of the victim? The flashbacks to the murder, the desperation of the victim? The build-up to the final melodrama?

5. The crime, Allen and his girlfriend, the rape, his motivation, anger, not hesitating, his brutality?

6. The flashbacks, his mother, the rivalry with his brother, his brother on the wall, the push? The mother, the photo? How much influence on Allen’s subsequent behaviour?

7. The sentence, the routine entry, the familiar aspects of prisoners and photographs, search...?

8. His meeting with Ben Marshall? On the line? Talking, Marshall’s eccentricities? Not a friend? The revelation about his life, his various psychological states?

9. Maximum security, the routines, the cells, the meals, the showers etc?

10. The therapy group, Doctor Lofton and her videoing the interviews with her patients? Marshall and the others?

11. Carl, his story, the killing of his father, his hands? The issue of privileges?

12. The women’s prison, Mia, her depression, bipolar? With the group, coming to the men’s area, the fears? Meeting the men? Talking, the effect on Allen?

13. Allen, his character in prison, quiet, his sense of guilt, his sense of responsibility?

14. Carl his assertiveness, the clashes with Allen, Ben and his going into trancelike states? The artwork? Carl and his wanting Allen to help him? Drawing?

15. The permissions, the discussions, with the women, rehabilitation?

16. The art classes, the officer in charge, his being away, return, talking to the other members of the staff, the sculptures and the drawings?

17. The visit, Mia and Allen, the effect on each?

18. Carl, his escape, with Ben Marshall, the murder of the guard, the raping of the matron? Locking Allen and Mia into the room? Ben?

19. The escape, their not killing Carl? The guard, his gun, the authorities and their wariness, the nervousness of the guard, his firing, shooting Allen?

20. Allen, his death, a means of atonement?

21. The treatment of responsibility, acknowledgment of guilt, atonement – and the significance of the scene where the victim’s father visited Allen and Allen’s response?

POLISSE

France, 2011, 127 minutes, Colour.
Karin Viard, Joey Starr, Marina Fois, Nicolas Duvauchelle, Maiwenn, Frederic Pierrot, Jeremie Elkaim, Riccardo Scamarcio, Sandrine Kiberlain.
Directed by Maiwenn.


The police, polisse, of the title of this very interesting French drama, are the Child Protection Unit of Paris. The film is definitely interesting but it is also definitely grim. And, not just with the crimes and cases that this squad has to deal with, but with the toll that this work takes on the individuals (and the group).

It has the air of authenticity about it, with the streets of Paris, the police precincts, homes, schools and malls, because director and co-writer, Maiwenn, spent a lot of time with the actual personnel for experience and research. Maiwenn herself plays a professional photographer who is hired to photograph the individuals at work but also aspects of the vcitms and the perpetrators, a reminded that she has done her preparation work and knows what she is presenting on screen.

While the film begins and ends in sounds of children’s joy, it shows us a range of cases, some glimpsed, some explored in more detail, where children are abused and hurt, often within a home context. To make this point, the opening story is disturbing as the interviewers try to coax a description out of a very little girl about her father’s inappropriate behaviour. It tests how we respond to such cases, how we feel for the little girl, wondering how such questions can be best put and answered.

The members of the squad have to do a great deal of interviewing, and in rooms that are not always conducive to privacy or to the comfort of the person being questioned. In the opening sequence, the little girl is being spoken to by one person while another sits, visibly, at a desk behind the first one, indicating directions for the interview. These sequences make us wonder what training the squad members have undergone, how personalized and how (as we see more of their own lives and struggles) this has an effect on their work.

There are runaways, infants, a girl who led another into a basement to be gang raped, a shy boy visctim to his sports coach, a well-to-do home where the mother (subsequently interviewed and embarrassed by particularly invasive – but perhaps necessary – questions about her intimate life with her husband and how that might throw light on what her husband has done to his daughter. (This man boasts of his friends in high places and of how he won’t go to jail.) And several other cases.
We also get to know several of the members of the unit very well as individuals, while others remain part of the group, identifiable by their faces, but not central as a some of the others. There are close friendships and confidants which emotions can turn into enmities. There is a man angry at home who takes it out on the accused but who begins an affair with the photographer. There is a sequence where the unit spends the night searching for a drug addicted mother who has abducted her child. Another of a stake-out in a mall – which goes wrong and leads to a hostage and gunfire situation.

It’s really a docudrama, plenty of the equivalent of documentary material on how the Unit operates, plenty of drama, especially of the lives of the unit members – including a dramatic and disturbing shock just before the end.

Winner of the Jury Prize at Cannes, 2011.


1. The title, audience expectations, documentary style, dramatic style? The blend of documentary and drama?

2. The work of the writer-director, her performance, her research, her character? The photojournalist? Capturing the cases, the lives of the unit?

3. The Paris settings, the city, the various neighbourhoods, the wealthy, the poor, the details of the precinct? Action in the streets? Musical score?

4. The interweaving of the cases and the police work, the lives of the members of the unit, the editing and pace?

5. The child protection unit, within the police force of Paris, the background of drugs, vice? Authentic? Authority figures, the personnel, the variety of cases, police action and arrests? The interviews, counselling – and the styles of counselling, supervision? The tasks, the abilities of the staff, their limitations? The personal attitudes towards the victims, towards the perpetrators?

6. The background of ordinary lives, stress in work, hard decisions, action, friendships, clashes? The parties, the drinking, karaoke, mutual support? The final meeting – and the tragedy?

7. The range of cases, the brief indications, audience response to each, the children as victims? The playful introduction, the children’s songs? The children at the end?

8. The initial interrogation of the girl about her father, the confused child, her dreams, the nature of the interrogation, the leading questions, how intrusive, the role of the supervisor, present in the room? The visit of the girl and the leader of the gang, the taxi ride, the story of the gang rape? The pregnant girl, the stillbirth? Her grief? The wealthy girl and her parents? Runaways? The sports coach and paedophile? The cumulative impact on the audience of these cases?

9. The police in action, the woman abducting her baby, dropping it? The search for her, the questions, surveillance, the night, handling the situation after the all-night vigil?

10. Iris, serious, her difficulties with her husband, her preoccupation with her figure, wanting to be thin? Issue of pregnancy? Separation from her husband? With Nadine, Nadine listening to her, her being a sounding-board for Nadine and her emotions? Iris, intensity, breaking? Her being hurt by Nadine? The suddenness of her killing herself?

11. Nadine, her role in the interviews, her friendship with Iris, as a partner? Her husband, the separation, the mutual infidelities, her child? Agreeing to the divorce, the meeting with the lawyer, her weeping, emotional reaction? Kissing her husband? Going to the dance, socialising, telling off Iris at the end? The impact of Iris’s death?

12. Chrys, her husband, the police force, her pregnancy, her relationship with Mathieu, his being injured in the stakeout, going to the hospital?

13. Fred, his character, African background, his skill at interviews? The intensity of his own life, privacy?

14. Baloo, in charge, his personality, at home, his wife and her exasperation, leaving? Fred and putting him up at home?

15. Melissa, at home, her husband, the children? The photos? The meal, going to a separate apartment? Her job, the commission to be with the unit, her presence, Fred and his outburst against her, Fred and Melissa and their gradual bonding, the kiss, the affair? Melissa letting her hair down? Socialising? Her husband, leaving him, the children, his puzzlement?

16. Fred, his intensity, background, at work, friendship with Baloo, sharing the room with him, the wife the daughter, school? His wife upset? His anger with Melissa? The affair, the visit to her family, their friendship and support?

17. Mathieu, his work in the team, young, the interrogations, his participation in the stakeout, his being shot, Chrys coming to visit him?

18. The range of other men in the department, their influence, connections, their hard work? The other women in the team?

19. The stakeout in the mall, the briefing, the placements, the group, the boy noticing the setup, the hostage-taking, the shootings?

20. The wealthy mother, her child, the father and his molestations? His being charged? The interrogation, the embarrassment, his political connections, the detail? His threats? The wife, her interrogations, the intrusive questions about her sex life? The husband and his arrogance? The fate of the girl?

21. The build-up to the final conference, Iris and her death? Yet the work going on – and the music with the children at the end of the film?
 

THE SPACE BETWEEN

US, 2010, 90 minutes, Colour.
Melissa Leo, Anthony Keyvan, Brad William Henke, Anna Sophia Robb, Phillip Rhys.
Directed by Travis Fine.

The Space Between is a small film but well worth seeing. The central character, Montine, played effectively by Melissa Leo, says the space between is from the time of the last meeting with a person who has died until the time that grief is over.

The setting is New York, September 2001. A young Pakistani boy gets a scholarship to a school for bright students and leaves his father, a taxi driver who also works in a restaurant in the World Trade Centre, and goes to Los Angeles. The flight attendant who looks after him is Montine.

When they arrive, they see the visuals of the attack on the Twin Towers. There is chaos in Los Angeles. Officials are harassed and over-busy. The boy wants to go back to find his father. Montine, rather unwillingly and sometimes ungraciously, decides to take him back. They experience difficulties on the way, the boy with his strict Muslim customs, especially praying in the bus, and they are turned away from the bus. They hire a car and drive to New York. However, there is a detour, because Montine’s mother has died and she goes to see her brother.

The film is interesting in presenting aspects of Christianity, especially Montine’s brother as a pastor who has strayed and works with street people. He is a man of faith and there is discussion about God, evil, free will. The film also shows, with respect, Muslim customs. It also shows the bigotry, especially in the immediate aftermath of 9/11.

The film gives a portrait of the two characters, each having suffered loss. A growing friendship grows between them, a mutual respect. In this way, the film is very helpful in dramatising prejudices in the United States and the need for understanding people, meeting them.

The film was written and directed by Travis Fine, an actor who directed a few films, left the industry to work as a pilot for American Airlines, but returned to writing and direction with The Space Between and Any Day Now.

1. A human and humane story? Particularly American? Post-9/11? Intercultural issues?

2. A modest story, audiences identifying with the story, the characters, the situations?

3. New York and Los Angeles, the trip across the United States? An American story? The range of people? Sympathy, bigotry, violence?

4. The contrast between Montine and her hard approach to life, their experience of loss and its effect with Omar, young, his religious background, his intelligence, his bond with his father, his sense of loss?

5. The introduction to Omar, his father and their prayer, the squabbling neighbours? The death of his mother? Clever, the interview and the offer of the place in the school for advanced students? The father refusing? Omar in the taxi with his father, the robbery? The father agreeing that Omar should go to the school? At the airport, Montine and the tag? Omar and his hiding in the toilet, the discussion with Montine? His falling asleep? Getting off and the plane empty?

6. Introduction to Montine, her job, her age, tough, the abusive passenger, complaining about the children and her quiet harsh words to him? The complaints about her? The authorities, their threats? Her relationship with the pilot, going to work? With Omar and the tag, on the plane, the toilet, finding him still in the plane?

7. The impact of 9/11, Los Angeles airport, the visuals on television, the people and their panic, the chaos, authorities?

8. Omar and Montine, together, his wanting to run away, wanting to get back to New York? Their being shuttled around by the authorities? Montine and her hard stances? Omar and the focus on his father, his talking about the special phone? The clashes between the two, the stubbornness of each? The reactions, Montine filling in the documents? Going on the bus, false information to her boss? Omar praying on the bus, the people staring, the driver’s hostility, their being ousted?

9. The food, Omar and his Muslim customs? The motel, the room? His not wanting Montine to touch him? The bed? His going to sleep? Talking with his father?

10. Montine, the background of her marriage, her husband’s death, 1995 and Oklahoma City disaster? Her mother, dying, not recognising her? Her visit to her brother, their discussions?

11. Buying the second-hand car, Omar and his mathematics, beating down the salesman? The drive across the United States, the music, talking, the different stories? Montine’s story and her not telling the direct truth to Omar?

12. Montine going to her family, her brother and his story, minister, his misbehaviour, his preaching to the street people? His daughter, her age, antagonism? The death of Montine’s mother? Prospects for the funeral, the tensions between brother and sister, her not wanting to come? Sam, her age, her resentments, going for a walk with Omar, the discussions about music? Omar and his being bashed, the young thugs in the town? Montine overhearing her brother explain the problem of evil, free will, God to Omar? His faith? Sam being rude to Montine? Montine forgiving her?

13. The discussion about the problem of evil, suffering? God, human choices, free will, the consequences? The effect on Montine?

14. Going to the New York apartment, discovering that Omar’s father was dead, the explanation of his phone calls? Packing, taking things from the apartment? The school authority and the future for Omar?

15. Montine and her change of attitude? Omar and his opening up? Montine, the future, Omar and school? Omar in the toilet again, Montine talking him out of it? Their final discussion, his appreciation?

16. Montine’s gift of the music and the earphones? Seeing Omar listening – and his opening up of attitudes?

17. A film like this contributing to American attitudes, worldwide, breaking down prejudices?

SUNSHINE STATE

US, 2002, 140 minutes, Colour.
Edie Falco, Timothy Hutton, Jane Alexander, Ralph Waite, Mary Steenburgen, Angela Bassett, Bill Cobbs, James Mc Daniel, Mary Alice, Clifton James, Alan King, Perry Lang, Miguel Ferrer, Sam Mc Murray, Richard Edson, Mark Blucas.
Directed by John Sayles.

Sunshine State is another fine film from writer-director John Sayles. It is an exploration of life in Florida around the turn of the century. It focuses on Florida’s past, Native Americans, Hispanics, the Spanish arriving and exploiting, the African Americans and the tradition of slavery, freeholds. It focuses on development in Florida, the exploitation of the tourist market and of real estate. Sayles has a skill with writing characters and dialogue – and exploring the ethos of various cities (especially in his native New Jersey, The Return of the Secaucus Seven) and of Texas (Lone Star) and Colorado (Silver City).

The film is in the vein of Robert Altman’s films, a vast canvas, a wide range of characters whose lives intersect in the different episodes in different parts of the city in Florida.

The film also boasts very interesting performances from such actors as Edie Falco. There is a very good role for Angela Bassett supported by James McDaniel?, Mary Alice as her mother and Bill Cobbs as the veteran of the area. Also stand-out performances from Jane Alexander and Ralph Waite.

A very interesting example of American film-making, performance, explorations of characters as well as wide social issues.

1. A Florida story, the title and the expectations, characters, issues, the work of John Sayles?

2. The picture of the town, the older area, the new, the modern style and its kitsch, the coast and the beaches, homes, the historic parade, the new development site? The musical score?

3. The narrative, the focal stories, their being interwoven, the connections, giving a panorama, a big picture as well as detail?

4. The comments on the past, Florida’s history, Native Americans, the relics, the Spanish and gold, African Americans and slavery, the coming of the developers, the building of communities and destroying them, the business issues? The pageant and the attitudes of the residents towards their historic past?

5. The chorus of golfers, their characters, their comments, ironies, attitudes towards Florida, to golf, to wealth, the wry observations, their recurring throughout the film, the end and their playing golf in the busy island in the street?

6. The world of the developers, the straightforward ambitions, the conspiracies, money, deals, the pressures? The drawing up of plans, buying up the land, Lester and his contacts? Those digging up the land? Todd Northrup and his connections? Jack Meadows, his expertise, his surveys? Earl and his gambling?

7. The focus on Earl, his frustrated suicide attempts and the comic touches? His failures? His relationship with Francine? Her considering him her greatest support and rock? Yet his continued gambling, and her believing that had given it up?

8. The family restaurant? The meals, the motel accommodation? The Temple family? Marly and her story, young, swimming, the carnival, her ex-husband – and meeting him? His music? His wanting money? His place in the pageant? His plans, his connections? Marly and her relationships? Meeting Jack Meadows? Her relationship with the golfer, his leaving to tour? Her father, his speeches, his loss of eyesight, his conservative attitudes? Marly and her visits? The story of the dead twins – the accident on the freeway? Delia and her relationship with her husband, the scenes at home, the scenes at school, her tradition of putting on the plays, the rehearsals, Falconer and her recitation, the bringing of the boy to the school, her taking him on, his willingness to build the coffin for the stage? Her dislike of the restaurant? Yet her hard-headedness in deals with the developers? The father and his friendship with the boy, discussions on the beach? Marly and her final changing?

9. Desiree and Reggie, the respectable couple, going to the toilet in the diner, her mother and her dignity, the home? The young boy and his burning the pageant? Going before the magistrate? His going to the theatre and working with Delia? The horrific back-story of the deaths of his parents? His living with Desiree’s mother, her support of him, Desiree and Reggie, Reggie working on the coffin? The good within him? The possibilities for the future? Desiree’s story, her past, the respectable family, the reputation of her father, the footballer and her pregnancy, her having to leave, her father’s death – and the visit to the cemetery? Her life, acting, TV commercials – and the visualising of one? Her settling down, marrying Reggie, coming home to visit her mother? The antagonism and the criticisms? The coffin-building? Reggie and his going back to work? Desiree and the footballer, the discussions on the beach, his job, discovering the truth about the development, the confrontation, her refusal to sell?

10. Francine and the pageant, her disappointment at the small crowds, the detail of the ceremonies, Earl and his death attempts, gambling?

11. Jack Meadows and his character, the background story, his skills, sharing with Marly, the affair, going to the turning of the sod, his moving on, another job, the farewell to Marly?

12. The turning of the sod, the protest, Doctor Lloyd and his presence in the town, with the African American community, his appeal in the church, the protest? Desiree’s mother and his friendship, the memories? The group lying down in protest, the driver, the unearthing of the skeletons and the skulls? The archaeological find? Changing the development?

13. A blend of characters, portraits, issues – the United States at the beginning of the 21st century? Florida?

TWO GUYS FROM TEXAS

US, 1948, 86 minutes, Colour.
Dennis Morgan, Jack Carson, Dorothy Malone, Penny Edwards, Forrest Tucker, Fred Clark.
Directed by David Butler.

Two Guys From Texas is a pleasant, rather unassuming, musical comedy from 1948. It was directed by David Butler who directed many Warner Bros musicals of this period.

Dennis Morgan and Jack Carson were very popular at Warner Bros during the 1940s, appearing in all kinds of genres but capitalising on musicals and comedies. Dennis Morgan was the Bing Crosby, Dean Martin kind of straight man character, a singer who won the girls. Jack Carson was the equivalent of Bob Hope or Jerry Lewis – but his facial tics and mugging become a bit tedious.

The pair are in Texas, which boasts of being the biggest land in the United States – or beyond. They run out of gasoline and their car is stolen for a bank robbery and a robbery at a rodeo. In the meantime, they get a job at a ranch run by Dorothy Malone at her most charming. Penny Edwards is her friend, a former dancer with the duo and they all entertain at the ranch. Forrest Tucker has a good comedy role as a rather over-earnest sheriff. Fred Clark is the resident vet – who has to act as a psychiatrist for Jack Carson’s phobia of any animals.

There are the expected romances, falling out of love, misunderstandings, the rodeo and the robbery, our heroes catching the villains and being vindicated.

The screenplay has been co-written by I.A.L. Diamond, future collaborator with Billy Wilder on such films as Some Like It Hot. The music is by Jule Styne and Sammy Cahn, prolific songwriters. However, their songs have not stood the test of time – though there is a romantic song, Hankerin’, and a comic song, I Want to be a Cowboy in the Movies.

The film seems rather dated today – but is a pleasant example of popular film-making from the late 1940s, Warner Bros style.

YOU FOR ME

US, 1952, 71 minutes, Black and white.
Peter Lawford, Jane Greer, Gig Young.
Directed by Don Weis.

You For Me came out in the same year as Just This Once, a pleasing romantic comedy of the early 1950s. This film tries to be in the same vein, but is might slighter, less attractive.

The film was directed by Don Weis, who directed Just This Once as well as Remains to be Seen and I Love Melvin and other slight comedies of the time. He had a long career in television.

Peter Lawford is once again a rich socialite. At the opening of the film he gets accidentally shot in the behind during a hunting expedition and makes enormous demands on the hospital to take care of him. He is petulant, spoilt. He makes life a misery for the staff. However, he is a donor to the hospital and the staff bend over backwards to help him. However, ordinary nurse, played by Jane Greer, does not realise who he is and complains. She is sacked. The surgeon, played by Gig Young, is dependent on the grants for his research so he persuades the nurse to try to charm the millionaire into continuing the donation.

This is the main part of the comedy as she goes out with the millionaire, dances, drinks, tries to persuade him, apologises – but is charmed also by the surgeon. This comes to complication when the nurse’s sister is about to give birth, is in need of top surgical help, the doctor being unavailable, going to Baltimore for a new job. The underling doctor, who is attracted to the nurse, is forced to do the surgery himself – and successfully.

Ultimately, the nurse realises she is in love with the doctor, the millionaire takes her to the station to meet the train on which he is travelling – and a happy ending, except for the millionaire who gets shot again in the same delicate place for a jokey ending.

The film was a supporting feature – slightly amusing but rather forgettable.

HOPE SPRINGS

US, 2012, 100 minutes, Colour.
Meryl Streep, Tommy Lee Jones, Steve Carell, Jean Smart, Elisabeth Shue, Mimi Rogers.
Directed by David Frankel.

Talent, age, experience. All very impressively present in this light and serious comedy about marriage and marriage counseling.

Both Meryl Streep and Tommy Lee Jones, in their 60s, are so at home in front of the camera that their performances seem effortless – but, it is obvious that they have given a great deal of thought to each scene, even to body language with small details.

Hope springs eternal, of course. The title refers to Great |Hope Springs, a small town in Maine.

In the meantime, in Omaha, Kay and Arthur are a 31 years married couple with two children. Their lives roll out every day in the same, the very same way. They love each other but have separate rooms. Is that all there is? Kay doesn’t think so and really can’t understand Arthur’s unwillingness to touch, his rather going to work, coming home to his meal and falling asleep before golf programs on TV. She looks for some books to help and discovers Dr (Steve Carell whose performance, except for the final credits, consists of sitting, listening empathetically and suggesting action steps). She watches his on-line promotion and books tickets to his office in Maine.

Most of the film is how Kay and Arthur deal with the sessions – he, of course, off side right from the start. Kay discovers that she is very traditional, even narrowly unaware, in her understanding of marriage and sex. The film also shows the ups and downs of the relationship after each session, the tension in finding a way to touch each other, let alone some relational behaviour that they are not used to (especially a farcical scene in a cinema). The two stars are at their best and their comic timing is impeccable. Tommy Lee Jones is amazingly good in making Arthur, his lack of awareness of how his wife feels, completely credible.

The screenplay makes the two a couple who are decent and good people who need the counseling to rediscover their love – especially going back to their meeting, their falling in love and the possibilities that were there as they married.

Afterwards? Back to ‘normal’? A fresh beginning? Of course. But the interest and the delight is in watching how it all work out. And the makers are shrewd. They keep plot development going all the way through the credits, keeping us there, a very happy family celebration and love renewal.

The film is strongly in favour of love, of fidelity, of marriage commitment, of not opting out of getting help but actively seeking it. Just as Kay tried to persuade Arthur to go to see Dr for couple counseling, many women may well be insisting that their husbands come with them to see Hope Springs. Yes.
1. The title, hope springs eternal, the place, a place of hope, fulfilment?

2. The Midwest, life in Omaha, homes, offices, ordinary life, shops? The contrast with Maine, the historic town, quaint, streets, restaurants, buildings, hotels? The contrast? The musical score?

3. The strong cast – age, experience, talent?

4. Kay’s story, her age, married thirty-one years, her room, looking at Arnold, his ignoring her? The effect of being alone, loneliness, the prospects for the future? Cooking the breakfast, Arnold reading the paper, eating, the routine? His return, the mail, golf, watching it on TV, Kay waking him up, the remote, lights out, his room?

5. Arnold unaware, the years passing, his room, reading, not touching Kay, uncomprehending? Dinner, the TV programs? At work? His diligence?

6. Kay, the television, the book, going online, getting the tickets, telling Arnold, his refusal, his talking with his boss, his boss’s failed marriage, Kay and the taxi to the airport, Arnold waking up, going onto the plane? Kay’s happiness?

7. The drive through Maine, the economotel? Settling in? The breakfast, the waitress knowing all about Doctor Feld’s clients? Ten-thirty appointment?

8. Doctor Feld, Steve Carell and his playing the character straight, listening, advice, his personality, his office, method, talking, listening, asking questions, suggestions, reviewing the behaviour?

9. Kay and her talk, her honesty, her dismay at Arnold, surprise about sexuality and behaviour, her feelings, the issue of touching, her disappointment with Arnold’s reaction, Arnold and his hostility, cracks, wanting to get out? Their being asked what each other hoped for?

10. The experiment with touch, the awkwardness, making the report? The steps, sex? Kay and her being uncomfortable? The cinema sequence and the farce? The book on gay tips, bananas? The details? The raising of the issue of the threesome? Kay and Arnold and their decency, ordinary?

11. The clash, Kay wandering around, Arnold at the motel, the tensions?

12. Arnold, the pressure, going to the restaurant, forcing the owner to have a table, the table itself, the meal, Kay’s delight, rekindling the memories, going to the room, the failure in the encounter, disappointment?

13. Going home, back to the same routines? Arnold and his return home? The touch, the love between the two, enkindled again, the effect?

14. The final credits, renewal of vows on the beach, the family all being present, the doctor? The beach joy?

15. The light touches, the cameo roles, Elisabeth Shue and her advice in the bar, the joke about Carol the neighbour and the threesome? Eileen, Kay’s friend at work and their discussions?

16. The blend of the light and serious? The effect of watching the film – and older couples being encouraged to reflect – and even seek counselling?

HEMINGWAY AND GELLHORN

US, 2012, 155 minutes, Colour.
Nicole Kidman, Clive Owen, Robert Duvall, Parker Posey, David Strathairn, Peter Coyote, Molly Parker, Jeffrey Jones, Connie Nielsen, Tony Shalhoub, Rodrigo Santoro, Joan Chen, Santiago Cabrera, Lars Ulrich.
Directed by Philip Kaufman.

Hemingway and Gellhorn is a Home Box Office movie, premiered on American television. It was also shown at the Cannes Film Festival in 2012. It was nominated for fifteen Emmys.

The film focuses on the relationship between writer and war correspondent, Martha Gellhorn, who became Hemingway’s third wife. Nicole Kidman is very good as Gellhorn, especially with the framing sequences where she is made up to look elderly and gives an interview for television. Clive Owen gives a strange performance as Ernest Hemingway, not quite as strong as one might have imagined, eccentric, self-centred, depressive. Macho, also, in his treatment of women. There is mention of his first marriage. There is a focus on his second marriage to Catholic Pauline (Molly Parker) and his own conversion. There is also the encounter with Mary Welsh who was to be his fourth wife and who cared for him during the 1950s up to the time of his suicide in 1961 (which is featured in the film).

However, the main focus is on his life in the United States, his outdoor activities, especially his fishing (for The Old Man and the Sea), with memories of his trips to Africa and his life in Paris. The principal focus of the film is the Spanish Civil War, the making of a film by Dutch director Joris Ivens (Lars Ulrich) and the contribution of novelist John Dos Passos (David Strathairn). There are some very vivid scenes of warfare – incorporating footage from the period, including from Ivens’ films. Celebrated photojournalist Robert Capa (Santiago Cabrera) also features and the film incorporates some of his photography.

There are also some sequences of World War Two, especially the Normandy landing.

Both characters are very strong, a strong attraction between them, Martha Gellhorn wanting some independence, especially in a visit to China where Hemingway rather unwillingly accompanies her and they have a meal with Chiang Kai Shek and his wife as well as meeting the Communist leader Chou En-lai.

The difficulty with the film is that both characters are not particularly attractive – but with the focus on Martha Gellhorn, there is more audience sympathy for her than with Hemingway.

The film was directed by Philip Kaufman, remembered well for his films like The Right Stuff and Rising Sun as well as his biography of Henry Miller and Anais Ninn, Henry and June.

1. The acclaim for the film? Yet the strong critique?

2. The emphasis, the title emphasis on Hemingway as well as on Gellhorn? Though the centre of the film is Gellhorn?

3. The scope of the screenplay, the 1930s and 40s, in the United States, in Spain during the civil war, Europe and D-Day?, the visit to China, American domestic sequences? Cuba? Portraits? Insight?

4. The style of the photography, sepia and white, black and white, colour, the intermingling? Historical footage? Joris Ivens’ film? Robert Capa’s photography?

5. The musical score, the Spanish music, American atmosphere?

6. The framework with the aged Martha Gellhorn, Nicole Kidman and the makeup? The narrative, recurring throughout the film, the final interview and her going to war?

7. Martha and her mother, going into the diner, her encounter with Hemingway, her behaviour, her status as a writer, the clip in her bag, her independence, the challenge to Hemingway, the drinking?

8. The introduction to Hemingway, Clive Owens’ appearance, performance, Hemingway in his thirties, the nickname Papa? The image of the fishing and the blood? His friends, talk, the drinking, the fascination with Martha Gellhorn? At his home, the encounter with Pauline? Ivens and his film?

9. The American involvement in the Spanish Civil War? John Dos Passos and his reputation as a novelist, his passion, the group around him, going to Spain, their activity and involvement?

10. Going to Spain, the republican perspective, the footage, the condemnation of fascism, the scenes with Franco, Mussolini, Hitler? Hemingway and his writing, reporting? His arguments? In the field? Ivens and the nature of his filming, the people, the war action, the agriculture, the bringing in of water? Paco as a hero, the action sequences? The deaths, the woman in the street? The prostitutes in the corridors? The presence of the Russians? The various alliances?

11. Koltsov, the Russian presence in Spain, reporting to Stalin, the general and his drinking, the challenge to Hemingway, the build-up to the duel, Koltsov and his allaying the enmity, vodka, the laughter? The arrest of Paco in the field, the explanations later, his brother being an ally of Franco? Suspicions that he was a traitor? The basis for the character in For Whom the Bell Tolls?

12. Martha Gellhorn and her decision to go to Spain, the Hemingway effect, with Dos Passos? In the train, with the soldiers, the goat – and its later being served up for the Russian general? The soldier with the rabbit’s foot – and his later injuries and Martha meeting him?

13. Martha Gellhorn in Spain, observing, friendship with Capa, talking about talent and photography, the personal touch? Her rationale for stories, for Collier’s magazine? The deaths, her going into the street, rescuing the child whose mother was dead? The blood on her hands? Hemingway’s reaction?

14. The relationship with Hemingway, not wanting marriage, her independence, the attraction, the passion? The background of Hemingway’s first wife? Pauline and her Catholicism, the children? Her not being willing to give Hemingway a divorce?

15. The bombings, the hotel, Hemingway and his rescuing of Martha? The passion, the sexual response, his needs, her love?

16. Hemingway and his reputation, World War One, A Farewell to Arms, the comments about the movie, the posters? His time in Africa, the accidents, the wounds? His manner of writing, standing, the pages falling beside his desk?

17. The experience of Spain, the war, Gellhorn and her Collier’s articles? The defeat of the republican cause? Franco and his regime?

18. New York City, the 1940s, the writers meeting, Hemingway’s speech, calling Martha Gellhorn to the microphone, the applause? The showing of Joris Ivens’ film? The editors present, Collier’s and Scribner’s? The drinks, the offer to Martha Gellhorn for the novel? The reviewer, the quotes about Hemingway’s masculinity, his macho response, the brawl and the headlines?

19. Joris Ivens’ film, the portrait of Spain, his Dutch background, going into action, the variety of shots – and their incorporation into this film? Back in the United States, the commentary by Orson Welles and his being ousted by Hemingway? Martha Gellhorn and the sound effects? Dos Passos and his upset about Paco, his being removed from the film? Dos Passos and his infatuation with Paco? The accusations of cowardice, Dos Passos moving to the political right?

20. Pauline, uptight, holding on to Hemingway, the initial sequences, her meeting with Gellhorn? Her verbal fight with Hemingway, his silence, the children, the granting of the divorce?

21. Hemingway and Gellhorn marrying? Their life together, their friends, in Cuba, the Caribbean, Hemingway involved with his friends and protection from U boats? His macho attitudes? Martha and her going to China, his agreeing to accompany her?

22. The scenes in China, Hemingway and his unwillingness, finding the culture alien? Martha and her bluntness with Madam Chiang Kai Shek? Chiang Kai Shek and his teeth, the chocolates? Their guide? Their being taken to Chou En lai, the discussion, her finding him charismatic? His concern about the Chinese, poverty? The Communists? The return to America, their discussions with the Roosevelts – and the Zelig effect of incorporating them into the sequences? Their being considered Communist sympathisers?

23. Martha wanting to go to Europe, asking Collier’s to send her, the irony that they were sending Hemingway? The refusal to allow women journalists? The confrontation between the two, the clash, her being hurt? Leaving Hemingway, going to Europe as a nurse, at Normandy, D-Day? Hemingway and his stories? His meeting Mary, the bond between the two, his being injured, the hospital, Martha going to see him, seeing Mary, her anger, asking for a divorce? Hemingway pleading?

24. Hemingway and his marriage to Mary, his being white and bearded (like his final photographs)? The electric shock treatment, at home, Mary trying to cheer him, his depression, his gun cabinet, shooting himself?

25. Martha Gellhorn and her international career, the interview in the 90s? Feisty? Going to war again?

26. The characters, interest and appeal? The background of American literature, journalism? The times, the wars, correspondents? Personal stories, passion?

HARD TO HANDLE

US, 1933, 78 minutes, Black and white.
James Cagney, Ruth Donnelly, Mary Brian, Allen Jenkins.
Directed by Mervyn Le Roy.

Hard to Handle is an early film from James Cagney. He had made an impact in 1931 with Public Enemy. He made many short films during the major part of the 1930s, ranging from musicals like Footlight Parade to an exploration of the FBI in G Men. By 1938, with Angels Dirty Faces, he went more upmarket in Warner Bros action films. However, he won his Oscar in 1942 for his portrayal of George M. Cohan in Yankee Doodle Dandy.

This film focuses on a conman in the early 1930s, in the atmosphere of the Depression. It opens with the marathon dances, familiar to filmgoers from They Shoot Horses, Don't They. Cagney is a smart-talking conman – and, in this film, very fast-talking. Also fast-talking is Ruth Donnelly as the mother of the winner of the marathon, interested in her daughter, a conwoman to rival Cagney. Mary Brian is the heroine.

The film was directed by Mervyn Le Roy who had made Little Caesar and this film came immediately after I Am a Fugitive from a Chain Gang. LeRoy? continued at Warner Bros but moved to more upmarket films at MGM in the early 1940s.

1. James Cagney vehicle? His screen presence? Smart-talking, fast-talking? Hero – anti-hero? In the context of the Depression and money problems?

2. The setting, California, New York? The American cities? The atmosphere of the 30s? Black and white photography? Musical score?

3. The opening with the marathons, the radio announcer and his comments revealing the exploitation of the contestants? The dancing, the perseverance, trying to keep awake? The couple collapsing? The winners? The crowds watching – wanting someone to fall? The role of radio? The money, the partner absconding with the funds? Lefty and his having to face the people, the angry reaction, especially from Lil Waters?

4. Lefty, his schemes? His love for Ruth? Clashes with her mother? His various plans – especially for the treasure hunt, ruining the businessmen after sweet-talking them? His going to New York, getting a room with Ruth and her mother? The meetings, his pretending to be successful? The clash with Ruth’s boyfriend and sponsor? His eventually having some success? Advertising the resort, the grapefruit acres? His going to Florida – the daughter pursuing him? His being left high and dry? His being arrested? His explanation of the situation – his finally coming to see Ruth, her suspicions of him, her mother’s sweet-talk? His performance – and tricking her into believing he was going to jail? The happy romantic ending?

5. Ruth, her mother, on the dance floor? Going to New York, model, the photographer, chaperoning her? Her love for Lefty? The clashes with her mother? Her seeing Lefty with the businessman’s daughter? Her finally being persuaded that he loved her?

6. Lil Waters, watching the marathon, taking over the attack on Lefty? Her selling the furniture to the dealer? Her absconding, the money, not paying the rent? The dealer and his disillusionment – and trying to get the money from Lefty? The landlady and her reaction? Lil and Ruth in New York, Ruth’s job, Lil wanting her to marry the photographer? Meeting up with Lefty, his staying, her antagonism, his success and her warming to him? Her ups and downs and manoeuvres? Smart-talk? Her finally accepting Lefty?

7. The world of big business, going bust, swindles, the police?

8. A 1930s screwball comedy, situations, character, dialogue?