Written by Auguste Le Breton (original novel and screenplay collaboration) Jules Dassin and René Wheeler
Directed by Jules Dassin
Jean Servais… Tony le Stéphanois
Carl Möhner… Jo le Suedois
Robert Manuel… Mario Ferrati
Janine Darcey… Louise
- What do you think of the infamous thirty-two minute long ‘heist’ scene? Is the decision not to include dialogue or music an effective one? Why? How does it compare to heist scenes in more recent and commercial films such as Snatch, Ocean’s Eleven, Inception? Why do you think it is placed roughly halfway through the film rather than at its conclusion?
- How much of the film would you say now feels outdated? How much does the film suffer from cliché? Is this the fault of the filmmakers or because films which have followed afterwards have borrowed from it?
- What does this film have to say about the subject of morality? Does it have a moral message? How are we supposed to feel about the film’s criminal leads?
- What did you think of the film’s treatment of its female characters? Do what extent is this film sexist or misogynistic?
- What elements of the film make it ‘noir’?
- To what is extent is the setting of Paris in the 1950s also a character in the film?
‘Rififi’ refers to a ‘macho’ style of brutal violence perpetrated by criminals and thugs.
How central is the violence and ‘rififi’ to this movie? Is it offensive?
A Girl Walks Home Alone at Night (2014) Written and Directed by Ana Lily Amirpour
Sheila Vand… The Girl
Arash Marandi… Arash
Marshall Manesh… Hossein (The Junkie)
Mozhan Marnὸ… Atti (The Prostitute)
Dominic Rains… Saeed (The Pimp)
Rome Shandanloo… Shaydah (The Princess)
Masuka… Masuka (The Cat)
- Why do you think the decision was made to name a lot of the characters as archetypal figures, for example ‘The Girl’ or ‘The Cat’? Likewise, what about the decision to set the story in a place known only as Bad City? Is there perhaps a fairy tale or fable quality to this story?
- How does this fit into the canon of other vampire stories? Consider the fact that the word ‘vampire’ is never even mentioned.
- The film was made in California, but how does the strong Middle Eastern influence change the way we watch the film? How does the setting relate to Western ideas of vampires as ‘exotic’ and ‘other worldly’? How about the political and gender political context of the film?
- What do you think of the ‘relationship’ which is formed during the course of the film? How do we know they are in a ‘relationship’?
- What did you think about the (slow) pacing of the film?
- What did you think about the soundtrack and use of music and references to musical culture throughout?
- How much of this film is ambiguous? Do you enjoy ambiguity in a film?
- How attractive was the film to look at (cinematography)? Why do you think the film was made in black and white?
A series of graphic novels have been produced to accompany this film.
In what way does the film remind you of a graphic novel? How does it compare to other films with a similar visual style?
Written by Charlie Kaufman, Directed by Duke Johnson, Charlie Kaufman
David Thewlis… Michael Stone
Jennifer Jason Leigh… Lisa Hesselman
Tim Noonan… Everyone else
This was originally written as a ‘sound play’ and was later adapted for the visual medium. What is the role of sound and voice in this film? Are the accompanying visuals fitting and successful?
- Why was it important to make this film with stop-motion animation rather than flesh and blood actors? What do you feel about this style of animation? Is this a beautiful film?
- What about the voice casting decisions? Assess the performances of Thewlis and Leigh, as well as the decision to have Tim Noonan voice every other character.
- How would you sum up the ‘atmosphere’ created by Kaufman in one word only?
- What do we want from a film? Do we need to feel good and the end to feel we’ve had a worthwhile cinematic experience?
- Why do you think Kaufman chose to set this story in a hotel?
- To what extent did some of the sexual elements in the film jar with the fact that it was an animation?
- A quotation from the main character, “Sometimes there’s no lesson. That’s a lesson in itself.” To what extent do you think this is true of Anomalisa? Is it a film without a lesson?
- How would you compare this film to Lost in Translation?
The hotel where Michael stays is called the Fregoli. The ‘Fregoli delusion’ is when someone believes different people are all actually the same person in disguise. How does this relate to Michael’s state of mind? Is this what he believes is happening?
Based on a play by Norman Barasch and Carroll Moore, Screenplay by Julius Epstein
Directed by Norman Jewison
Rock Hudson… George Pemberton Kimball
Doris Day… Judy Kimball
Tony Randall… Arnold Nash
Paul Lynde… Mr Atkins
Edward Andrews… Dr Ralph Morrissey
- Which character did you enjoy watching the most and why? To what extent did you ‘like’ George, our main character? Is this important?
- To what extent are the 1960s negative stereotypes in the film offensive? To what extent are they funny? Consider presentation of: women, homosexuals, hypochondriacs, alcoholics…
- Compare the gender politics of the film with other movies made in 1964, for example Goldfinger, Mary Poppins, My Fair Lady and Straight Jacket. What are the different perceptions of women being represented?
- Which elements of the film did you find funny and why? How does it compare to 1964’s iconic ‘Dr Strangelove’ in terms of comedic style?
- This film was originally a play. Is this apparent?
- Apparent, Rock Hudson did not like this movie, feeling that the film’s morbid subject matter was in bad taste. Do you think it’s important for comedies to deal with taboo subjects? What examples can you think of where questions of taboo and taste have been well and truly pushed in recent times?
- If you could change the ending, would you? What would be your alternate ending?
Although Rock Hudson and Doris Day are often remembered as a famous double-act who made countless films together, this is actually their third and final movie outing. The actor Tony Randall (who played Arnold in Send me No Flowers) is also in all three. You may wish to compare this film with Pillow Talk (1959) and Lover Come Back (1961). Both of these films also depict Hudson and Day in a fraught love/hate relationship, played for comedy value.
Lars and the Real Girl (2007)
Written by Nancy Oliver, Directed by Craig Gillespie
Ryan Gosling… Lars Lindstrom
Emily Mortimer… Karin
Paul Schneider… Gus
R.D. Reid… Reverend Bock
Kelli Garner… Margo
Patricia Clarkson… Dagmar (Bianca and Lars’ doctor)
- Is this film a love story? What types of love do we encounter is this film?
- Does this film fit easily into a specific genre? How does it fit into the context of ‘quirky’ comedies? Is this film funny? If so, does the comedy come from the ‘cringe’ factor, the shock factor, out of sympathy/pathos or from somewhere else?
- How does this film deal with the issues surrounding ‘growing up’? Think about invisible friends, comfort blankets/teddies, playing pretend. Consider the fact that Gosling apparently improvised the teddy CPR scene… would the film lose something without this?
- How would this situation be dealt with in ‘real’ life? To what extent is the audience being asked to suspend their disbelief? Think about the representation of a small town community and the Church (not to mention medical bills.)
- Consider representation of gender politics, sex and sexuality. Does any part of us condemn Lars’ purchase?
- How much does the success of the film rely on the strength of Ryan Gosling’s performance?
- How do we deal with mental health issues? If someone is happy and they are not hurting anyone else, is their mental health issue a ‘problem’?
- Just for fun – Discuss the variety of sweaters worn by Lars and Margo.
Listen out for Ryan Gosling’s weird and wonderful singing voice. For more of this, check out the Dead Man’s Bones self-titled album. It’s perfect for Halloween.