Introduction

                                   Welcome to Stuart Fernie’s Blog

Please scroll down or find on the right links to articles, pages of reflections on films and books, and occasional pieces of short fiction.

Articles include advice and questions to assist in the writing of essays about films, thoughts on "Midnight Express", Jason Bourne, Advocating Arts and Humanities, "Heaven's Gate", "Civil War", "The Ghost and Mrs Muir", "Ad Astra", Duality in 19th century literature, "Living", "Hell in the Pacific", "Point Blank", "Vera Cruz", "Dr Strange in the Multiverse", my interpretation of "Il faut cultiver notre jardin", "Jean de Florette" and "Manon des Sources", "Drive my car", "The Batman", the place of acting in society, thoughts about religion and fate, "The Banshees of Inisherin", "Full Metal Jacket", "The Bishop's Wife", "Moliere", "Les Fleurs du Mal", "Soylent Green", "Bad Day at Black Rock", "The First Great Train Robbery", The Dreyfus Affair, "Persona", "The Seventh Seal", "A Clockwork Orange", "Night Moves", "Lonely are the Brave", "In the heat of the night", "The League of Gentlemen" (1960), thoughts on the nature of film noir, "Star Trek", "Seven Days in May", "Dead Poets Society", "Good Will Hunting", "Callan", "The Hill", "Cool Hand Luke", "The Hustler", "Road to Perdition", "The Verdict", "Three Colour Trilogy", "Jojo Rabbit", "Jeremiah Johnson", "Collateral", "Joker", "Barry Lyndon", "The Bridge at Remagen", "Le Mans '66 (Ford v Ferrari)", Charles Foster Kane ("Citizen Kane"), "The Deer Hunter", "Highlander", "No Country for Old Men", "Gattaca", "The Adventures of Robin Hood"(1938), "Apocalypse Now", "Spartacus", "The Bridge on the River Kwai", "The Long Good Friday", "Once Upon a Time in Hollywood", "The Third Man", "Finding Forrester", "The Outlaw Josey Wales", "Untouchable" (2011),"Unforgiven", "The Manchurian Candidate", "The Wild Bunch", "The Treasure of the Sierra Madre", "Papillon" (1973), "Public Eye", "Existentialism in society today", "Seven Samurai", "It's a Wonderful Life", "Don Quixote", "We're No Angels", "The African Queen", "Babette's Feast", "War for the Planet of the Apes", "Dunkirk", “Dances With Wolves”, “Inherit The Wind” and “The Prisoner”. 

A link to my YouTube channel with video presentations of a number of my pages.

After I retired from teaching, I thought I’d write my memoirs, “What have I done?”, and present them online. Please find links to these memoirs, some French support pages and reflections on "Les Miserables" below.

I can be contacted through the comments sections or at stuartfernie@yahoo.co.uk

Other blogs available:

French Support Pages

Discussion of “Les Misérables”

Tales of teaching – memoirs of a former French teacher

All intellectual property rights reserved

Advice and questions to help in the analysis or discussion of films and in the production of essays

 

 

Advice and questions to help in the analysis or discussion of films,

and in producing an essay

 

During my thirty-five years in teaching, I helped a number of pupils prepare essays, principally on films but occasionally on plays and books, usually by asking questions that would elicit reflection and help build their essays.

I thought young students setting out on essay-writing might find the following advice and questions of some help in responding to a film and in constructing an essay about it.

 

Useful definitions

Principal and secondary characters

Very roughly, principal characters may drive change and plot while secondary characters are affected by plot or add to our understanding of principal characters, theme and plot.

Themes

Themes are underlying universal concepts or ideas that may have relevance to readers’ own lives, e.g. love, compassion, freedom, justice, morality, responsibility.

 

Advice

In writing a general discussion of a film, one possible framework is:

Overview   Give a brief outline of what the film is about, mentioning storyline and substance.

Characters    } Discuss the principal characters and their traits while linking them

Themes        } to themes you may have identified.

Conclusion  Give your considered assessment of how successful the film is.

 

Consider how the film (and its characters) make you feel and try to explain why.

 

In writing your essay, try to be relevant, reasoned and concise.

 

Overview

Can you encapsulate what the film is about without reference to detail?

Did the producers have a purpose in mind when they made the film?

Can you identify any themes?

Is attention drawn to a particular character or issue?

Is there clarity in the ending or is it ambivalent?

 

Characters

Can you differentiate between principal and secondary characters?

What do you make of the characters? Are they sympathetic, unpleasant, comical or do they have a mixture of traits?

Is there a conflict between characters? If so, what is the source of the conflict?

Do the characters change in the course of the film? Do they evolve, remain largely the same or deteriorate?

Are ideas expressed by any of the characters, and how are they expressed?

What can you deduce about the characters from their words and actions?

Are there consequences of verbal exchanges or actions?

Do characters challenge others, conventions or traditional thought?

Does one character influence others?

Is there a collision between points of view?

 

Themes

Do any of the characters support a particular position or stance?

Does the author/screenwriter seem to favour a particular point of view?

What themes can you identify, and are they presented positively or negatively?

Are characters being used to illustrate certain themes? If so, how?

Does the film challenge conventional views or stances?

 

Conclusion

Did you find the story and characters engaging? Why or why not?

Was the ending satisfying? Why or why not?

Did the production flow or were there inconsistencies?

Were you struck by the style of the making of the film? Did this contribute positively or negatively?

Was the storyline strong throughout or was the film padded?

Did the production have integrity or was it self-indulgent?

Can you identify particular strengths or weaknesses (pace, rhythm, performance, direction, script, music, production values, photography, length)?

What do you feel about the film? Did you find it entertaining, engaging, thought-provoking, amusing, confusing, intriguing, touching, clear-headed?

 

If you have been asked to write on particular aspects of the film, consider definitions of the terms used in the question and think of ways in which the storyline, characters and themes meet the criteria set in the question.

At least some of the questions above may assist you in this task.

You should assume the reader of your essay knows nothing about the topic so you need to convince the reader of your views by constructing a reasoned and clear essay in support of your observations.

Thank you for taking the time to read this article. I hope you found these notes of some benefit.

 

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

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Reflections on characters and themes in “Midnight Express”

 

Reflections on “Midnight Express”

Directed by Alan Parker

Screenplay by Oliver Stone

Based on the book by Billy Hayes

Starring Brad Davis, John Hurt, Randy Quaid,

Irene Miracle, Bo Hopkins et al.

 

While “Midnight Express” is the film version of Billy Hayes’ account of arrest and imprisonment in Turkey in 1970, I think it is fair to say the film offers a somewhat modified version of events. Director Alan Parker and scriptwriter Oliver Stone have used the base material to convey and study issues and themes that are valid, compelling and even essential in terms of discussion of what constitutes a just and caring society, but the details of Billy’s cinematic story are not necessarily historically accurate. Of course, that in no way diminishes the film’s effectiveness as a work of art and may even have allowed the film makers greater freedom to express their ideas and concerns in the course of the film, and while the producers may be accused of taking things to extremes, that is often the basis of drama as it leads to clarity of conflict, consequences and feelings.

Billy Hayes is no criminal but, through youthful indiscretion, he is tempted to sneak two kilos of cannabis through Turkish customs on his way home to America. He is caught and, as the authorities wish to make a daunting example of him, he is eventually sentenced to thirty years in prison, in particularly harsh and difficult conditions. The film examines his experiences but also begs questions and invites reflection on a number of issues and matters of social relevance and concern.

The first issue to be raised is that of cultural and legal differences between nations and the impact these can have on attitude, conduct and punishment. Although Billy is aware that he is breaking the law, he gives in to temptation in his desire to share cannabis with his friends. This may be at least partially due to youthful recklessness and a more liberal attitude at home, but he does not appear to view this as a major crime and he misjudges and underestimates the attitude and approach of the Turkish authorities. He and his father do little to help the situation by treating officials with a degree of casual disrespect. This highlights incongruities and friction that may arise due to disparities and contrasts in cultural and legal divisions.

That said, it is often difficult to alter one’s ingrained perceptions to accommodate a fresh and radically different outlook, and our film seems to imply that perhaps authorities could take this all too human failing in to account in terms of sentencing depending, of course, on the gravity of the crime. However, it is clear that Billy is a little man being used as a pawn by authorities in a bigger game of setting an example to discourage similar acts, and his case is seen by the prosecutors purely in terms of legality and punishment with little or no heed given to background, circumstances, character and rehabilitation. Indeed, Billy’s situation begs questions about justice and the proportion of the punishment to fit the crime. Should the criminal justice system, whether in Turkey or elsewhere, not be governed by considerations of fairness and compassion?

Our film effectively presents a plea for common humanity and it also invites the audience to consider the purpose of incarceration in the broadest terms. Is the objective merely to punish, humiliate or even take revenge, or is there room for rehabilitation and reform, taking account of remorse and the capacity to change? At one point, Billy intimates that he has learned his lesson (suggesting recognition of guilt) and that rather than make an example of him, the prosecutor and the courts would be more laudable or admirable if they showed mercy in his case. I think it was Dostoevsky who suggested (and I am paraphrasing here) that one can measure the worth of a society by the way it treats its criminals.

If a man is deprived of hope, a sense of value or individual worth, and he has no recourse to natural justice, what does he become? Billy is reduced to a shell operating on the most basic level, lost in this prison labyrinth in which conventional social structures and humanity do not apply as civilisation appears to turn its back on the abuse and wretched destinies of those incarcerated.

A visit from his former girlfriend provides a glimmer of hope as he is reminded of self-worth and the existence of life outside his prison, and this much-needed wake-up call provides the impetus to survive and form a plan to escape. With no prospect of release or humane treatment, Billy will no longer meekly accept the brutal authority of his captors as he realises he has no option but to take his destiny in his own hands and make a bid to escape, or slowly die…

The setting of this film is Istanbul and while it may be viewed simply as a modified recounting of Billy’s experiences, the universal themes explored here have been examined in a number of films set in a variety of countries including Britain, France and America. Nor should these themes be regarded as relatively recent. In 1844 and 1862, writers Alexandre Dumas and Victor Hugo published “The Count of Monte Cristo” and “Les Misérables” respectively and each examined the consequences of unjust imprisonment, disproportionate sentences and the psychological harm done by brutal and inhumane treatment.

 

My thanks for taking the time to read this article. I hope you found it of some value.

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

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Reflections on the nature of conflict in the Jason Bourne films

 

Reflections on the nature of conflict in the Jason Bourne films

Directed by Doug Liman and Paul Greengrass

Principal screenwriter Tony Gilroy

from books by Robert Ludlum

Starring Matt Damon, Franka Potente, Julia Stiles, Brian Cox, Joan Allen, 

David Strathairn, Albert Finney et al

 

The Jason Bourne films (and here I am referring to the original trilogy of films) were a series of high-octane spy thrillers renowned for their style, intensity and engaging characters which exercised a huge influence on other action/adventure films produced in the same time period.

Filming techniques and the accompanying music serve to heighten sensory and emotional response but everything is underpinned by and rooted in a battle between amorality and purity of heart, tinged with a sense of guilt and an occasional desire for redemption.

Jason Bourne is trained to be an unquestioning and highly effective tool in the service of his C.I.A. masters. He put his faith in the authorities and fulfilled dubious missions under their instruction without challenge or hesitation until, while on a mission to assassinate a target, his underlying humanity caused him to hesitate and as a result he was badly wounded and left with amnesia.

As he struggles to uncover and pursue clues to his identity and the life he has chosen for himself, he discovers he has a wealth of combat and judgment skills that enable him to avoid or elude a variety of dangerous situations while we, the audience, discover his masters do not necessarily possess the integrity we and Jason might expect of them.

The storyline cleverly avoids tarring the entire C.I.A. with the same brush and implies that a number of senior figures are perhaps tainted by disillusion, ambition or cynicism and are willing to pursue their own ends without accountability, using Jason to help them achieve their aims. Of course, Pamela Landy remains a beacon of hope and integrity, though even she is sidetracked by disinformation and bureaucratic red tape.

However, the stroke of genius in terms of emotional engagement and hope for principle, integrity and morality is that through his amnesia Jason has rediscovered purity of heart and independence of mind and spirit.

This is a fascinating turn of events which appears to imply the innate goodness of man who is influenced and perhaps corrupted by his response to experience, encounters, events and emotion. Although he is fortunate enough to have retained the skills he accumulated during his training, Jason’s slate is effectively wiped clean and this allows him to view situations and circumstances with objectivity and reason.

Although he can recall only fragments of his past, he follows enough clues and builds enough of a picture of his life to find it questionable. As he recalls these fragments, he judges his actions in his former life and questions his motivations. His perceptions and judgments are now unaffected by previous thoughts, experiences and outlooks which may have been blurred, manipulated or falsified. The fundamental faith he had in his handlers is lost through objective analysis of evidence, experience and consequences. The only person of standing in the C.I.A. community who proves herself worthy of his trust is Pamela Landy, and this trust is gained by way of reason and action.

I think this fundamental juxtaposition of amoral and Machiavellian methods to pursue one’s own ends, and the professed pure-hearted desire to lead a simple, peaceful and independent life is the reason for the Bourne films’ success. Jason is the little man being pressured and manipulated by forces well beyond his ken but because he is now free of imposed societal respect and fear, and because he has the means and indignant determination to right newly-perceived wrongs, he is well placed to defend himself as it becomes necessary.

It boils down to the age-old conflict between good and bad, or at least the idealistic and honest versus the conniving and opportunistic, though in this case the protagonist is able to use the antagonists’ own methods against them and that adds a sweet sense of retribution.

While Jason’s success in bringing down his opponents is satisfying, his true victory is in the fact he is left to lead his life on his own existential terms, something to which many of us aspire. Having gained a different perspective, he sought independence and peace but he was willing and able to defend himself using whatever level of force his opponents were prepared to use against him, but without initiating the aggression.

This may not be the first time a government agent rises above the moral level of his or her creators and uses his or her skills against them (I’m thinking of television’s “Callan” and Luc Besson’s “Nikita”), but I think Jason Bourne is the most successful in terms of entertainment and emotional engagement.

I have to say the use of amnesia to liberate and exercise man’s innate goodness and allow an objective review of one’s own life is a masterstroke and, although a vaguely similar device was used in “Unknown” and “Sleeping Dogs”, once again it is used to greatest effect here.

My thanks for taking the time to read this article. I hope you found it of some value.

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

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