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 discussion of "Ace in the Hole", "Suite Française", elements of a good lesson (secondary level), "Sweeney Todd", "The Yakuza", using film and song in the modern languages classroom, "The Dirty Dozen", "Megalopolis", Critical Thinking, "the relationship between an artist, a work of art and the consumer of a work of art", "respect, self-perception and self-healing", "Sicario" (2015), Steve McQueen, "Dracula entre l'amour et la mort" (the French-Canadian musical), science-fiction films, films about teaching, "A Tale of Two Cities" (1958), "The Invention of Lying", the Arts, the James Bond films, "Sweet Smell of Success", "Rollerball" (1975 and 2002), "The Professionals" (1966), "One Flew Over the Cuckoo's Nest", "The Name of the Rose", "The Man who would be King", "Mr. Holmes" (2015), "The Last Samurai", "Judgment at Nuremberg" (1961), "The Sand Pebbles", "Forrest Gump", "Gran Torino", "Gangs of New York", "Emperor of the North", "Five Easy Pieces", "Chinatown", "Casablanca", Blade Runner", "The Big Red One", early Luc Besson films, "Being There", "An Inspector Calls", "La Belle et la Bête", "The Searchers", "The Mission", "High Plains Drifter", "Nuremberg" (2025), "Prime Cut", the influence of existentialism in society today, anxiety, professional criteria and essential attributes in teaching, professionalism versus careerism, thoughts on the meaning of "success" and "worth", "Hobson's Choice", "Quai des Orfèvres", "Le Corbeau", "The Wages of Fear", advice and questions to assist in the writing of essays about films, thoughts on Proportion and Self-respect, "The Offence", "Trainspotting", "Three Days of the Condor", "Spotlight", "Good Night and Good Luck", "The Count of Monte Cristo" (French version, 2024), "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 Misérables" 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

Version française d’articles initialement publiés en anglais sur mon blog

All intellectual property rights reserved

Brief reflections on "Ace in the Hole" (1951)

 

Brief reflections on “Ace in the Hole” (1951)

Directed by Billy Wilder

Screenplay by Billy Wilder, Walter Newman and Lesser Samuels

Starring Kirk Douglas, Jan Sterling, Robert Arthur, Porter Hall et al.

 

“Ace in the Hole” is an exploration of outlook and consequent actions that are self-serving to the point where the central character and a number of similar-minded opportunists are willing to use and abuse others to advance themselves, their careers and their profits.

Although ideally motivated to seek truth, facts and justice, journalists (like many other public service professionals) may lose sight of lofty objectives and use, abuse or influence events and situations to promote themselves, advance their ambitions or promote a cause in which they believe.

In this film, Chuck Tatum is such a journalist.

He seizes on an unfortunate circumstance (a man named Leo is trapped underground) to glorify and market himself, even causing life-threatening delays to Leo’s rescue in order to maximise his impact and influence, with tragic and unnecessary consequences as the trapped Leo dies when he might have been saved days earlier without Tatum’s manipulation and self-serving intervention.

The film’s premise and storyline were criticised on its release on the grounds of lack of realism in terms of the reaction of others involved in the situation. Would onlookers, officials and other journalists not have taken issue with operations and timescale to ensure Leo’s timely and effective rescue?

Of course, or at least we’d like to think so, but to make this criticism is to somewhat miss the point of this whole cinematic exercise. This is an exploration of the depths of the human soul and the extent to which ambition, ego and self-promotion can outweigh compassion and humanity, and that is not restricted to Tatum. Others also seize on the opportunity to profit from the situation.

To make its point, the film offers an exaggeration, but that can be the legitimate basis for drama as directors and writers invite the viewer to be outraged and thus be sensitised to the values and “decency” that are lacking in the main character and others. Billy Wilder was renowned for his at times cynical and disillusioned view of human nature but it should be recognised that in presenting this negative view, he is not condoning such conduct – if anything, this conduct is being condemned as outrageous and unacceptable.

By raising awareness of potential consequences of selfish actions, Wilder is demanding reflection on the part of the audience and is seeking a positive response in terms of outlook and action. A carefully orchestrated negative example can be just as effective a teaching tool as a positive or heroic example, especially if heightened for dramatic effect and uneasy impact.

Given recent clear and distinct distancing from conventional views of truth, decorum, morality and respect in the fields of journalism, politics and social intercourse, the film’s essential warning may be considered more apt today than even at the time of its release as today’s news agencies, politicians and social media outlets often peddle opinion and manipulate perception with scant regard for truth, facts and ethics.

The tragic ending and the fact there was no hero to root for left the audience somewhat deflated, and our film was a critical and commercial failure. An upbeat and hopeful tale of rescue in the face of adversity would doubtless have met with commercial success but here Billy Wilder is tapping in to what may be an uncomfortable but familiar recognition of dubious perspective. He is challenging conventional romanticised heroic projections and is inviting recognition of the dark side of human nature in the hope it will lead to rejection and appreciation of honesty, compassion and values.

The film’s core message is summarised at the end with the juxtaposition of idealism and disappointing reality when Tatum dies beneath a sign saying “Tell the truth”.

It has been suggested that this is a film noir and while I can see a certain argument for that contention, I would suggest it does not meet the criteria of a general lack of a moral code and characters doing what they feel they must do in order to survive - a great many characters act altruistically as they make a huge effort to save Leo and I would say that Tatum needs this conventional societal order and morality to achieve the success he craves. This is rather an exploration of one man’s self-interest and self-promotion while hypocritically depending on and manipulating the higher feelings of others for his own ends.

 

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

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

BLOG                                         YouTube

Reflections on characters and themes in “Suite Française” (2014)

 

Reflections on “Suite Française”

Directed by Saul Dibb

Screenplay by Saul Dibb and Matt Charman

Based on the book by Irène Némirovsky

Starring Michelle Williams, Kristin Scott Thomas, Matthias Schoenaerts, Ruth Wilson, Sam Riley et al.

In wartime, we see people at their best but also at their worst.

Set during the German occupation of France in WW2, “Suite Française” is a study of some of the consequences of the occupation, political, social and moral, for the residents of the small town of Bussy.

In places, our film is vaguely similar in tone to “Le Corbeau” and “La Rafle” as it reveals some uncomfortable truths regarding reaction to the occupation in this small community. There are clashes between politics and humanity, social position and compassion, and spiritual rapport and duty, with some characters prioritising position and survival while others eventually make a stand for freedom and principle.

Mme Angellier, proud local landowner and mother-in-law to Lucile, shows scant regard or compassion for those fleeing Paris and the occupation, is hard-hearted toward her tenants who are in financial difficulty, and is rather authoritarian, condescending and insensitive toward Lucile (whose soldier husband, Gaston, is eventually reported to have been taken prisoner by the Germans). When forced to accept the presence of a polite and respectful German officer in her home, she is determined to show her displeasure by offering a minimum of co-operation or even recognition of his presence. She is clearly immensely proud of her social status, appears self-centred and unbending, and is critical of just about everyone.

The young and thoughtful Lucile, who loves music but is discouraged from playing her piano by her mother-in-law, is drawn to Bruno von Falk, the well-mannered German officer billeted in her home, as he plays her piano and composes his own music. After initial resistance, Lucile is able to see beyond Bruno’s official status and sees him as something of a kindred spirit. Bruno reveals a sensitivity at odds with his official duties and he and Lucile establish a rapport, to the disapproval of Mme Angellier and several local residents.

Bruno receives numerous letters of denunciation from the locals (in return for German favours or leniency), indicating blatant self-interest and immediate gratification on their part, and a failure to grasp the broader perspective of fighting for French freedom and values. This practice was indeed encouraged by the Germans who gained information on criminals, Jews and resistance fighters as well as engendering disunity among the local population.

Bruno clearly disapproves of the practice but he does learn that Lucile’s husband has been consistently unfaithful to her, though he keeps it to himself. When Lucile does finally learn of her husband’s infidelity, she feels utterly betrayed and this revelation drastically alters her worldview, including her view of her mother-in-law’s haughty moral position, her marriage, her relationship with her judgemental and only-too-well-informed neighbours, and especially her stance with regard to the occupying forces. She decides to abandon her role of dutiful wife and obedient daughter-in-law to follow her instincts and defy the occupation forces’ control, even reluctantly and with regret sacrificing her nascent but deeply-felt relationship with Bruno out of indignation and integrity.

She has seen that not all the German forces are as principled and considerate as Bruno and she sees that several neighbours are effectively collaborating, redoubling her resolve to make a stance against the invaders and help a neighbouring tenant who is in trouble.

Tenants Benoît and Madeleine are in trouble on two counts; firstly, unprincipled German officer Kurt wishes to sleep with Madeleine, Benoît’s wife, and he belittles Benoît while pressurising Madeleine; secondly, and perhaps more crucially, out of desperation Benoît has been stealing chickens from the local aristocrat’s farm and when he is caught by the Viscountess, who shows no compassion or understanding, he treats her with disdain and contempt. Offended, she lies about his conduct and sees to it that the German forces hunt him down.

This episode highlights a social system dependent on the view that the aristocratic class was superior to the working class. The Viscountess is more concerned with position and insult than with helping a fellow human being and is willing to turn to her country’s enemies to help her fulfil her goal of maintaining pride and social position, displaying little evidence of character, worth or principle.

However, the whole affair backfires as, in the course of his escape from justice, Benoît kills German officer Kurt and, because the Germans do not follow the same code of conduct and responsibility as the French, when Benoît manages to avoid capture the Viscount is held responsible for Kurt’s murder and is executed. The Viscountess has ample opportunity to tell the truth but she places pride and self-preservation above consequence, especially when it is a matter of consequences for others…

Lucile and even Mme Angellier both abandon the roles they have been playing in society and recognise they must make a stand against oppression and the Germans’ dismissive overturning of French freedom, society and rules. Their eyes are opened and they see the bigger picture beyond the petty vicissitudes of their village life and the places they hold within it, and they fight for the freedom and values they have previously taken for granted by helping Benoît make his escape and, in Lucile’s case, going on to Paris to help resist the occupation.

Bruno is assigned the task of executing the Viscount, counter to every fibre in his being, but he does his duty. He sacrifices his genuine feelings to conformity and survival though, perhaps as a result of this act, he goes on to help Lucile escape as she aids Benoît evade German authorities. Thus, he makes a stand for values and principle, putting his own safety and life at risk.

Ultimately, it would appear that if we are to achieve inner peace and feel at ease with ourselves, we may have to act according to our conscience and oppose subjugation or coercion, though first we may have to reflect on and recognise the values that are truly important to us.

This relatively obscure film is, on the face of it, deceptively “small” but it deals with themes of considerable depth and value as it offers a highly perceptive and searingly honest account of the occupation and its challenging consequences and choices, political, social and moral, as experienced by the inhabitants of this small town, a town that may well be symbolic of the experience of the whole of France. Often billed as a romance, it offers much more than that and is a fitting tribute to the unfinished work of the tragic author of the piece.

 

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

Stuart Fernie (stuartfernie@yahoo.co.uk)

BLOG                                                   YouTube

Personal thoughts on elements of a good lesson (secondary level)

 

Elements of a good lesson in brief

These suggestions, which are certainly not comprehensive, were written with Modern Languages in mind but I hope that some elements may be applicable across the range of subjects taught in schools.

In something of a departure from my usual fare, I present a few of my own thoughts on elements of a good lesson. Clearly, every teacher must find his or her own way, but these ideas worked reasonably well for me and my pupils and I thought they might be worth sharing.

Firstly, I suggest you greet your pupils at the door as they enter. Saying hello and offering personal greetings will help establish a friendly rapport and create a spirit of collaboration.

A brief recap of what was studied or learned on the previous occasion will be helpful in focusing the attention of your charges on your subject. Judicious questioning will allow students to contribute and provide the essential information rather than simply hear a recap from their teacher, building pupils’ confidence and a willingness to participate in the business of the lesson.

Explain the objective of the lesson but you may wish to do so in a light-hearted manner. It was my experience that pupils often disliked learning French, largely because they were afraid of the enormity of the task and failure, so it seemed a good idea to play to their reluctance and jovially tell them why they would love this lesson, supplying a few fun examples of how they could use whatever skill or knowledge they were about to learn. Remember, the lesson might be serious but the class can be fun.

In terms of maintaining engagement, small and manageable chunks are more effective than lengthy exercises that sap energy and enthusiasm. Adapt to the atmosphere in the classroom – be aware if something needs to be explained further, is proving more difficult than foreseen or needs to be lightened to stimulate interest. Sometimes a little humour or personal interaction will be enough to carry what might be perceived as dull content.

Link whatever is new in the lesson to material students already know through rapid revision of what is familiar (and will be useful to the task in hand), be it grammar-based or vocabulary.

If dealing with a grammar point, it may be worth drawing comparison to structures in English (which will be familiar to pupils but which may not have been clarified in the English class).

Provide a structure or formula for the new element while emphasising what is familiar. This structure or formula may be built with the class by asking pointed questions or inviting the class to recall previously learned elements, to which the teacher may add new material.

If dealing with vocabulary, remind the class of words and phrases they have already encountered and see if students can work out meanings of new words through context or analysis of the new word to find connections with what is familiar.

In any case, it is advisable that the class or students should feel a sense of “ownership” or feel that they have participated in and contributed to what is learned.

I have often thought that a good lesson bears a certain resemblance to a conversation between pupils and teacher.

In a conversation, one participant may have considered what is to be said, how it is to be said and the information to be imparted, but the conversation will only work if spontaneous elements are accepted and taken in to account.

Each participant should respect the others but all should be allowed or invited to contribute. Recalling familiar information or contexts is essential to enabling comprehension of what is new or if information is to be amended.

Similarly, just as students should listen to the teacher, teachers should listen to the students to ensure engagement and understanding. As a result of this ongoing “conversation”, it may be necessary to adapt objectives and respond to comment or question – this is an essential element of engagement. Attention is more likely and retention more probable if students feel involved in the process and if their contributions are heeded.

At the end of the class, after reinforcement exercises and group revision, a pupil or student might even be invited to recap the important elements of the lesson, with the opportunity for the others to ask questions.

 

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

 

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

BLOG                                                   YouTube

Reflections on “Sweeney Todd: the demon barber of Fleet Street” (2007)

 

Reflections on “Sweeney Todd: the demon barber of Fleet Street” (2007)

Directed by Tim Burton

Script by John Logan

Music and book by Stephen Sondheim and Hugh Wheeler

Starring Johnny Depp, Helena Bonham Carter, Alan Rickman, Timothy Spall

Musicals can unfold at a somewhat leisurely pace and can be rather self-indulgent, but here director Tim Burton has created a cinematic version of Stephen Sondheim’s famous musical that keeps things tight and compact, advancing storyline or characterisation with every scene while building emotional understanding and tension where appropriate.

Fundamentally, this tale of Sweeney Todd is an exercise in existential amorality involving the implementation of an obsessive and vengeful agenda. It suggests there can be no U-turns on the road to amorality and there are tragic consequences for all concerned. However, and quite remarkably, this is all achieved with a degree of sympathy, understanding and even humour.

In 1831, naïve and idealistic London barber Benjamin Barker is found guilty of a trumped-up charge and is transported so that guileful and Machiavellian Judge Turpin may have his abusive way with Barker’s wife. Now returning some fifteen years later as Sweeney Todd, disillusioned and cynical as the result of his experience, he seeks revenge on those who did him and his family wrong in order to further their own agenda. His profound sense of injustice and his obsessive desire for vengeance have affected his perception so that he focuses on the negative in people and he takes a dim view of what people are able and willing to do to one another to gain their way or even just to survive.

When this pessimistic world view is confirmed by an encounter with fellow barber Pirelli who tries to blackmail him, Sweeney Todd is driven mad and is propelled down the path of amorality to become the renowned serial killer of myth and legend.

The audience is cleverly made to feel quite conflicted as we sympathise with Benjamin Barker due to the injustice done to him, and we understand Sweeney Todd’s lust for vengeance, yet we are repelled by (if also fascinated by and perhaps vaguely envious of) his extreme reaction and direct actions, even if we recognise and condemn Pirelli’s amoral motives. We want Sweeney Todd to have justice and revenge on Judge Turpin and his acolytes but we are left to wonder at what price this will come…

There is no such conflict with regard to Judge Turpin and his bailiff (or enforcer), Beadle Bamford, who are the irredeemable antagonists of the piece. Turpin is a perverted hypocrite who hides his disdain for morality and his willingness to use and abuse others for his personal gratification behind a façade of law and order. He is unconcerned by any injustice in his judgements as, undoubtedly reflecting his own amoral outlook, he declares quite casually that no-one is innocent – everyone is guilty to some degree, even him… So, in an amoral world, he is merely asserting himself as he also protects himself by way of high position in society.

Bamford is equally grotesque as he uses and abuses his position to serve himself and his master without challenge or thought, effectively operating as Turpin’s enabler.

Mrs Lovett is a survivor willing to do what it takes to get by, but she is a realist. She will bend the law and cheat a little but does nothing serious enough to put herself in danger. At least, not until she meets Sweeney Todd to whom she is drawn quite implacably. She balances amorality with conformity and, swayed by her feelings for Todd, she directs him away from excess and protects him from himself until Pirelli pushes him overboard. In a way, she becomes Todd’s enabler just as he then becomes hers – he opens her eyes to what is possible through the lens of amorality and they encourage and support one another to their mutual advantage, but she also wants Todd for herself and manipulates him by omission, an act she will come to regret…

Through brilliant crafting of plot and character, Stephen Sondheim produced a highly engaging but blood-soaked horror story that warns of the dangers of conceding to dark thoughts of revenge and the consequences of selfish and blinkered amorality, but above all invites us to see that our actions have consequences for others and we should perhaps consider the consequences of these actions before undertaking them.

The stroke of genius, of course, is in appealing to our emotions and our sense of fairness and justice. Benjamin Barker, his wife Lucy and daughter Johanna are all maltreated and we want to see justice done, but what if there is no recourse to justice in terms of the law of the land? What if there can be no appeal to humanity or compassion? What if there is no alternative but to take matters into your own hands, if you seek some form of retribution?

This is the situation faced by Sweeney Todd and we explore his reactions to it. We witness how easily we can go from targeted and justified anger to frustration, to self-absorbed tunnel vision, and then to cynical hatred of all mankind. Hatred overwhelms and will not allow you to see the bigger picture as you lose sight of values and principles, indeed any alternative to your hate-filled course.

Even the audience is swept up in Todd’s madness as the outrage at the original injustice, the humour and the casual blood-letting have their effect, though the turning point comes when Todd is willing to kill the pure and principled young Toby. That leads to loss of sympathy and compassion, and a realisation of just how far Todd has gone.

In the end, his blind rage and devotion to revenge cost him the very thing that drove him to these acts. He has lost his humanity and his capacity for love. Even Sweeney recognises what he has become and what he has lost, and he is willing to die, rather poetically, at the hand of principle.

I thoroughly enjoyed all the performances and all credit to the cast members not known for their singing prowess but who proved application and determination can go a long way.

So often, especially in the musical genre, indulgence can overtake the storytelling, with padding or showboating as a result. Here, however, it seems to me that Mr Sondheim’s music ebbs and flows quite magisterially as it conveys the narrative. The songs are used to advance the story or understanding of a character in an entertaining but concise and economical way, and not without considerable humour – a remarkable feat given the subject matter!

 

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

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

BLOG                                                   YouTube

Reflections on “The Yakuza”

 

Reflections on “The Yakuza”

Directed by Sydney Pollack

Screenplay by Paul Schrader and Robert Towne

Starring Robert Mitchum. Ken Takakura, Keiko Kishi and Brian Keith

 

I have to say that I consider “The Yakuza” something of a guilty pleasure. While I enjoy the exploration of duty, friendship, trust and responsibility, I am more than willing to recognise the film has numerous flaws. It is undeniable that the film is repetitive, contains verbose and unnecessarily lengthy exchanges of dialogue, and suffers from a convoluted, contrived and unclear plot that unfolds at a leisurely pace in places.

However, I do enjoy the depth of characterisation in the principal characters, the Japanese environment, the pervading sense of cultural displacement and mystery, the nagging sense of heartache leading to remorse, and the exploration of neo-noir or existential themes such as self-respect, “giri”, and the nature of morality, duty and loyalty, elements of Bushido, the code of ethics of the Samurai who were the forebears of the modern Yakuza.

Underpinning everything, and fundamental to the concept of “giri” (the Japanese cultural notion of duty, debt or obligation which is a driving force in nearly all the characters in the film) is existentialism and the idea that our lives, choices and actions impact the lives of others and we should recognise responsibility for that impact.

Of course, also fundamental to existentialism is the principle that morality does not exist. No external moral authority holds us to a sense of responsibility. It is entirely “self-contained” and, as one character in the film says to our hero Harry Kilmer, “If you don’t feel it, it doesn’t exist”. It is a matter of personal honour and integrity.

In keeping with the principles of film noir and existentialism, in our film legality is for others and is casually set aside. Harry has learned that law and law enforcement go only so far and then personal judgement must come in to play and personal debts may take priority over legal restrictions. Here, we are dealing with how men conduct themselves in life and in business, and the code by which they live. Friends turn to one another for help and we focus on the themes of loyalty and trust, but especially a sense of debt or obligation the one might feel toward the other and the lengths to which one will go to satisfy that debt.

Former military policeman and sometime jobbing private detective Harry Kilmer is asked by friend George Tanner to rescue his daughter who has been kidnapped by members of a Japanese crime syndicate or Yakuza. Harry is indebted to George for saving his life so he accepts the task. George is aware that a former member of the Yakuza in Japan owes Harry a similar debt and he expects Harry to play on that debt to help resolve the situation with his daughter. Harry travels to Japan where he meets an old flame, Eiko, and her brother Tanaka Ken, the former member of the Yakuza who is indebted to Harry for rescuing his sister in his absence during WW2, and Harry enlists his help to discharge his debt to George.

Naturally, being a film noir, all is not as it seems and complications ensue…

Although separated by thousands of miles and markedly different cultures and traditions, the rival camps are effectively motivated by similar catalysts. The fundamental code of reciprocity, honour, reliability and loyalty underpins relationships on both sides, formal in the Japanese camp where these qualities are essential to the conduct of business and relationships, and much more informal in the American camp where they are underlying, even dormant, but may be called upon at any time.

At the film’s core, however, is an exploration of the importance of trust and its place in relationships and loyalty to friends, and the consequences of betraying it or withholding essential information that affects it.

Trust is based on experience and confidence gained in a person, and the result of trust is believing that person and accepting their word without doubting motive or circumstance. The effect of discovering trust is misplaced, due to manipulation or omission, can cause great emotional distress.

Trust plays a major role in the dynamics of the film – Harry trusts George Tanner, just as Tono, the Japanese gangster with whom Tanner has dealings, also trusts him. Harry also trusts Eiko, Tanaka Ken and Dusty, but it transpires trust is misplaced in nearly all cases and this brings about consequences…

Harry is angry, bitter and resentful toward George Tanner when he learns George has lied to him and used him for selfish and manipulative ends, and Harry is devastated when he learns that Ken and Eiko have omitted to tell him the truth about their situation out of gratitude and in order to spare his feelings of guilt and responsibility. In reality, they are man and wife, not brother and sister, and Ken found the debt he owed his enemy so unbearable that he left his wife and child, and worked with the Yakuza.

Clearly, this theme of misplaced trust is linked to “giri” or obligation, the motivating factor for the main characters. However, George has acted dishonourably and disrespectfully, so the debt or obligation owed by Harry is undone and Harry will take his revenge on George.

Feelings of existential responsibility, debt and guilt are further explored when Harry recognises the life-changing offence and pain he has caused Ken through involvement in his life, even if inadvertently. As a man of honour, and following Japanese custom, Harry commits yubitsume, the ritual cutting off of a little finger in physical retribution and as a sign of guilt, repentance and respect.

In a way, we share Harry’s pain as, just like Harry, we were not in full possession of the facts and we drew our own conclusions, conclusions that are altered dramatically by the film’s revelations.

 

“The Yakuza” had a troubled development and production history with several writers, directors and stars attached at various times, and suffered from numerous attempts to adapt and firm up the script. It did not fare well at the box office and there are signs of a lack of a clear vision for the material, but it remains an engaging if uneven foray into neo-noir and existential territory. While largely European in style, with emphasis on character rather than plot, the action scenes are very well done and are quite thrilling in places.

I believe this was Robert Mitchum’s last big screen credit as a leading man and I would say that in the closing scenes he gives a magisterial and utterly convincing performance. I should add that the haunting music by Dave Grusin beautifully captures the intrigue, romance and emotional turmoil of the film.

 

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

Stuart Fernie (stuartfernie@yahoo.co.uk)

 

BLOG                                                   YouTube

Using film and song in the modern languages classroom

 

Using film and song in the modern languages classroom

 

I am not arrogant enough to recommend or even suggest teachers should pursue the course of action outlined here – every teacher must find methods and strategies that suit him/her and their students – but these methods worked for me and my pupils, and I do think they are worth considering.

Before dealing with the broader educational reasons for using film and song in the modern languages classroom, I would point out a few practical or more directly linguistic reasons for their use:

Pupils or students see and hear language in action, and this is not confined to the more traditional practices of using artificial and contrived examples of use of vocabulary and structures pupils have been studying. While such exercises are essential when first presenting new structures and vocabulary, film and song offer a sense of freedom beyond the classroom walls and an application to reality, while also inviting learning in an engaging form of entertainment.

Study of a language need not be restricted to words and structures and should be expanded to incorporate contexts, situations and places that lead to a broad discussion of culture, society, mores and thinking, and films, film clips or songs are the perfect vehicle for such developments.

Background knowledge by way of reading remains unreliable and may be unpopular (when suggesting to a class of 13-years-olds that they could read a chapter or two of a book in bed before going to sleep, I was once greeted with “What saddo would do that?”, a sentiment shared by most of the class). Films, clips and songs offer a degree of teacher control but also allow room for pupil input leading to collaboration and engagement.

It might be an idea to start by showing a clip from a foreign film or playing a song toward the end of a lesson to prove that language is used and culture exists beyond the confines of the classroom.

Carefully chosen clips of just a few minutes duration or a short song may be used to introduce or illustrate points regarding culture and society, but may equally be used to illustrate language points the class has been studying. Broad observation-style questions could be prepared, or comprehension questions if focusing on language. Pupils or students in more advanced classes could be invited to describe a character or discuss their reaction to him/her, or give their thoughts on a song and why it was written.

Discussion of the film or song could or even should take place in the native language to begin with (to encourage participation and build the confidence necessary to share ideas), followed by preparation of the structures and vocabulary in the foreign language to enable students to express their ideas in the foreign language being studied. Notes prepared by the teacher should reflect the input of the students. Vocabulary and structures shared with the class should be largely the result of discussion and brainstorming.

Although teacher-led (teachers should prepare thoughts on themes and notes on character and character development, offering students basic phrases and choices of vocabulary to reflect possible responses as well as students’ own reactions and feelings), there is substantial (and essential) input from the students who are motivated as they are expressing their own thoughts and engaging in something far greater than an academic exercise in language-learning. The language becomes a means to the end of self-expression rather than an end in itself, offering satisfaction and ownership.

It is essential NOT to simply supply pre-prepared vocabulary and structures or sentences. While judicious questioning can direct students toward certain aspects or concepts, students should feel that the language produced is largely the result of their efforts to reflect and to express their views. Vocabulary and structures should be shared with the entire class and not just individual students – good ideas and useful vocabulary and expressions will benefit all.

With more advanced classes (such as Higher and Advanced Higher in Scotland, A-level in England), an entire film may be used and students may be invited to give a brief synopsis and discuss characters and themes in brief, expressing (after discussion in the native tongue and preparation of structures and vocabulary in the foreign language in the way previously outlined) their own thoughts and reactions to the film viewed.

Music and song appear to be even more effective than film alone. I have used French musicals or French films that use music as an essential element in the storytelling (“Les Choristes”, “Notre Dame de Paris” and Les Misérables”) and I found that students responded more immediately and with greater emotional engagement and understanding if songs were used to advance the storyline or build character development.

Certain songs were studied individually to exploit vocabulary but also to discuss what is conveyed about characters, their outlooks and the broader themes of the piece.

The result is that the task transcended a “normal” linguistic exercise and it was no longer regarded as a dull, scholarly lesson. Students found the exercise fulfilling as they felt they were being consulted, had ownership of their work and were not obliged to comply with fixed or rigid outcomes. Moreover, analytical skills and background knowledge gained in this process may be transferred to other subjects and topic areas such as English, History, Philosophy and Health and Wellbeing.

Shared resources and worksheets have a necessary place in language learning but the process outlined here leaves room for impromptu and spontaneous personal contributions, and while it may appear somewhat disorderly, the end result was motivated and enthusiastic participants who produced lucid and committed work.

Of course, it is not intended that films and songs should be used in every lesson, but they may provide a channel for exploitation of knowledge and linguistic skills developed elsewhere in the syllabus.

Looking beyond the linguistic and analytical components of using film and song in the classroom, students willingly participated in self-organised concerts, sang songs studied in class, and were keen to attend cinematic or theatrical presentations of films or shows studied in class. There was even correspondence with a French film director and a French-Canadian singing star, and encounters with numerous performers in shows.

In 2015, I was very touched to receive the following missive from a former senior pupil. I share it (with her permission) in the hope of encouraging teachers of modern languages to at least contemplate making use of film and songs in the classroom, and inviting students to reflect on them and share their responses to them.

I would just like to thank you for all the French you have taught me over the years. From speaking to many folk who were taught French from crap French teachers, I feel sorry for them. They have never heard of Notre Dame de Paris or Les Misérables. What the feck?! Thank you for the amazing academic years you gave us. Best teacher ever! Feeling blessed to know the things you taught us. xx

 

Please find below the titles of a few French films, among many others, that were particularly successful or popular with pupils, and for which notes on character and theme may be found on my blog or my YouTube channel:

Taxi

Les Choristes

La Rafle

Untouchable

Oui, mais...

Jean de Florette

Manon des Sources

Molière

Subway

Nikita

Léon

Angel-A

Les Enfants du Paradis

Notre Dame de Paris

Les Misérables

 

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

Stuart Fernie (stuartfernie@yahoo.co.uk)