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 "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

Versions françaises d’articles initialement publiés en anglais sur mon blog

All intellectual property rights reserved

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)

 

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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)