FT 540 Reading: Fanny and Alexander

Screenplay info
Written by: Ingmar Bergman
Film info: http://us.imdb.com/Title?0083922

Synopsis
Prologue in literary form -- talks about town (world unto itself), discusses Ekhdahls, theater. Implication that Alexander not Oscar's son. Alexander opens door between two apartments, explores (shows viewer his world). Naked white lady beckons to him. Sits on throne. Background on Isak.

Play (tradition) about birth of Christ. Ending shown. Celebration afterwards of theater folk. Gustav brings food, punch from restaurant. Carl's wife finds Carl with other men, says they'll be late, he snaps at her. Oscar make speech -- fond of little world, people who work in it. Reflects big world, gives escape. "Our theater is a small room of orderliness, routine, conscientiousness, and love." Everyone toasts.

Christmas preparations at house. In film, Helena waits, sad -- Isak arrives, they kiss. Family walks through blizzard, in high spirits, as she and Isak watch. People come in, exchange kisses and greetings. Carl and Lydia, arguing, are late.

Dinner eaten -- lots of singing, food, conversation. Gustav notices Maj. Vega, Ester uncomfortable about servants sitting with gentry. Carl, kids go off -- candles, gas.

Dancing in single file. Shows house, Gustav making suggestion to Maj, Oscar not feeling well. In screenplay, Oscar enters family events in Bible; in film, reads from Bible.

Kids, Maj have pillow fight. One pillow bursts. Maj ends up on top of Alexander. Emilie, Alma come in to calm things down, send Maj off (Emilie slaps her). Kids say prayers, settle in.

Lydia sings to piano -- song of love to Carl, who has mixed emotions.

Maj bursts into bedroom, shows Alexander Xmas present (dress). He's jealous when she says she's having a visitor.

Adults turn in.

Alexander lights magic lantern. As Fanny, then Jenny watches, Alexander tells story about slide (the poor Arabella -- mom dead, father carousing). Jenny screams, Alexander blows out lamp. Emilie comes in, shushes them, sends Oscar in. Most valuable chair in the world (even though looks ordinary) -- "you can't go by appearances." Oscar plays villain, kids giggle, he pretends to attack chair, Fanny says don't. Oscar's pleased she played along. Emilie enters -- supposed to be up in 2 hours. Kids -- be in Hamlet? Emilie eventually agrees. Alexander recites from Macbeth ("sound and fury" speech).

Helena, Isak sit and chat. He keeps falling asleep. Helena -- just wanted to cry. Oscar looked poorly. Carl asked for loan. Carl, Gustav oversexed, Oscar got nothing. Oscar and Emelie have happy marriage in spite of everything. Isak -- everything getting worse. Helena -- remembers Oscar catching them kissing. Helena: "The happy, splendid life is over, and the horrible, dirty life is engulfing us." Isak consoles, she gathers herself together, they kiss, Ester interrupts.

Guster visits Maj, promises coffee shop. They have sex, bed collapses. She says he's silly to think she wants things, he's offended. "I don't like being laughed at."

Carl, Lydia. He feels ill, depressed about debt, berates her constantly. "If you weren't so upset and anxious, you wouldn't be so cruel." "Nothing but compulsion." Carl -- calls himself shit and rotter for how he treats her, gets mad when she acts "servile". "I can't stand your love any longer." She puts up with mediocrity, but he won't.

Gustav comes down from Maj's room. Petra says good morning, is cool. Alma sends her to make breakfast, tells Gustav to get ready. He touches her breast, kisses -- they close door, end up falling on bed, making love.

Early morning coffee in silence, then sleighs make for the church.

Hamlet rehearsal. Hamlet, Ghost scene. Oscar plays Ghost, needs some prompting. Can't get up -- having stroke.

Things hushed at house. Fanny and Alexander take refuge with Vega and Ester. 2 women, 2 monologues. Amanda gets Fanny, Alexander. Go to Emilie's workroom, Oscar dying. "Nothing, nothing separates me from you all, not now, and not later." Looks at children one by one. Alexander terrified. Oscar's wishes -- Emelie to take charge of theater, simple funeral.

Fanny, Alexander comforted by relatives. See coffin. Kids share bed. Waken by sobbing -- it's Emelie.

Oscar's funeral ends up being grand event -- funeral march, students' tribute. During funeral, Alexander mutters curse words to himself. Emilie listens to bishop at funeral dinner. Fanny, Alexander retire to nursery, hear someone playing spinet. It's Oscar.

One year after husband's death. Twelfth Night -- last performance. Applause. Afterwards, meeting with Emilie. Emilie longs to get away from theater. "So we pass our lives in a wonderful self-deception."

Alexander comes home from school, summoned by Emilie. He goes to library, bishop (Edvard) is there. Emilie has turned to Edvard with worries. Bishop questions Alexander about lies (story that Alexander was to be sold to circus). Bishop slowly but relentless in questioning. Makes Alexander ask forgiveness. Bishop: "Imagination is something splendid, a mighty force, a gift from God." Emilie asks girls to come in, starts talking. Alexander sees Oscar. Bishop prays for God to take care of their little family. Alexander curses to himself.

Bishop gives tour of palace, which is cold and harsh. "Let us be grateful that we are allowed to live in an atmosphere of purity and austerity." Introduces mother, sister, aunt, cook (ratlike), helpers. Bishop and Emilie -- mentions first wife, 2 daughters that died. Bishop's wish: "I want you to leave your former life entirely." She agrees for herself, must ask children. "My life has been empty and superficial, thoughtless and comfortable. I have always longed for the life you lead." "Through you I shall learn to know God's being."

Wedding. Alexander ill, sees Oscar. Simple dark dresses, etc. Sober. Afterwards, Ekdahls hug, kiss, cry. New family walks to palace. Others wonder if it's a good thing. Helena: "I think we'll have Emilie back. Quite soon."

First supper, a gloomy affair. Children don't eat. Henrietta, bishop's sister, upbraids them -- in future no one will be able to leave without eating everything. Emilie protests, defends children: "I am the one to tell my children what to do." Henrietta: "It is not easy to realize that one has become superfluous." Henrietta -- morning prayer, make beds. "In this house punctuality, cleanliness, and order are the rule." Blenda (mother) -- will be like a game. Bishop says grace, Alexander swears, bishop reprimands.

Children taken to bed -- sparse furnishings, Biblical pictures. Alexander refuses to kiss Emilie and bishop. Bishop: "Love cannot be commanded, but we can show one another respect and consideration." He withdraws. Children complain, say maybe house is haunted. Emilie -- must give it time. She kisses daughters, Alexander rebuffs. "Don't act Hamlet, my son. I am not Queen Gertrude, your kind stepfather is not king of Denmark, and this is not Elsinore Castle, even if it does look gloomy." She leaves. Alexander, Fanny go into Amanda's bed, they fall asleep.

Ekdahl families, except Emilie and children, at summer house. Helena dozing alone. Isak calls, she wakes, tells him everyone else on boat excursion. She has foot in plaster. Asks Isak to do a little spying. "There's something wrong, Isak. I feel ill when I think of that great gloomy house with its thick walls." Maj comes -- didn't go on boat because of Lydia. She's worried about children -- wrote seven letters, only one terse postcard in response. Also Gustav has been pestering her. She cries, leaves.

Raining and thundering in town. Children and their room. Justine unlocks door, brings in gruel, coarse dark bread, jam tarts (last of which is forbidden). Children want Mama to come back. Justine: "She [Tauder, the cook] says it was the same in the first wife's day. Only worse." She talks about the poor children (daughters) -- arms had to be sawn off, because the three were frozen together. "... this house does funny things to you." Alexander says he's seen the daughters, and says that first wife had told him they were locked in, tried to escape, daughters fell, she tried to rescue them. Justine upset by story, goes out and locks door.

Alexander quotes Isak, Amanda says she doesn't understand what he's saying. Alexander tells Fanny about seeing the bishop and Emilie in bed. All three huddle together. "If a big know-all like God almighty punishes a skinny runt like Alexander for so little, then he's just the dirty bastard I suspect he is." They hear bishop playing his flute. "Die, you bastard."

Justine knocks on bishop's door, asks about supper. Had been told to listen, report children's talk, tells Alexander's story. He's enraged, dismisses her.

Helena melancholy. Talks to Oscar -- Oscar Sr. used to say she was sentimental. "For that matter everything is acting. Some parts are nice, others not so nice." After Oscar died, reality broken. Oscar looks ill -- worried.

Helena awoken when Eva, neighbor girl, comes in and asks after Fanny and Alexander. "Can't you tell them to come?" She leaves. Emilie visits -- children not well.

Alexander's trial. He said, she said. Other children back him up. Amanda reveals Justine told them about arms sawn off. Bishop has Alexander swear on Bible. Bishop -- happy here? "As happy as a snake in an anthill. Though worse." Talk about lies, Alexander's inability to distinguish them from truth.. Bishop -- don't hate you, love you, but it's a strong, harsh love. Punishment -- cane, castor oil, or bogey hole. "The punishment is to teach you a love of truth." Alexander confesses, chooses cane. Bishop -- ask forgiveness. Alexander resists at first, but bishop makes to cane him again. Alexander begs forgivenes, sent to sleep in attic.

Emilie, Helena talk. Children punished for slightest misdemeanor. "I don't know how a man can live with so much hate." Felt had been living a lie. Must go -- afraid something's happened, Alexander foolhardy. Emilie pregnant, has asked for divorce. Bishop -- unthinkable in his position, she would lose children on grounds of desertion.

Alexander in attic sleeps, wakes. Sees Pauline, hears Esmeralda. Pauline says they drowned skating, not escaping. She whispers in his ear, he screams. Emilie unlocks door, rushes in, holds him, goes out of attic, holds Fanny and Amanda too.

Helena sorting photos. People back from boat excursion. Helena, Gustav, Alma talk about Maj. He says he's not a dictator -- he and Alma both kind of Maj, he will give her firm ground to stand on. Gustav, Alma leave. Carl, Lydia coming to pay evening call. They argue -- Lydia says she won't say anything, he berates her, says must make it clear he's considering suicide. She cries, trips, he tugs at her, falls. She helps him up. They disappear.

Jenny brings wild strawberries to Helena.

Emilie, children together in children's room. Bisho comes in, acts nice. Alexander doesn't wish him good night.

Bishop reads church magazine. She sits. He talks, she doesn't answer. "In fact I am the one to reproach you." She confronts him. He says she'll be confined. "You have been living in an artificial world, entangled in artificial feelings. I must teach you and your children to live in reality. It is not my fault that reality is a hell." She curses him, their child.

Isak pays call, met by bishop's sister, who wants to turn him away. Isak -- bishop wanted to borrow money, offered to sell chest and cupboard. Isak had refused, but has changed his mind. When sister goes to get bishop, Isak finds children -- will come and get in a few minutes.

Bishop comes -- Isak shows contract, gives him money. Bishop goes, Isak tells men to come up, sister goes. Isak fetches children, puts them in chest. Bishop returns with signed contract. Men start to take out cupboard. Bishop -- you thought you could trick me. Opens chest -- it's empty. Cupboard -- empty. "That swine is trying to steal my children." Bishop tears open nursery door -- children huddled on floor. Emilie: "If you touch them, I will kill you." Chest carried out.

Isak's home. Children climb out of chest. Aron brings broth, all eat. Isak - bishop can't get them back, uncles will negotiate. Ismael has already eaten -- door must always be kept shut.

Children taken to bed. Pass puppet theater. Isak sits with them for a spell. Alexander: "We stick together. All three." Isak reads story from Hebrew. Every man bears within him hopes, fears, longings, on uncertain pilgrimage. Accumulate, transform into cloud.

Carl, Gustav try to negotiate with bishop. He wants children back, they want Emilie and children released, prepared to pay. Bishop -- divorce out of question. Gustva threatens to spread rumors, calls him contemptible blackguard. Carl tries to keep things going, bishop considers negotiations broken off, gives ultimatum (return children or will report to police). Gustav -- I've bought your promissory notes. Bishop -- some of us indifferent to money, besmirching, conscience clear before God. Goes, brings back Emilie, who pleads to bring children back.

Alexander wakes, needs to pee. Goes to look for privy. Sees Isak, Aron asleep. Alexander pees on tree, gets lost. Sees Oscar - terrible to watch them being tormented. Alexander -- why can't you go to God and tell him to kill the bishop? Oscar -- must be gentle with people. Alexander: "People are absurd and I dislike them."

Emilie sits, with broth (to help with insomnia). Tells Bishop aunt is dying. He asks for some broth, sips. They talk about situation. "I don't care about what is hopeless or not. I care only for what is right." Elsa (aunt) calls, he goes, moves lamp to bed.

Emilie on bed. Bishop drinks last of broth. "I had no idea that anyone was capable of hating me."

Alexander. God's voice behind door -- only wants to prove I exist. "God is the world and the world is God. That's all there is to it." God comes out -- gigantic figure. It falls to floor. Aron jumps down in front of Alexander, laughs. Brief scuffle. Aron takes Alexander to see mummy (which shines in dark, like Oscar's chair). "Anything unintelligble makes people angry." "Uncle Isak says we are surrounded by realities, one outside the other."

Emilie, bishop -- she gave him sleeping pills. "I am going back to my children, to the theater, to my house, and my family."

Aron opens door to Ismael's room, brings breakfast. Ismael -- leave us alone for 1/2 hour. Considered dangerous, locked in -- has "awkward talents." Ismael: "You have in mind a man's death." Alexander's evil thoughts -- burning figure.

Police superintendent relates circumstance of bishop's death to Emilie. In film, Alexander overhears in background.

Theater rehearsal -- not going great, it's piffle. Emilie, children there -- actors happy they're back.

Winter. Emilie and Maj give birth to daughters. Double christening in early summer. Spirits high. Gustav talks. "Our little world has closed round us in security, wisdom, and order after a time of horror and confusion ... We Ekdahls like our subterfuges ... It is you [actors] who are to give us our supernatural shudders and still more our mundane amusements."

Emilie warns Rosa, nursemaid, about Gustav.

Emilie goes to say good night to children -- Alexander pretends to be dying -- they're rehearsing play.

Emlie bids good night to Gustav and Alma -- friendly bickering.

Petra, Maj come to Emilie -- want to help with milliner's shop. Emlie goes to talk to Helena (they agree about shop), theater (don't worry about Gustav, it's your theater), Strindberg play. In film, Alexander eavesdrops, is kicked by bishop -- you'll never escape me.

In film, Fanny settles in with play. Alexander lies in lap. Fanny reads quote from Dream Play.

My notes
-- importance of environment -- huge change when Emilie and kids move to bishop's
-- Alexander a dreamer -- fantasy, reality
-- lot of characters introduced -- exposition handled extremely well through action, argument
-- lots of notes on characters, environment

FT 540 notes (from 06/26/03)
-- most accessible of Bergman's films. Has all the themes he writes about, comes to a conclusion.
-- 5 hr. TV series, released in shorter versions.
-- pay attention to art as theme, imagination as theme, love as theme
-- tied to specific place and time, but has universal appeal. Exist out of times, don't date themselves.
-- Isak, Aron, Ishmael magicians
-- Aron -- reality within reality
-- characters well delineated
-- making of an artist
-- ends with Helena reading quote from Strindberg's "Dream Play" as Alexander lies, head in her lap

Technorati: movies

FT 540 Reading: Edge of Darkness

Screenplay info
Written by: Troy Kennedy Martin
Film info: http://us.imdb.com/Title?0090424

Synopsis
IIF freight train -- passes sign for radioactivity.

Meeting at British Legion Hall. 2 cops watching outside. Raining. Shots of them spotting lurker intercut with shots of conference inside of Godbolt, Craven, Ross. Godbolt wins delay of inquiry into election fraud. Lurker disappears.

Craven at home. TV news -- possible miners' strike. Pope warning of nuclear war. Jones to Craven -- more exposition. Craven picking up Emma. Craven leaves, someone calls, gets machine, long silence before hang-up.

Craven goes to teachers' training college. Politician discusses siege mentality, threat of nuclear strike.

Craven picks up Emma. "The whole world's falling about your ears and you don't even care." She mentions she's got someone he wouldn't like.

Arrive at house. Gunman. Emma runs between, hit by both barrels.

Manhunt. Craven insists on no men being left at house. Takes out shotgun, loads it. Flashback -- funderal, young Emma, hospital corridor.

Craven goes to Emma's room. Pokes through drawers. Finds box marked Gaia with rocks, maps, stones, Geiger counter. Finds gun in drawer.

Pendleton (Whitehall) calls West Riding police -- taking interest.

Godbolt, chief constable Ross -- Craven given spot of leave. Inquiry on hold.

Craven at HQ. Jones printing out people Craven had put away. Craven not sure it's relevant.

Craven goes to mortuary, IDs Emma. Snips hair. Interior dialogue.

Craven goes to college, takes things from locker.

Craven, Emma voiceover instructs him on laundry. Craven finds radiation badge in bag of clothes. burns overalls, rope, trainers, badge. Tests hair with Geiger counter, it's radioactive.

Craven tells Ross he'll go to London -- gets address of Terry Shields, latest boyfriend (left-wing agitator).

Craven drives, "talks" to Emma. Exposition -- wife being treated for breast cancer.

Police HQ. Officers listen to Craven's statement. "Don't tell" her last words.

Craven pulled over, cries.

Craven arrives London -- associates it with cancer. Tells Dingle not part of investigation, not giving interviews.

TV on, Thatcher arguing about Trident (nuclear sub). "The nuclear deterrent is there to deter war -- and it has." Pendleton calls, Craven goes to meet him in car. Craven's car, phone bugged. Pendleton: "She was some sort of terrorist, wasn't she?" Question -- after her or after Craven? Pendleton mentions file on Emma. His interest -- safety of the realm.

Ross calls Craven -- getaway car found, with Lowe's prints -- 5th on list of Craven's arrests. Sending Jones to make arrest.

Craven leaves, tailed by plain-clothes cop. Craven loses him in tube station.

Craven takes gun to Carlisle, wants prints, excluding Emma's. Asks Carlisle about Pendleton -- latter had wanted gun tested for radioactivity. Meanwhile, Craven looks up Shields on computer -- no access to record (informer?).

Craven goes to Shields' house. Asks if Emma was coming there -- Shields says they talked about it. Shields jibes. He's part of Socialist Advance. Emma committed to Gaia, Shields not forthcoming with details. Craven -- "Don't tell" or "Don't! Tel!"? Craven glimpses nightie on bed, van down street. Shields gives him Emma's things, writes "Azure" on mirror (room bugged). Gives Craven obit he wrote.

Craven, Emma voiceover -- Shields a bastard.

Flashback. Craven explains police intelligence terms, including R2. Emma -- Gaia stuff there.

Craven, Pendleton meet. Pendleton takes him to Harcourt, who questions Craven about Gaia, mentions break-in at Northmoor led by Emma. Everyone connected with raid vanished or dead. Produces gun Craven found in Emma's room. Craven: "You want me to help you, but you won't tell me what all this is about." Harcourt's deal -- will return gun without comment and won't hinder Craven's inquiry if he helps them. Harcout plays tape of Godbolt, who has a close relationship with Northmoor folks.

Craven at Scotland Yard. Calls Carlisle, who says they were on to him before Craven left.

Dingle -- where the hell was Craven? Elham -- wants Craven there when Lowe is nabbed. TV interview.

Craven at BBC. Discusses incident. Watches himself on TVs in store.

Craven gets call -- Jedburgh. Goes to Tiberio. Meets Kelly and Merryweather (there for the ride). Mike from Austin, home of country music. Waylon Jennings. Jedburgh, Craven sing "The Time of the Preacher." Preacher = gun. "And just when you think it is all over, it is only begun."

Jedburgh drives Craven to his apartment. "I really believe that God is a golfer." Jedburgh confirms that he works for the CIA. He tells Craven Emma's file is in living room in desk.

Craven reads report. Marsh inquiry, Northmoor -- sold to IIF, Gaia mission.

Flashback -- Emma says Marsh dead, had ID'd Northmoor as contamination source. She says only way to find out for sure is to go down there, Craven says not to. "It's the most dangerous business in Britain."

Craven reads -- CIA makes priority to find out plutonium source, purpose. Craven reads Emma's bio -- mentions team was trapped, Shields suspected informer. Mentions Craven may have known, why didn't stop? White House calls, Craven takes message.

Craven back in room. Reads Shields' obit. "Comrade." Emma: "Poor old Dad."

Shots of Lowe waking up, mouthwash, etc. with police closing in, Jones trying to locate Craven, who returns report to Jedburgh. "Your daughter was a terrorist, Craven. You might as well get used to it." Craven defends her.

Neighbor sees detectives. Her cry alerts Lowe. Police storm his flat.

Jedburgh, Craven drive. Jedburgh tells hima bout Gaia -- dangerous, put trees and flowers before people.

Craven, Jedburgh arrive --- Lowe jumped from 6 floors up. Hospital -- Craven reminded of Ann and her operation (voiceover). Voiceover -- remembering interrogation of Lowe -- soft approach. Shared Lowe's torment back then (travail with Ann). Craven again interrogating Lowe.

Restaurant -- Jedburgh meets Harcourt and Pendleton. Talk about Intelligence budget cuts (Harcourt -- funding through other agencies), Lowe (dropped off 6th floor), Craven (read report, still defends daughter), Grogan (going to buy IIF). Jedburgh: "Trouble, right here in River City." ("Music Man" allusion)

Grogan, Bennett as former arrives. In few more days, can get into the chamber.

Craven gets name from Lowe -- McCroon, another guy Craven had put away. Craven thinks McCroon was paid, but Ross discounts. Craven to Elham: "You've just killed the chief witness." Police drive away from hospital. Craven gets out of car, walks. Conversation with Emma -- what the hell was she up to? He buckles. "You've got to be strong -- like a tree -- don't break ..." Craven -- who let you in there? She disappears.

Craven back at hotel. Shields there, they talk. Shields confirms is informer. He had told police Emma thought there was a hot cell down in Northmoor.

Craven calls Ross -- should sort out alternatives. Ross -- McCroon print matches that on gun, wants Craven to go back with him. Craven -- wants to stay on couple more days. Ross reluctantly agrees.

Craven visits Mac, former cop, in nursing home. Mac injured in Northern Ireland. Craven tells him about Emma -- wants to get into Registry. "I can't just sit back and watch them making all the wrong moves."

Craven goes back to hotel, Jedburgh's there watching Godbolt and clergymen debate on TV. Godbolt about Emma: "It's just that mistakes sometimes happen." History can't make mistakes. Jedburgh -- Godbolt trying to tell Craven something. Craven tells Jedburgh about hot cell, mentions Shields. Jedburgh gives envelope from Harcourt, says Craven is to meet Harcourt at 10:00 at Commons.

Pendleton, Jedburgh go to Shields' home. Operator in van shot. Shields electrocuted in bath.

Outside House of Commons. Grogan, Bennett are interviewed by reporters about IIF bid. Jedburgh smiles at Grogan, salutes him.

Craven at House of Commons. Meets Clementine, friend of Jedburgh's. Pendleton arrives, little verbal jabs at Clementine, she goes off. Pendleton introduces Polly -- member, Shadow Energy Spokesman. Polly -- they're brought in to muddy water. Craven watches Bennett, Grogan. Bennett, Craven stare at each other. Rumor Craven's there to give evidence. Pendleton, Harcourt pleased.

Craven -- brought here to upset Bennett? Harcourt -- wants Craven as witness -- cover for real sources. Craven refuses.

Committee inquiry opens, starting with Bennett.

Grogan goes to car. Jedburgh gets in too. They talk. Jedburgh warns Grogan he's stirring up the natives.

Craven leaves with Clementine. Jedburgh says for her to look after him, drives off.

Inquiry. Bennett gives company philosophy -- storage of low-grade waste. Has full support of government agencies, generous grants.

Craven, Clementine chat about Jedburgh, who helped found Gaia.

Craven writes report for Ross. Jedburgh calls, going back to DC.

Emma's funeral. Flashback in sleeping car with young Emma.

Ross reads Craven's report -- will stay in his safe until Craven comes to his senses. Craven wants warrant for Northmoor, but it's out of the question. Deal -- if Craven sees doctor, Ross will take watch off house. McCroon won't come as long as it's there.

Craven cuts lawn. McCroon watches.

Shots of Craven writing checks, etc. intercut with shots of McCroon approaching house, flashbacks of Emma getting shot. Craven aims shotgun but lowers it.

McCroon in doorway -- former informer, abandoned. Craven -- who gave you gun, car, location? McCroon won't give name -- shot.

Craven at psychiatric hospital, talks to doctor. Emma no longer talks to him. He got angry -- she had allowed herself to be abused. Ross -- got McCroon before he got you. Craven -- was drawing name out of him. Ross -- closing the case.

Corpse in reservoir found -- radioactive.

Hospital. Doctor asks Craven about Ireland. McCroon one of informers -- dependency. After Craven left, informers let go. Out of Craven's hands.

Craven goes back to house. Sees flowers, spring where Emma died. Sees Emma, hears her singing about ratatouille. Goes to cookbook, finds list of stations in tube.

Craven drives to London. Newscaster voiceover about Grogan. Craven to Emma -- going to go in.

Jedburgh returns, back from Salvador. Craven there. Talk about his founding Gaia -- to stop Brits manufacturing plutonium (Carter wanted to stop spread of nukes). Then Cold War started, Jedburgh ordered to dismantle Gaia, but it went underground. Craven shows him list of tubes. Jedburgh -- find proper route, I'll go with you.

Harcourt gives report to Chilwell (inquiry chairman) -- call Craven. He's skipped hospital.

Craven, Toby Berwick, wife at computer room. They access info about Gaia, Northmoor, Emma. Intercut with shots of Harcourt, Pendleton watching break-in.

Cops locate terminal. Shots of them, Craven reading about Northmoor Security. Others run, Craven grabs map as it prints out and runs.

Harcourt, Pendleton -- need to get someone into plant. Craven obvious choice.

Craven escapes into theater. Clementine's there. They watch play (Toby had given Craven tickets). They go back to hotel -- he's under her protective custody.

Pendleton calls -- they know about break-in. Craven's again asked to be witness. "You don't say 'no' to the Commons, Craven, or they lock you up."

Craven can't sleep. He shuts fridge door that was open, sound wakes Clementine. He kisses her.

House of Commons. Bennett confronts Harcourt about Craven. Childs -- pathologist's report will mention radiation, but not source. Godbolt there too.

Inquiry examines pathologist. IDs corpse as having being exposed to criticality accident.

Craven waiting, Godbolt enters. "Lot of people down here got Northmoor in their sights." "I'm one of them." Craven has found out a lot. Godbolt tells him how he got involved -- Ministry of Defense needed miners to maintain storage facilities. MoD leased Northmoor to Bennett. "He needed me. He knew he'd never get another leader so compromised."

Jedburgh meets white House folk at softball game, given message: "Get into the ballpark and steal the ball."

More talk between Craven, Godbolt. Craven asks about TV show -- Emma killed by mistake. People who hired McCroon thought Craven had led Gaia team down. Pendleton -- inquiry ready for Godbolt. Godbolt reveals he led team down, leaves. Harcourt -- won't let Craven speak, psychiatric report could undermine testimony. Something better for him to do.

Craven, Jedburgh -- made up mind about trip? Pendleton calls Craven -- if Jedburgh gets out of hand, shoot him.

Godbolt shows Jedburgh old map of mine.

Jedburgh, Craven look at Emma's stream.

Grogan, Bennett. Grogan got call from DC warning of break-in.

Shots of Landrover, preparations for intruders (lay gas, flood levels -- danger of exposing flasks), three men approaching.

Harcourt to chairman -- keep Bennett on stand as long as possible. Harcourt, Pendleton, Grogan, Bennett. Grogan asks after Jedburgh, Craven -- they know about break-in.

Shots of three men going down, shots of Bennett being questions about Gaia raid. Informed MoD, since plutonium was their property.

Three men walk. Emma went through all that, never said a word. Jedburgh: "It's our capacity for deception that distinguishes us from the animals."

Various tunnels being flooded.

Guards find van, gas mask.

Jedburgh, Craven descend. Godbolt turns back.

Committee. Bennett thinks they're winning.

Craven, Jedburgh in Northmoor. Craven coughs (gas), Jedburgh pushes mask on his face. They hear rumble of water -- turns out that it floods level above them. Northmoor ops -- need everything you've got.

Craven, Jedburgh find chamber. Claret, Mozart. Jedburgh cooks, they eat. Place built in 1962. Jedburgh: "This is the Doomsday equivalent of Harrods."

Harcourt questioned by committee. What attracted his attention to IIF? What Fusion Corp. wanted with IIF -- ability to manufacture plutonium, illegally.

Craven, Jedburgh. Jedburgh's orders? Steal plutonium. Craven angry. They start to leave. What counts is that Grogan won't get plutonium.

Harcourt, more questioning. Marsh Report discredited, no prima facie evidence -- can't act on it. Pendleton's note -- they're in.

Jedburgh, Craven find dead bodies, hot cell. Jedburgh shoots camera. Northmoor op -- can survive 20 min. at the outside.

Jedburgh takes plutonium. Craven stands watch, lines up drums for barricade. Guards come. Gunfire. Jedburgh gets last of plutonium, he and Craven head for lifts. Craven unblocks door. Northmoor ops -- can't cut power because of backup system.

Craven, Jedburgh in lift. Jedburgh tells craven to get out, make run for it. He cocks gun. "You're the detective, find me."

Craven runs, is pursued. Exits covered by guards. Tries phones. Duty officer finally finds ringing phone. "Get me Pendleton!"

Craven sick from radiation poisoning. Tells Pendleton what happened.

Emma gives Craven black flower. Didn't tell him because he was on their side.

CIA officials inspect shootout scene. Jedburgh killed 4 CIA men, got away with plutonium.

Jedburgh in Scotland, golfs. Returns to guest house -- landlady complains he had left sandwich. Calls Kilmichael (to kill him).

Craven sneaks out of hospital. Clementine meets him, gives him clothes, he disappears. She calls Harcourt. Craven will get plutonium back, wants guarantee won't be hassled, knows is dying. Harcourt says to try Scotland.

Harcourt, Minister. Jedburgh mad. Minister knew about plutonium (small quantities, experimental laswer process). Americans became suspicious, Harcourt brough in to deceive them. Minister -- Harcourt's duty to get plutonium back.

Craven to Clementine -- report goes to Gaia, don't come after him.

Conference, Jedburgh there. Bennett calls Pendleton. Grogan enters, he and Jedburgh stare while Lawson continues introducing panel. grogan called to speak. Shots of him talking, Craven driving, being sick, talking to Emma about black flowers.

Jedburgh talks about despotism. Takes out two bars of plutonium. Audience panics, runs out. Grogan stands his ground, but falls when Jedburgh touches two bars together.

Meeting with Minister, Grogan, Bennett, Harcourt. Jedburgh still has 20 kilos in "explosive configuration". Leave it to Craven to find Jedburgh, plutonium.

Craven (with help from sticker on sandwich container) tracks down Jedburgh. Jedburgh -- own people were waiting for him. Grogan had concluded Inquiry would stop takeover, so decided to get plutonium another way. Plutonium at bottom of a loch, made into bomb. "It's limited in its application. It is not user-friendly. But as a vehicle for regaining one's self-respect, it's got a lot going for it." Jedburgh invited terrorist to kill him. Craven going to call Harcourt. Jedburgh warns will turn it right over to Grogan.

Craven calls for Pendleton.

Craven, Jedburgh sing, slightly drunk. Jedburgh doesn't believe in Gaia. Craven -- you're wrong.

Men coming.

Dinner -- Grogan, Bennett, Harcourt, Pendleton, Lawson, Minister. "... same old circus". Everything back to normal.

Jedburgh fires at people. Three men rush in, hold guns to Craven's head. Jedburgh shot. Men leave. "I am not on your side."

Harcourt writes to Clementine -- plutonium recovered. "It was an IIF show." Voiceover over recovery of plutonium. Harcourt writes about Craven staring down at loch, not long for this world. Wish could have told him good would prevail. Craven cries out: "Emma!"

Winter. Black flowers where Craven had stood.

My notes
-- Bronze Age -- search for answers drives Craven, establishment guy forced to question things
-- moves fluidly between reality and Emma reality
-- no happy ending -- Craven dying, Jedburgh dies, corporation gets plutonium

Technorati: movies

FT 540 Reading: Chicago

Screenplay info
Written by: Bill Condon, based on the musical by Bob Fosse and Fred Ebb (based on the play by Maurine Watkins)
Film info: http://us.imdb.com/Title?0299658

Synopsis
At the Onyx Bar, the stage manager looks for the Kelly sisters. Velma arrives in a taxi. A theatrical bill is posted announcing them. Velma rips it in half, leaving just her name. Velma, snapping at the stage manager, hurriedly unpacks her suitcase, which has stockings, a garter, and a gun in a bloody hankerchief.

The bandleader introduces the sisters, but only Velma is there. She performs "All That Jazz". Shots of her and other dancers are intercut with shots of Roxie watching (for one fantasy moment, it's her singing in Velma's place). Fred tells Roxie that it's all arranged. They go to Roxie's home and are spotted by the neighbor. Montage of body parts from dance, Roxie/Fred. As the song comes to a close, police come for Velma.

One month later. Fred no longer acts romantic, but just moves away and starts getting dressed. Roxie asks him if it isn't time for her to meet his friend at the bar. She talks about new idea for her act (aloof), club of their own). He bursts her bubble: "Wake up, kiddo. You ain't never gonna have an act." It turns out he has no connections. She tries to stop him from leaving, he hits her. She shoots him.

Police are at the apartment. The case seems all wrapped up -- Amos, Roxie's husband, has confessed to shooting a burglar. Harrison, an assistant D.A. questions Amos further, making him retell his story from the start. "A man's got a right to protect his home and his loved ones, right?"

Fantasy. Roxie sings about "that funny honey of mine" (her song of love and devotion). Script notes that her only way to deal is "to see her life as a vaudeville act." Alternates between fantasy stage and apartment. Harrison is given the deceased's wallet and reads the ID -- Fred Casely. Amos, betrayed and hurt, blurts out the truth -- Roxie had said Fred was a burglar, Amos should confess because he'd be sure to get off. Neighbor is brought in and IDs Fred.

Roxie is led out in handcuffs. Photographer snaps picture, and reporters badger her with questions. Harrison tells them it's a hanging case.

Series of shots as Rosie is processed in Cook County Jail. Matron "Mama" Morton is coming to meet the new prisoners. Scenes of real Matron talking intercut with "When You're Good to Mama" number. Fantasy Matron sings about quid pro quos; reality Matron says that if there's something that upsets them, don't tell her because she doesn't care. Roxie is escorted to Murderess Row. Mama: "I never heard of a man's being killed when he didn't get just what was coming to him." Velma comes up to Matron. Roxie recognizes her, but after a couple of remarks Velma ignores her and addresses Mama instead, showing her an editorial in Redbook denouncing her. She pays Mama for the magazine. Matron leads Roxie onto Murderess row, slips cigarettes to one inmate, slaps her thigh. The cell door is slammed on Roxie. She hesitantly asks for extra blankets, but the guard smashes a club against the bars, and he and the Matron move off.

Roxie, unable to sleep, listens to sounds from the other cells (leaky faucet, fingers drumming, etc.) The sounds gradually form a rhythm (pop, six, squish, uh-uh, Cicero, Lipschitz). Liz, Anne, Jane, Hunyak, Velma and Mona do the Cell Block Tango. Dance intercut with bits of prison reality (walking in line, sitting in cafeteria, playing cards), characters talking. Hunyak says she's innocent, Velma says she blacked out.

Laundry is being done. The Hunyak irons Velma's lingerie, which she cleans for $1 a week. Roxie drops off towels for Mama's bathroom, and overhears Mama and Velma talking about trial date, putting Velma back on the vaudeville circuit (which will cost Velma $50 for the phone call). Roxie holds out lingerie for Velma (saying that she'd done it), and asks advice about case. Velma: "Keep your paws off my underwear. 'Kay?" Mama: "No matter how big she gets, she's still as common as ever." Mama would like to help Roxie. "In this town, murder's a form of entertainment." She says for Roxie to get Billy Flynn, and will make a phone call for $100. Roxie's fantasy: inmates singing "We Want Billy."

Billy's number, "All I Care About" (is love) intercut with him at tailor's, in limo, at press conference with Velma, Mary Sunshine, etc., telling Roxie that all she means to him is $5000.

Amos goes to see Billy -- has scraped together $2000, promises to pay rest in installments with interest. Billy upbraids him, but says his devotion is touching, will keep case. Will get Roxie's name in all the papers, then hold auction of her belongings.

Billy to Roxie: must work up sympathy from press, they can't resist a reformed sinner. Billy revises her background. "So you got caught up in the mad whirl of the city -- jazz, cabaret, liquor."

Roxie makes herself over -- plucks eyebrows, rehearses story, pays Mama for hair dye, cuts hair. Velma talks to Billy (handkerchief, flashing thigh ploy), but he gets distracted when Roxie walks in sporting a new blonde bob.

Velma to Roxie: "Billy Flynn's number one client is Billy Flynn."

Roxie's press conference. He answers questions for her, until she gets impatient and jumps in, screwing up the story. "Shut up, dummy." Rest of conference intercut with "We Both Reached for the Gun," which has Roxie and reporters as marionettes. Reporters buy story, and it makes all the headlines.

Newsreel announcer -- women getting bobs, girl with Roxie doll, auction at Amos' and Roxie's.

Roxie and Mama -- she would like to go onstage. Mama has already called agent, her fee will be 10% of takings. "Killing Fred Casely was your act." Roxie does monologue to fantasy audience about Amos and Casely. "... If this Flynn guy gets me off, and with all this publicity, now I got me a world full of 'Yes.'" Sings "Roxie" (name on everybody's lips).

Velma to Mama -- can't take it anymore. Mama has blonde bob. Velma's tour cancelled, name out of papers too long.

Velma tries to get in Roxie's good graces, saying they're a natural to do an act together. Performs "I Can't Do It Alone." Roxie won't have any of it: "You're all washed up. It's me they want now." Newspaper says Velma's trial postponed indefinitely.

Billy Flynn at dinner - tells others about Kitty Baxter, pineapple heiress. Billy talks over flashback of her killing husband and two women.

Billy accompanies Kitty as she's led to jail. She gives reporters and Billy hell. Roxie is overlooked by reporters and Billy. "How's it feel, kid?" Roxie faints twice -- hopes fall didn't hurt baby.

Doctor will swear she's pregnant. Billy tells him to button his fly.

Reporters at hospital. Amos, having heard the good news, comes and tries to get Roxie to notice him, but she doesn't answer him. "Mr. Cellophane Man." "'Cause you can look right through me, walk right by me and never know I'm there." Intercut with Billy and Amos. Billy explains that Amos couldn't possibly be the father, Amos says he'll divorce him. "She probably won't even notice."

Roxie hates the frilly dress that Billy wants her to wear. She'd kept him waiting 10 min. She refuses his advice, says she's sick of being told what to do. They argue, she fires him, he quits. As Billy leaves, he tells her, "You're a phony celebrity. A flash-in-the-pan. In a couple of weeks, no one's gonna give a shit about you. That's Chicago."

The Hunyak has lost her last appeal. Shots of her hanging are intercut with shots of her famous Hungarian disappearing act.

Roxie is back with Billy. "I do all the talking this time." He likens the court to "A three-ring circus. These trials -- the whole world -- all show business." Shots of "Razzle Dazzle" intercut with Billy holding up fingers for neighbor, reenacting crime (both reach for the gun), questioning Amos. In this latter bit, he confuses Amos about whether he wanted to make love to Roxie, says Roxie will swear Amos is the father. Amos softens and apologizes, they embrace.

Roxie takes the stand. Billy draws his story out of her -- she tried to break things off with Fred after telling him she was pregnant, and shot Fred to save her "husband's innocent unborn child."

Mama and Velma listen to Mary Sunshine doing trial play-by-play for the radio. Roxie asks for a handkerchief, then a drink of water, faints and reveals Velma's garter. Mama: "These days, you get a little success, and it's good riddance to the people who put you there." Mama called Velma over to show her Roxie's diary.

Harrison calls Velma as a rebuttal witness, and submits the diary as evidence. He has Velma read an entry out loud: "I'm just sorry I only got to kill him once." Roxie protests that she never wrote that, but Billy shushes her.

Billy cross-examines. Fantasy - Billy tap-dances, at first simple steps, then progressively more complicated. Under questioning, Velma readily admits she made a deal with Harrison (charges dropped in exchange for testimony). Billy has her read another entry: "then he reneged on his pledge ... charge was erroneous." Billy points out vocabulary, possibility of perjury on Velma's part if she knew the diary was a fake. Velma blurts out that she only knows what she was told, reveals (in response to Billy's question) that the diary was sent to Mama. Billy points out the lawyerly language, and suggests (while protesting that he isn't) that Harrison fabricated the evidence.

Shots of people listening to Mary Sunshine reporting. Jury files in. Piles of newspapers -- "Aquitted!" "Convicted!" Roxie is acquitted. Woman shoots two people on courthouse steps, crowd abandons newsboy and rushes to the scene of the crime. Reporters and photographers race out of the courtroom, without even taking Roxie's picture. Billy: "You can't beat fresh blood on the walls." He says he'll collect from Velma too -- had added entries to Roxie's diary.

Amos -- time to come home, take care of baby. Roxie reveals there is no baby. She's sad: "They didn't even want my picture."

Roxie sadly sings "Nowadays" -- first as fantasy, then as audition at the Onyx Club. She's cut off before she can finish. Velma, who'd been watching, approaches her. They snipe at each other. Velma -- thought we could help each other out (two jazz killers). Roxie points out that it'll never work, because they hate each other; Velma says that there's only one business in which that's no problem.

Performance at the Chicago Theater (Billy, Mama among audience) is a success.

My notes
-- like All That Jazz, moves fluidly between reality and fantasy
-- for the most part, doesn't specify close-ups, etc.
-- snappy dialogue
-- fantasy and music comment on action, illustrate character. Poetic correspondence. Music integrated perfectly into plot.
-- flawed characters
-- Prohibition, Jazz Age

FT 540 notes (from 06/19/03)
-- Takes murder, mayhem, transforms into showbiz.

Technorati: movies

FT 540 Reading: All That Jazz

Screenplay info
Written by: Robert Alan Arthur and Bob Fosse
Film info: http://us.imdb.com/Title?0078754

Synopsis
Joe gets an injection of morphine.

Hallucintary dressing room (HDR). Joe is balancing on a high wire as Angelique watches. "To be on the wire is life: the rest is waiting." He'd gotten the quote from somewhere else. He tries on hats, seeking her approval.

Joe gets ready for work. He plays Vivaldi, puts Visine in eyes, takes Alka-Seltzer and ice-cold shower, swallows several Dexedrine pills, drinks coffee. "It's showtime, folks!"

Cattle call for show Joe will be directing and choreographing. Series of dissolves with dancers doing routine, being weeded out.

Line of 12 girls. Script notes that Joe's emotions change rapidly without transitions -- hyper-nervous energy throughout. He talks to the girls, some in dumb-show. When he comes to Victoria, he asks if her card has her home phone number. He has a coughing fit. He sweeps the hair back on one girl and instructs her to do it that way from now on. "But, please, if you don't get the job, promise me you won't go home, kick the dog and beat up your children." Shots of audience shows producers, composers, stage manager, Audrey (ex-wife, star of NY/LA), daughter Michelle. Joe leaps into the aisle from the stage, massages his left hand.

HDR. Joe tries on a clown's nose, remarking that it's a real drinker's nose. His conversation with Angelique describes him as a drunk, user of speed, womanizer. "Sleep? Sleep? I don't even sleep with me."

Back at theatre. Joe picks female dancers, one of whom is Victoria. Others raise objections as, in the background, the stage manager disperses the males and gives instructions to the females. MIchelle notes Victoria is pretty. Backstage, two rejected dancers talk. "Honey, I did fuck him, and he never picks me either." Joe is supposed to have Michelle for the weekend, but he says he has to work. He exits, takes several Dexedrine pills. "Oh ... some kind of father." He dashes back in.

Audrey is defending Joe's choice of Victoria to the others. Joe and Audrey talk. They had a great marriage until he screwed it up. She expresses concerns about the youth of her role (he says she'll be great) and the script (he says he'll fix it). He turns to Michelle -- will have her picked up if she doesn't mind hanging around the cutting room.

HDR. Joe: "... oh, man, I cheated every chance I could get." Angelique plays analyst, and they do word association. Marriage - screwed up. Family - screwed up. Work - all there is. Woman - a flood of words.

Cutting room. On the Steenbeck, Joe is watching a monologue from his movie The Stand-Up, with Davis Newman. Also there is editor Eddie Lerner, assistant editor Jonathan, and apprentice Stacey. Joe manipulates the Steenbeck (replaying bits, etc.). Monlogue -- Death about dignity is bullshit. People have different feelings about depth. One theory is five stages (each of which Newman illustrates) - anger, denial, bargaining, depression, acceptance. Joe thinks acting's lousy, shot lousy, directed lousy, but Eddie says it's funny. Joe says to try another angle. Joe flirts with Stacey.

Projection room. Joe and others watch piece of the same monologue. Joe smokes and drinks. Katie Jagger enters, cool acknowledgment between her and Stacey. She takes Joe's hand and kisses his neck, laughs. She asks if they can have dinner, but he says they might be working late -- he'll call. Katie laughs again at the film, then slips out. Joe says the film's not good, rattles off a list of things they need to tighten up, massages his left hand. "Do you suppose Stanley Kubrick ever gets depressed?" No more editing tonight, he says he needs to work on his script for the show.

Joe's apartment. He lets Victoria in. Music plays: "It's a perfect way to end a perfect day."

HDR. Joe wears hat, applies Cyrano nose, instructs lighting designer on levels. He regrets affairs only when he gets caught.

Joe's apartment. Victoria wants to be a movie star, asks if it's possible. He wavers, but when pressed tells the truth. "It is a freaky business."

HDR. Angelique: "Truth .. the final ploy."

Victoria goes upstairs. Joe drops shirt as he follows. Katie comes in with dog, notices shirt, finds them together in bedroom. She's hurt, disappointed, and resigned. He says sorry, she leaves. Joe momentarily feels remorse, pours wine, looks at Victoria's naked body.

HDR. Joe, nude Angelique, oblivious mother, who says he never looked at girls when he was working in burlesque clubs.

Flashback: nightclub. Between shows, teenage Joe studies Latin. Stripper catches him, divines real age, tells other strippers. MC begins introducing Joe, interrupts himself to do jokes. Joe is dressed for tap-dancing (top hat, tails). Strippers sneak up on Joe, surround him, thrust breast into his face, tease, massage groin. He quotes from Bible (rod, staff). MC calls impatiently, fanfare. Shots of Joe (with stain on trousers), audience laughter. He dances and cries.

Morning waking routine, starting with extreme close-up of Joe's eye (Visine).

Dann (composer) demonstrates song for NY/LA. Producers enthusiastic, Joe less so.

Dance rehearsal. Joe hectors them. Joe gives instructions to Joan and Astrid -- three end up in comical sexual position.

HDR. Joe once tried menage a trois. Tangos with partners. One left a note -- can't share you anymore. Angelique -- how do you know it was for you? He tentatively reaches out to touch her face.

Abrupt cut -- Joe feels short of breath.

HDR -- Joe withdraws hand.

Reality. Joe regains breath.

Cutting room. Joe works on Steenbeck. Movie producer complains about triple time, budget overrun -- has to stop! Joe -- made changes in monologue, sit and watch. As he leaves, he kisses Stacy on the neck and feels her up. He'll be back after rehearsal -- another late night working. Penn (producer) -- my God, it is better.

Rehearsal room. Joe and Michelle with rhythm machine. Joe tries a few lifts, instructs her as they move. She asks why he doesn't get married again. "... because I can't find anyone I dislike enough to inflict that kind of torture on." He would settle down, stop screwing around, she thinks. "Michelle, I love you." "You say that to all the girls."

Morning waking routine.

Kate, Joe in bedroom. He gives her coffee.

Abrupt cut to HDR. He draws black lines of make-up on his face. Says he doesn't believe in love, though he says it a lot. Intercut with Katie telling him she's been asked to go on tour for 6 mo. She asks what he thinks, and he says that for her own good she should go. While he's out of the room, she calls Michael and makes a dinner date. Joe overhears and confronts her. He can do whatever he wants, but she can't. She has trouble saying what she thinks, so he jumps in. "Stop directing! You never stop directing!" She says he's egotistical, has double standards, is a hypocrite (he nods in agreement to each one).

Steenbeck. He manipulates footage of Katie's line: "I just wish you weren't so generous with your cock." He says, with difficulty, please don't go.

HDR. Joe wears gloves, practices gestures, freezesi n poses as spot hits him. Angelique: everything for you, nothing for her.

Rehearsal. Joe relentlessly criticizes Victoria. She finally breaks down. He takes her aside, comforts her. They start again. Joe mouths, "Better."

Insurance exam. Both Joe and the doctor are smoking. Joe is worth $1 million if he dies before Feb. 1. He has a coughing fit, but passes the exam anyway.

Cutting room. Footage of Kimberly running on Steenbeck, can hear Joe's directions. Joe drinks and leafs through the NY/LA script. He tells editor that he has more ideas for Newman's monologue.

Dann plays a song, Audrey rehearses. Joe bursts in. "I can't face those people." He's worried about a certain number. Did the show only so that Audrey could have a role. She's annoyed -- she can play a 24-year-old, and will prove it to him. She says that Joe is doing the show for no other reason than for guilt about unfaithfulness. They talk about his paramours, and he blanks out on the name of a certain blonde. This inspires him, and he rushes back out.

Morning routine, very short cuts.

Producers, composer go to rehearsal room. Joe tries to lower their expectations (it's not really ready yet). He retches in bathroom, parodies "Show time" gesture. Producers, composer, Audrey watch production number. At first they're pleased -- it seems like a traditional Broadway thing. Then things change abruptly -- the dancers disrobe and go through a series of mechanical couplings, ending with each one isolated, caressing him/herself. Nothing left but self-love. Song -- Take off with us. Welcome aboard Airotica. Tango, calypso. As the dance proceeds, the producers exchange horrified comments: "There goes the family audience." Dancers disperse. Joe: no real human contact. "We take you everywhere but get you nowhere." The producers, stunned, say it's interesting. Audrey says it's the best work Joe's every done: "You son of a bitch."

HDR. Joe: nothing he ever does is good enough. He looks at a rose, which is perfect. Question -- how did God do that, and why can't Joe?

Projection room, screening. Joe makes excuses. The film starts, and he goes off and throws up, then comes back and looks for audience reaction. Anxious because no one's saying anything, he bumps up the sound volume. His editor tries to reassure him. Finding the pressure unbearable, Joe leaves.

Joe on phone -- at least two people say the screening was a hit (producer, agent). After dinner, Michelle and Kate perform a musical number in tribute.

First script reading for NY/LA. No sounds except for exaggerated effects involving Joe (fingers tapping, etc.) Great positive response from all except Joe and Audrey. Joe massages his left arm.

Katie, Victoria spot each other -- insincere smiles and nods.

Joe and others at ER exam room. He has a serious case of angina that could lead to a coronary. (Outside, Audrey tells Michelle it's exhaustion, but isn't convincing.) Doctors tell him he must stay at least 2-3 weeks. Joe explodes, and promptly has a coronary. "I wasn't sick until I got here!"

Shots of Joe sedated on machines intercut with shots of Kate leaving message (must think before defining herself as girlfriend), producer saying show postponed (but will try to keep cast together). Audrey says Joe was joking about adding a hospital number.

Joe is moved to a private room.

Lucas Sergeant, another director, is setting lights for a seduction scene. Dann tells him about the situation, and Sergeant volunteers to help if he needs a hand. Dann will get him copy of script.

HDR. Joe tries on glasses. Looks for the worst in people (looks for himself). His attraction to Angelique deepens.

Kimberly (from film) calls, hysterical. Joe calms her down. Party atmosphere in his room. "I wish I could ahve gotten that performance out of her in the picture."

Joe, Katie watch O'Conner Flood. He mocks Flood's intro. "Boy, do I hate showbiz ... Boy, do I love showbiz. I'll go either way."

HDR. Joe inspects dancers' costumes. He got into showbiz to meet girls.

Hospital montage. Fades for transitions. Dann puts on Brahms for Joe (which plays through montage). Penn puts up life-size blow-up of Kimberly. Joe has visitors. Katie reads e.e. cummings poem to Joe. He reads same poem to another girl. Joe caught smoking in bathrom. Audrey and Dann perform, tell joke about egomaniac with inferiority complex. Joe flirts with nurse. Producers talk business -- main thing to get Joe back on his feet, show's secondary. Davis: "If you can't make it as a genius, then fuck it, why not die?"

X-ray. Joe reads poem to another girl. Another vsit from Davis -- says that Joe is hanging around in the hope that just once he'll create a work of real importance. Picture getting sensational response. Joe reads poem to yet another girl. Davis: Joe has a deep-rooted fear of being conventional, of being ordinary instead of special. Party in Joe's room, Joe dances to scattered protests.

Doctors lay down the law. Joe makes out with Stacy, caught by nurse. Montage ends.

Hospital staff meeting. Joe in denial of condition. All female nurses say he's been inappropriate. Visitors will be limited.

Joe walks corridor, reads positive reviews of film (Penn had left the bad ones at the office, and Joe doesn't want to see them). TV reviewer says Joe tried too hard to please. Joe wants to hear review to the end. Others vent. Joe rages, he has more heart trouble, emergency team rushes in and treats him.

Joe has angiogram.

HDR. Three doctors talking at once about the heart. Joe had total blockage in two arteries.

Hospital room. Joe's will is being read - $50,000 to Audrey, $15,000 to Katie, rest to Michelle. Other women appear in dream-like fashion. Not in will? Then fuck you.

Joe and Katie watch Flood. She tries to get him to laugh by parodying Flood's intro. Joe: "I'm afraid you learned too much from me." He'd called several times one night, getting no answer. He accuses her of having an affair, and she says yes. Abrupt cut to Steenbeck, with Joe saying he shot that two ways, let's see her "no". It plays -- that's not the way it happened, do it the other way. Is the relationship finished? Joe says he really loves her.

HDR. Angelique asks if he meant that, and he says no -- just wanted to say something nice. Angelique kisses him on the lips, but he pushes her back, saying she's coming on awful strong.

Shots of Joe's surgery intercut with meeting in insurance office. Three possibilities: Joe recovers and resumes work within 180 days, another director takes over within 180 days, Joe dies and show is cancelled. Only with the third does the $1 million policy take effect.

HDR. Angelique touches Joe's cheek.

Joe in post-surgery intensive care, nurse confirms he's alive. Hallucinatory Joe appears at his bed, says he has choreographed two numbers, choice between "The Old Self-Destructive Shuffle" or the "I'm Glad I'm Alive Stomp".

HDR. Joe tells Angelique to please go. She withdraws.

Joe picks "Glad I'm Alive" stomp. Celebration of Joe's life.

Dann and Sergeant have lunch. Dann says Joe is on the mend. Sergeant gives him several pages of detailed script notes.

Audrey is visiting Joe. He has a heart attack. Nurse Gibbons says it's impossible, she just gave him medication. Audrey demands help from an unhelpful nurse at the desk. A resident gives Joe morphine. Joe's panic grows. Nurse Gibbons gives Audrey her address for a check. Audrey slaps her.

HDR. Joe applies grotesque makeup. Angelique is back, and says she's staying.

Joe removes his IV, tapes, and wires, and moves down the corridor. His progress is intercut with shots of people looking for him. Joe sings, pleads with God. "What's the matter? Don't you like musical comedy?" Stops by dissection room and chides corpses, stops by old woman's room and kisses her. He hears a projectionist's voice and answers, "Yes, again! I'm not finished! I want to run the whole thing again!"

Joe in cafeteria, picks up a pie. He overhears a couple debating about car and sprinkler, and tells them to get both: "Don't postpone any-thing." The pie's stale, he complains to the clerk, who asks him to pay. He picks up pie and shoves it into her face. Steenbeck -- pie-push from three different angles. Attendants subdue Joe and take him away.

Cuts between intensive care, where Joe is being re-taped, etc. and HDR, where Angelique works on his makeup.

Flood -- intro for Joe (totally sardonic -- no friend of mine). Musical number, "Bye Bye Life," is Joe's final appearance. Shots of him, performers, audience, Death (resembling Angelique). Joe moves into audience, shakes hands, kisses, brief exchanges. Tells Michael to be good to Katie, Sergeant to give Dann a hit, hugs Michelle, tells Audrey he can't lie to her anymore. Standing ovation.

Angelique waits for Joe, he moves toward her. In screenplay, they embrace, kiss, move into deeper embrace. Angelique -- if you want to be with me, you can't be with anyone else. Joe: "I accept."

Joe is dead. Body bag is zipped, covering his face.

My notes
-- good use of closeups
-- great rehearsal scenes
-- moves fluidly between reality and fantasy -- use of abrupt cuts
-- very funny
-- flawed main character -- high on life
-- music, dancing perfectly integrated into story
-- simultaneous sound
-- scenes with Angelique provide exposition, commentary, atmosphere

FT 540 notes (from 06/19/03)
-- black comedy
-- 137 cuts in "Bye Bye Life," incredibly complex

Technorati: movies