Halloween

1978, US, directed by John Carpenter

It's hard to cut through more than thirty years of sequels, remakes, parodies and pale imitations to imagine what Halloween might have been like for a 1978 audience with little slasher experience, not least because at times the film comes across as a parody avant la lettre of the genre it inaugurated, particularly in the script's riper moments. However, Carpenter's use of the entire frame remains as effective as ever - even though he prepared later audiences to watch for unexpected intrusions or for violence to emerge from the most mundane circumstances, his sense of timing, of when to pull the rug out from underneath the audience, is virtually unparalleled.

Just as he employs careful editing within individual sequences to reinforce a sense of impending dread, he methodically sets up the film, unnerving the viewer in the opening sequence, set 15 years before the main action, before bringing us to an apparently benign present where he toys with the audience until he's good and ready. Although the obvious precursor is Hitchcock's Psycho, Carpenter surely draws on the more contemporary influence of Steven Spielberg, too, from whom he borrows the trick - seen in both Duel and Jaws - of keeping the villain both offscreen for long stretches, which seems only to reinforce the tension.

The Social Network

2010, US, directed by David Fincher

As with David Fincher's earlier film Zodiac, The Social Network examines, among other ideas, the nature of truth - how we assemble a set of details, facts, and assertions into a coherent picture, without knowing whether the final product reveals "the truth" about a particular set of events or an individual. Just as Zodiac leaves us without the resolution we have come to expect from a police procedural, The Social Network provides us not with the reality of Mark Zuckerberg's life but a set of ideas that we must interpret - perhaps to come up with a view of Zuckerberg, but mostly as a prompt to reflection on more abstract issues of loyalty, truth as a legal issue, or the construction of relationships, face-to-face or virtual.

In the opening stretch, Fincher and his production team pay considerable attention to the details of Harvard life, digitally recreating backdrops that were off-limits for the crew, and doing a credible job of imitating Cambridge for the cameras. That's not to suggest, though, that they are interested in a documentary version of events: I think that they are, instead, simply suggesting that context matters, that certain kinds of stories emerge from specific places and times, and that Zuckerberg's story belongs to the Harvard, and later the Silicon Valley, of a certain period. In that sense, whether the film functions as a reasonable approximation of the actual Harvard experience is irrelevant: Fincher is more interested in the wider social meaning of Harvard and its sub-communities, that is, in their place in the American imagination, than in creating an authentic, document of the Harvard educational experience. He has virtually no interest, for interest, in Harvard as a classroom, correctly seeing that this is the least of Harvard's impacts on Zuckerberg and his social circle. Fincher doesn't, in any case, posit a monolithic version of Harvard - the Winkelvoss brothers espouse one version of the institution, one attractive to at least some outsiders like Eduardo, whereas others find more useful parallel networks at the school. That is ultimately Zuckerberg's most creative intuition - that most people are not that interested in the rather limited, exclusive network that the Winkelvosses want to create, and far more intrigued by the idea of a network with extraordinarily wide-ranging tentacles.

Fincher and Sorkin have very little interest in the actual mechanics of the day-to-day Facebook user experience - it's really not "The Facebook Movie," although they do capture rather well the initial buzz, which I became aware of through working at Boston University, which certainly reinforced my enjoyment of Rooney Mara's putdown in the opening scene - but their presentation of Zuckerberg's personality ties very well to some of the company's well-publicized travails with privacy issues, in which Zuckerberg (the actual Zuckerberg as opposed to the Jesse Eisenberg simulacrum) appears to be unable to understand the concerns expressed by users, as though he's smart but incapable of, or perhaps simply uninterested in, looking at Facebook as experienced by others.

The film covers a lot of ground in just two hours, which Fincher hastens along by abbreviating the transitions between scenes, constantly moving back and forth between legal depositions - multiple depositions - and the events that inspired them, with sentences chopped off in mid-stream only to be resumed in another time and place. There's something almost old-fashioned in Fincher's confidence in dialogue, with his characters defining themselves as much in the ways that they present themselves as by their achievements. Fincher doesn't rush his scenes, allowing the conversations to unfold with some of the same indulgence (and sureness of touch) as Howard Hawks, whose ghost is perhaps most obviously present in the wonderfully pithy opening scene.

The Girl Who Kicked the Hornet's Nest

2009, Sweden/Denmark/Germany, directed by Daniel Alfredson (Original title: Luftsloffet som sprängdes)

The conclusion of Stieg Larsson's trilogy is rather repetitive, lacking either the punch of the first installment and the (relative) subtlety of the second, and re-working much old ground to bring the story arc to a resolution. We're treated, for instance, to a third version of the violent rape seen in both previous installments, and while there's an element of poetic justice in the conclusion - one courtroom sequence has an extremely amusing twist - there's a sense that we're watching an extension of the second film rather than a story that holds up independently, with numerous artificial barriers before the final resolution. There is, nonetheless, still much to be enjoyed in Noomi Rapace's continued investment in the character of Lisbeth Salander, a resourceful and uncompromising heroine who doesn't conform to the standard character development of Hollywood cinema, but instead remains very much the same troubled, introspective, compelling woman we met in the first installment.

Trois hommes à abattre

1980, France, directed by Jacques Deray

The seventh of Jacques Deray's collaborations with Alain Delon - and the last before a lengthy hiatus - is drawn from a novel by Jean-Pierre Manchette, although Deray, Delon and Christopher Frank, who adapted the novel, transform the main character from a middle manager - hardly a Delonian staple - to a professional card player, much more up the actor's alley. Still, Manchette's influence survives in the deeply cynical view of France's military-industrial complex and, perhaps, in the occasionally confusing narrative; his novels, to my mind, are always stronger on atmosphere than on plot.

Plotting issues aside, Deray's filming style is straightforward and direct, quickly moving the action forward after a brief prologue, and the film is very much in line with the pungent machismo of his previous collaborations with Delon, right down to the bluntly downbeat ending. Delon's girlfriend provides a revealing moment when she objects to being treated like a dispensable fool, though Delon - and Deray - are ultimately oblivious to her protests; you suspect that Manchette, though no stranger to machismo himself, might have made rather more of that idea.

L'Arnacoeur

2010, France, directed by Pascal Chaumeil (Heartbreaker)

If L'Arnacoeur were an American film, I suspect it would be dismissed as another formulaic genre entry, but with a French manufacturer's tag instead it's deliciously 'frothy', a word which seems to crop up constantly in the English-language reviews of more or less any French romantic comedy.

In truth it's probably both those things: the dogs in the street could guess how things are going to turn out, but the story is played with sufficient verve, by generally charming performers, that for 90 minutes or so it (mostly) hangs together. Central to that is Romain Duris, one of the most engaging of current French actors, who invests himself fully in a surprisingly physical performance where he's called on to don a bizarre array of disguises and to master the most unlikely of skills at short notice (the photo above shows him honing his Dirty Dancing skills - one of the film's most amusing sequences, if also one which reinforces the American influence). The early sequence which outlines Duris's profession is also very strong, cleverly edited, with a punchy rhythm that the film can't quite sustain over the remainder of the running time.

Get Him to the Greek

2010, US, directed by Nicholas Stoller

Aldous Snow, played by Russell Brand, was the highlight of the overlong Forgetting Sarah Marshall, and while putting Aldous front and centre in his own film is a fine idea, again the shears might have been wielded with rather more enthusiasm. At least the central story, essentially a kind of transatlantic buddy-road movie, has considerably more momentum on this occasion.

The film is strongly reminiscent of Judd Apatow's Funny People, with its shifts away from comic territory - Snow reappraises his life in convincing, even moving, fashion - as well as for a plot which brings together a past-his-prime star with an adoring acolyte/assistant. We're treated to samples of Aldous's wildest self-indulgences, just before his career jumps off a cliff, a brilliant distillation of all that's earnest and misguided about starry misappropriations of others' misfortunes.

Russell Brand again cannily exploits the overlap between his real-life reputation and Aldous's persona, adding layers to his original creation; Aldous might be self-obsessed and obnoxious but he's also authentic and truthful, and Brand manages to capture his contradictions and compulsions without losing our sympathy. He's also a very fine comic, and it'll be interesting to see what he can do with material that relies less obviously on his own backstory.

Enemy of the State

1998, US, directed by Tony Scott

Although Tony Scott's interests often seem to be more technical and visual rather than thematic, this is the first in a string of his films that run with the idea of an ordinary - or relatively ordinary - man thrown into circumstances far beyond his normal experience. There's never much time to reflect on those experiences in a Scott film, though, given the narrative momentum, and while there are brief quiet interludes to establish the family life of Robert Clayton Dean (Will Smith), the overall impression is rather breathless. Similarly, minor characters are liable to literally or figuratively dispatched once they are no longer of use to the plot.

At times, Scott's use of 1970s stalwarts like Jon Voight and - especially - Gene Hackman seems gratuitous, as though he's trying to capture something of the great films in which they played, most obviously Hackman's turn in The Conversation. I think, though, that he's also trying to suggest some continuity in the way that people feel that the state - and its many nefarious agencies - is able to intervene in their lives, with the corrupt or the misguided able to command resources for either their own benefit or what they feel to be a higher purpose. In that light, the film, though made well before 9/11, still feels remarkably fresh, although we may feel less confident in the displays of apparent technical omnipotence which feature so prominently here (and which are a source of enduring fascination for Scott, able to cut between several different versions of "real time").

Father of the Bride

1950, US, directed by Vincente Minnelli

Another of Vincente Minnelli's portraits of American family life, Father of the Bride might lack the sustained visual flair of Meet Me in St Louis but Minnelli consistently introduces striking ideas to what starts out as a comedy of family manners (and which features some terrific comic performances).

There's an amusing montage sequence early on when Spencer Tracy casts his mind back over his daughters' many beaus, several of whom seem like bad dreams waiting to happen, before Minnelli throws Tracy into a real nightmare on the eve of the wedding, his mind filled with terrifically strange, surreal images, such as the floor which threatens to swallow him up. Of course, floating beneath everything are the father's authentic fears of replacement, an idea beautifully, and rather subtly, conveyed as the camera pulls back when the young bride and her successful suitor reach the altar, with Tracy fading into the background to pick up the bills. It's a simple gesture that nonetheless conveys everything about the shift in alliances.

His & Hers

2009, Ireland, directed by Ken Wardrop

Ken Wardrop's first documentary feature delivers on the promise of shorts like Farewell Packets of Ten and Undressing My Mother, developing a fascinating portrait of life in the Irish midlands with emotional depth and striking visual skill. Like most of his short films, the subject matter is inspired by his own family history, particularly that of his mother: the film is a series of vignettes from numerous women, each narrating a minute of two of their own lives, with the film moving from birth to death in a brisk 80 minutes.

Men are absent from the film in physical terms, but their presence hovers constantly - even persistently - offscreen, for almost all of the women talk about brothers, fathers, sons, husbands, partners rather than about themselves. Indeed, at times it's as though the women exist only in relation to the male presences in their lives - even after those men have left - which tends to suggest a rather traditional view of Irish women. That is often reinforced by the ways in which Wardrop films women exclusively confined to their homes or gardens, as though there are no other domains in which they might define and articulate themselves (few of them speak about work, for instance, and most of them refer to household tasks). It's not clear whether Wardrop is implying that Irish society itself doesn't allow for more varied female portraits - perhaps that's the question he's asking us to ponder, since the film is free of explanatory paraphernalia.

Wardrop's cinematographers, Michael Lavelle and Kate McCullough, do extraordinary work, finding constant surprises in otherwise ordinary Midlands homes, shooting rooms in a style that splits the screen as we look through two doors simultaneously, or through windows to the world beyond. That visual playfulness nicely underlines Wardrop's witty cuts from one story to the next, and the rich vein of humour that persists almost to the end of his film.

Traitor

2008, US, directed by Jeffrey Nachmanoff

Traitor is one of the stronger entries in post-9/11 cinema, painting a strong picture of the moral compromises that are an inevitable part of US policy in the "war on terror," and presenting a particularly convincing critique of the ways in which the many and varied security agencies fail to communicate with one another - to their own and our potential detriment. It's refreshing, too, to see those agencies depicted not as frighteningly omnipotent - with all manner of satellite technology in constant motion - but subject to gumshoe limitations. The film also does a fine job of constructing a rounded, sympathetic Muslim character - played by Don Cheadle - who, as the coda underlines, is quietly uncompromising about the simple practice of his faith, a kind of freedom often apparently forgotten in overheated US debates. There's considerable subtlety in the film's visual approach, too; instead of the constant shaky cam of the Bourne movies or The Kingdom, director Jeffrey Nachmanoff employs a handheld viewpoint when his story demands a sense of urgency, before transitioning to a calmer shooting style elsewhere.

The Harder They Come

1972, Jamaica, directed by Perry Henzell

Perry Henzell's terrifically vibrant film is a crucial link to an extraordinary period of cultural cross-fertilization in the 1970s, stretching from music to filmmaking to the political realm. Although the plot of the film largely takes place within the world of reggae music, where exploitation of often impoverished performers is rife, The Harder They Come is also very much about the power of cinema. After all, when the central character, Ivan (played by musician Jimmy Cliff), arrives in Kingston from his country home, his first destination is the Roxy, a movie theatre he's heard about out in the sticks.

Jimmy Cliff in The Harder They Come

Ivan conceives of his subsequent odyssey very much in terms of cinematic (anti-) heroes, with the conclusion of the film referring back to Ivan's early viewing of the movie Django: the soundtrack of that film plays over images of Ivan as The Harder They Come reaches its climax. Cowboy films were massively popular in Jamaica, at the time, no less so than in other parts of the world - Ousmane Sembène's novel Les Bouts de bois de Dieu makes much of how West African youth were captivated by cowboy heroes, a fascination that Dani Kouyaté also captures in the more recent Ouaga Saga.

Image from Touki-Bouki (1973, Djibril Diop Mambéty)

It's impossible to know exactly who saw what when, but it's not hard to find commonalities between Henzell's work and Djibril Diop Mambéty's Touki-Bouki, with its equally self-conscious anti-heroes and its striking blend of symbolic and literal imagery (and its references to European art cinema traditions). Like much African cinema of the 1970s, and indeed like at least some blaxploitation films, there's an ethnographic aspect to Henzell's film, a desire to provide a filmed account of lives and locations that hadn't normally featured onscreen, and that vitality still sets the screen alight almost forty years on. Henzell has a sympathetic, non-judgmental gaze, finding energy and drive in his characters while never concealing their blemishes; there's a warmth and a spontaneity to his film that reminded me of Malick Sidibé's photos of young Malians, in the studio and on the dancefloor, in the 1960s and 1970s.

Photo by Malick Sidibé (image from Gallery 51)

The Ghost Writer

2010, France/Germany/UK, directed by Roman Polanski

Although several of the characters are thinly-veiled versions of real people, most obviously Adam Lang (Pierce Brosnan) as a Tony Blair facsimile, Roman Polanski is ultimately less interested in the correspondences with actual events, which are in any case pretty limited, but with surfaces and appearances, which makes for a disconcerting film where we're never quite sure what people know or admit. The central character, an unnamed ghost writer played by Ewan McGregor, is placed at the heart of a guessing game, although he seems to perceive it more as a sequence of physical clues - sometimes a touch obvious - rather than the hints and contradictions which surround him. Even the physical location of the film - a windswept island fortress/summer home - seems unreal, with a picture window that has the feel of a screen, concealing as much as it reveals.

Polanski's construction is impeccable, both within the individual shots - the placement of his characters within the frame reveals much about both their power and perceived power - and in terms of overall architecture, with plot revelations carefully dispensed to create the sense of jigsaw pieces falling pleasurably into place (a sensation just as satisfying on a second viewing). The only dissonance that took me outside the world of the film was caused by own familiarity with the actual locations, and on one occasion, during a sequence supposed to conjure up an air of malevolence and danger in Belmont, it was hard to suppress a smile given that Belmont is an unthreatening suburb with no lonely roads that even vaguely resemble those assigned to it by Polanski and his team.

Gomorra

2009, Italy, directed by Matteo Garrone

Despite the rather different subject matter - the influence of the Camorra on life in the region around Naples, versus the state of the French education system - my first reaction to Gomorra reminded me of how I felt after watching Laurent Cantet's Entre les murs. Both films work hard to present an apparently "realistic" view of their chosen subjects, through a series of interlinked anecdotes, and both raise a degree - even a strong degree - of concern in the viewer about the situations depicted onscreen. The question that lingered for me, however, was what to do with this sense of outrage, that things are broken and need to be fixed. That's perhaps a question more important for people closer to the ground; perhaps notably, when I visited Naples this year there were DVD copies of the film everywhere, including in the sheaves of pirated disks outside the central rail station.

The broader social questions aside, I found the film to be an impressive piece of work, which plunges the viewer into the world of the Camorra with no preliminaries - the relationships between the characters are barely explained, and we often don't even get the characters' names. The action changes from one aspect of the Camorra's operations to another - the blooding of new recruits, or the operation of business fronts - with no more warning, almost mid-scene on occasion. Garrone's concern is less to resolve individual plotlines, although some segments are brought to a conclusion, than to create a sense of the Camorra's pervasive impact on life in the region. There's nothing hidden about most of their work - unlike many films devoted to the underworld, Garrone shoots the vast majority of the film in broad daylight, with all of the thuggery visible in the harsh light of southern Italy.

The Taking of Pelham 1 2 3

2009, US, directed by Tony Scott

I haven't seen the original The Taking of Pelham 1 2 3 for a while but if memory serves it showcases plenty of the grit of mid-1970s New York, just as this generally enjoyable updating has the slickness, and perhaps some of the more commercially antiseptic qualities, of the city's current incarnation. This is Tony Scott in relatively toned-down mode: he doesn't engage in nearly the same level of visual experimentation - particularly with changes of film stock and colour schemes - that have become his recent stock-in-trade. That said, his characteristic focus on atmospherically-lit sets is very much intact, as the aesthetics of the film's subway tunnels amply demonstrate - giant fans artfully creating shadows and blinking light effects, contrasted with the warmer lighting of the control room where Denzel Washington does his work.

As ever, Scott loses no time in plugging us into the action; that's perhaps his greatest strength as a storyteller, his ability to cut to the heart of the matter within a minute or two of the opening sequence. The storyline established, he has an exceptional ability to then hold the audience's attention as the plotting grows more outlandish, while still delivering the natural confrontations and resolutions that a film like this demands. Despite its generic qualities, the final shot is also nicely chosen, marking a return to the benign normality from which Washington's character has been so unexpectedly plucked.

The Girl Who Played With Fire

2009, Sweden/Denmark/Germany, directed by Daniel Alfredson (Aka: Flickan som lekte met elden)

The second of the trilogy of films based on Stieg Larsson's books, The Girl who Played with Fire is a good deal more subtle than its predecessor, toning down the sexual violence in particular, and choosing to imply at least some of what the first film delivered with sledgehammer subtlety; that's presumably the result of a change of director. The plot, taken fairly directly from the source novel, is more straightforward, too, reliant on coincidence but easier to swallow than the earlier film's central revelations. Mostly, though, this is another showcase for the talents of Noomi Rapace, terrifically committed again as the spiky, anti-social, morally queasy Lisbeth Salander, a compelling blend of cyber-savant and woman of robust action.

OSS 117: Cairo, Nest of Spies

2006, France, directed by Michel Hazanavicius (Aka: OSS 117: Le Caire, nid d'espions)

Not quite the comic diamond I anticipated, OSS 117 is nonetheless a clever, detailed spoof of both the original OSS117 character - subject of several rather more self-consciously serious French films - and, more prominently, of the James Bond films and their surrounding mythology. The filmmakers are attentive both to the conventions of 1960s spy yarns - the exotic locations, patronizing sexism and colonialism, absurd villains - and the minutiae like the terrifically artificial back-projected driving scenes, during which the actors are constantly whirring the steering wheel even on apparently straight roads. Jean Dujardin is perfectly cast as OSS117, playing the part absolutely straight while also very obviously having a terrific time, his very unsecretive agent making one cock-up after another, in a spirit of blithe indifference. Even if film just outstays its welcome, recycling several set-ups and jokes a couple more times than strictly necessary, it's still streets ahead of most Bond-style spoofs.

Inception

2010, US, directed by Christopher Nolan

Christopher Nolan is, obviously enough, a director fundamentally concerned with structure - here he makes that theme explicit by anchoring his film in dreams that are designed by an architect - but he hasn't quite managed to balance that concern with the demands of the Hollywood star system, which compel most big-budget filmmakers to place a star front-and- centre on the posters and in the action. The problem with that is that Nolan is at least as interested in the intersecting stories that radiate out from the film's central focus, but is compelled to keep Leonardo DiCaprio - or previously Christian Bale - on the screen at the expense of other narratives which are given tantalizing introductions. In some ways, Inception showcases a possible solution, particularly in the climactic dream sequence, whose multiple layers and players allow Nolan to make use of parallel tales where the leading man's absence is not only justified but required.

Still, the scenes that introduce characters like Eames (Tom Hardy), Miles (Michael Caine) and Yusuf (Dileep Rao), promise much more than the film can ultimately deliver, evoking parallel or past stories that we're ultimately not allowed to pursue (this is where the video-game comparison, widely made but rarely explored in depth in writing on the film, most obviously breaks down, given the side missions that are such a feature, and pleasure, of many current video games). Those piquant introductions have to serve as character development, too, as our own imaginations are asked to fill in the gaps in the characters' past histories. The same unfulfilled promise is evident in the early demonstrations of dream architecture, the fantastical manipulations of space when Cobb (DiCaprio) and Ariadne (Ellen Page) walk through Paris, bending the streets in on themselves to create infinite mirror images. By contrast, the final, lengthy dream sequences almost never play with space in this way - although Arthur (Joseph Gordon-Levitt) dances beguilingly through the hotel corridors, the building itself remains reliably intact.

All that said, what ultimately makes the film successful on its own terms is its ability to sweep the audience past those blind alleys as the film unfolds. There are enough other elements to both engage and impress that the questions, for the most part, don't arise until the conclusion of the film, given the degree of engagement required to keep track of where the various characters are at any given moment. Nolan is not at his best when shooting elaborate action scenes, with his quick-cutting style rendering the action overly confusing, although the slower rhythms of the hotel-corridor sequences are much more effective - Arthur seems genuinely to be in peril in these scenes, whereas the snowbound mountain setting in which Cobb subsequently operates is standard-issue James Bond (unsurprisingly, given that Nolan is paying conscious homage to On Her Majesty's Secret Service, but you wish that the reference wasn't quite so literal).

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Although the film has only been on the world's screens for a couple of months as I finally get a few notes together, it has already generated some excellent online commentary, at least some of which certainly shapes my thoughts. I found the two blog entries, by David Bordwell and Kristin Thompson especially interesting; they link extensively to Jim Emerson, who didn't much care for the film but still found it worthy of dissection. David Cairns enjoyed the film rather more, but he's not blind to the film's flaws.

Funny People

2009, US, directed by Judd Apatow

It feels as though there's more than one film rather clumsily shoehorned together here, with a whole new storyline injected quite late in proceedings, as the film changes direction and the central character, a misanthropic comedian named George Simmons (Adam Sandler), re-appraises his life. As Scott Foundas's Village Voice review notes, the film can't withstand this abrupt shift, which brings with a new subplot, a raft of new characters, and a change of location. In a sense, of course, those events are all obstacles to the consummation of the film's central bromance, between Simmons and his sidekick/assistant/writer Ira Wright (Seth Rogen) - the kinds of obstacle that pop up, right on cue, in the late acts only to be resolved or forgotten in time for the crucial reunion that allows the end credits to roll.

But the film takes so long to get to that point - 145 minutes makes for a very long comedy - that it's difficult to still care for the characters by the concluding sequences. By that stage, the fresh interactions between Rogen and his roommates Jonah Hill and Jason Schwartzman, often extremely funny, seem a distant memory, replaced by interminable and no longer especially amusing penis jokes (a drinking game based on references to genitalia would result in hospitalization).

There are, of course, some compensations, particularly the aforementioned trio of roommates, while the interactions between Simmons and his doctor, the priceless Torsten Voges, are extremely amusing. The photography, too, is beautiful - Janusz Kaminski finds something new and gleaming in the light of both northern and southern California, particularly in the sequences around Simmons's house, such as the gorgeous overhead shot of an intensely blue pool that almost fills the screen.

Zulu

1964, UK, directed by Cy Endfield

Although it's tempting to lump Zulu together with other epics of the empire in its various guises - most obviously David Lean's The Bridge on the River Kwai and Lawrence of Arabia - Cy Endfield's film attempts something both more limited, an account of a single military action, and perhaps trickier, that is, presenting that action in a manner that avoids caricature of either side. Of course, the British viewpoint is privileged throughout since the camera, for the most part, remains within the British army post at Rorke's Drift, but the film is a rare account that emphasizes not African savagery or naïveté but rather the tactical and strategic intelligence of the Zulus, who implement a coherent battlefield plan - sketched out for us by an Afrikaner - and who then make a rational calculation about the virtues of continued engagement. The film does, nonetheless, play loose with certain aspects of the historical records, inserting several sequences - most notably a singing "battle" - for dramatic purposes and underplaying some particularly brutal British acts, such as the killing of wounded Zulu.

Endfield provides us with virtually no context for Rorke's Drift beyond an indication that it is a continuation of a battle fought earlier in the day at Isandlwana - a decision which robs the film of any sense of the African motivation for the battle - and focuses immediately on the reactive efforts of the small British garrison to improvise a defense. Endfield shot parts of the film on location, and the outdoor sequences are terrifically impressive, with the tiny outpost dwarfed by the Drakensberg mountains, made more ominous still by the presence of Zulu fighters appearing from on high in several shots. There is, though, an occasional sense of disconnect from the interior sequences, many of which were shot back in England, and which sometimes have a more jocular tone that feels remote from the fighting outside (those inside the buildings, either prisoners or invalids, don't take up weapons until quite late in the film, which seems extraordinary given the numerical disparity between the Zulu regiments and British defenders).

Although Rorke's Drift is remembered as one of the great imperial rearguard actions, a disaster in the making that turned into an improbable victory - the more notable, in both military and propaganda terms, for coming immediately after the comprehensive defeat at Isandlwana - Endfield's presentation, even while enumerating the honors won in the course of the fighting, implies that there's little heroic about any such battle. The camera pans away from the guns and bayonets on the stockade to a carpet of Zulu bodies that must surely have recalled, for anyone watching in 1964, the horrific images of body upon body that emerged when the concentration camps were liberated (the sequence in Zulu is almost in black and white, unlike the vivid colours elsewhere in the film, making the analogy even clearer). It's a fascinating reappraisal of the realities of imperial conquest, a film that undermines conventional propaganda even as it reinforces the standing of Rorke's Drift in British historical memory.

L'Assassinat du Père Noël

1941, France, directed by Christian-Jaque

As with so much of French cinema during the occupation era, L'Assassinat du Père Noël is set in an enclosed community - a snowbound Alpine village in this case - that it's tempting to interpret as a sort of metaphor for occupied France, and particularly for the threat of corruption from within in the form of collaboration. Accusations of collaboration no doubt rang in the ears of director Christian-Jaque (and others, like Henri-Georges Clouzot, then also in the employ of the German-controlled Continental Films), and obviously obliged them to be rather indirect in their critique. As Susan Hayward has written, though, it's almost equally easy to interpret the film, and others of the period, as a paean to a France of the past, in other words to find in it a rather conservative, even vaguely Pétainist viewpoint.* It's perhaps that ability to be all things to all people - and, crucially, to appear innocuous to the German censors - that accounts for the film's substantial success when first released.

Although the film announces itself as a whodunit, the promised plotline is ultimately rather unimportant, with the question of Father Christmas's killer not even raised until well past the halfway point in the film. Instead, Christian-Jaque spends his time serving up a detailed portrait of the village, populated - indeed over-populated - with a variety of eccentrics, not the least of whom is the baron, just returned from many years abroad to cast his sinister shadow over the village. Harry Baur, one of the great stars of the era, and shortly to die in the custody of the Gestapo, plays a local craftsman, a globe manufacturer, who dresses up as Santa Claus each year, and he's especially amusing in the sequences in which Santa comes under the increasing influence of the alcohol with which each and every family rather liberally plies him.

As David Cairns has noted, Christian-Jaque employs a highly mobile, eye-catching camera, moving around within both the village and the interior spaces - a cosy inn, a rather bleak castle, a workshop - to explore both the nooks and crannies and their inhabitants, and he makes good use of the unusual, snowy location, perhaps most obviously in the atmospheric nighttime scenes when two rambunctious boys go exploring. Given the shadows in these sequences, I'm guessing that they may have been shot "day for night," but they're still filled with mystery and a sense of danger - much more than the main intrigue. That plot is the film's weakest element, thankfully balanced by an intriguing group of character actors and the prowling, curious camera.

*Susan Hayward, French National Cinema, revised edition 2005.