Lili

Posted on December 13, 2002 at 5:17 am

Plot: Lili (Leslie Caron), a French orphan, is dazzled by a handsome carnival magician named Marcus (Jean Pierre Aumont) when he speaks kindly to her, and she follows him back to the carnival. She gets a job as a waitress there, but is fired for spending too much time watching his act. Lonely and sad, she thinks of suicide, but a puppet called Carrot Top calls out to her kindly, and she starts to talk to him and the other puppets: Golo, the simple giant who is shy with girls; Margurite, the vain beauty; and Renaldo, the sly, crafty fox.

Paul (Mel Ferrar) the puppeteer, a bitter, angry man, offers her a job in the act. His assistant, Yacov (Kurt Kaszner) explains that he had once been a great dancer but was wounded in the war. Paul, drunk, refers to himself as “half man, half mountebank.”

Audiences love Lili’s conversations with the puppets because she is so sincere, and the show is very successful. She spends the money she makes on foolish games and knicknacks, and Paul angrily asks if there isn’t something she really wants. At the show, the puppets gently ask the same thing, and we see Paul’s face as he has the puppets tell Lili that what she wants is to be loved, and that he cares for her.

Marcus gets an offer from a hotel, and leaves the carnival. It turns out he was secretly married to his assistant (Zsa Zsa Gabor). When Lili runs after Marcus to give him the ring he dropped in her trailer, Paul thinks she is running after him because she loves him, and he slaps her.

Paul is offered a wonderful opportunity to take his act to Paris. When asked if Lili is a superb actress or if he is a Svengali, he says, “She’s like a little bell that gives off a pure sound no matter how you strike it, because she is in herself so good and true and pure.” When he finds that the men did not know he had been crippled, he is deeply moved. He has succeeded in transcending his disability and no longer sees himself as less than a complete man.<p.

But Lili has decided to leave. She tells Marcus, “I’ve been living in a dream like a little girl, not seeing what I didn’t want to see,” and that sometimes a person outgrows dreams like a girl outgrows her dresses.

As she leaves, Carrot Top calls her back again, and asks to go with her. As each of the puppets tells her how much they care, we see Paul speaking through them. At first very touched, she thrusts back the curtain to see Paul. All he can do is speak harshly to her about the new offer, and she thinks he has been pretending to be nice to her just to get her to stay with the show.

He tells her that the puppets are the parts of him he cannot show any other way. But she runs away. On the road, she dreams of dancing with the puppets, each one transforming itself into Paul. Understanding that all of the characters she loves are really him, she runs back to him.

Discussion: This is a charming story with a lovely theme song, simply told but with a great deal of psychological insight. Lili believes what she sees on the surface. She believes the shopkeeper who offers her a job, but it turns out that he is just making a pass at her. She believes Marcus’ easy charm and small tricks. She believes Paul is unfeeling. But that same naiveté is what makes her interaction with the puppets so endearingly believable. As she says, she always forgets that they are not real. Just as Paul can only open up through them, she only opens up to them.

Paul is attracted to Lili because she is such a contrast to him — she is direct, completely clear about her feelings. His leg is not as crippled as his heart. He has closed himself off, and yet his spirit needs to express itself; he needs to relate to people. So he does it through the puppets, and through them he has a freedom he could not otherwise have. When the act becomes successful, he can for the first time since his injury begin to develop the self-confidence he needs to be able to open himself up to a relationship without going through the puppets as his intermediaries. Questions for Kids:

· Why is it easier for Paul to say what he is thinking through the puppets?

· What does he mean when he says, “I am the puppets?”

· What does Lili mean when she says that people outgrow dreams?

· Why is it so important to Paul that the men who made him the offer didn’t know he had a limp?

Connections: The story for this movie was by Paul Gallico, who was inspired by Burr Tillstrom and his television show, “Kukla, Fran, and Ollie.” Gallico was a prolific writer who enjoyed writing in a variety of genres, and films made from his work include, “Pride of the Yankees,” “The Three Lives of Thomasina,” and “The Poseidon Adventure.”

Activities: Put on a puppet show. Let the kids try to make puppets that express different parts of themselves or behave in ways they cannot.

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The Great Escape

Posted on December 13, 2002 at 5:17 am

A+

Lowest Recommended Age:	Middle School
MPAA Rating:	Not rated
Profanity:	None
Alcohol/ Drugs:	Some drinking, smoking
Violence/ Scariness:	Very tense moments, characters in peril and many killed
Diversity Issues:	People from a variety of backgrounds and countries work together toward a common goal
Date Released to Theaters:	1963
Date Released to DVD:	May 7, 2013
Amazon.com ASIN:	B00BN3DUVE

In honor of the Blu-Ray release of this classic film, it is the Pick of the Week – and I am delighted that I have one Blu-Ray to give away. Send me an email at moviemom@moviemom.com with Escape in the subject line. I will pick a winner at random on May 15. Don’t forget your address! (US addresses only.)

Towards the end of WWII, the Germans built a special high-security prison camp for Allied prisoners with a record of escape attempts. This is the true story of the extraordinary courage and ingenuity of the men imprisoned there, and of their plans for the greatest escape ever. As the British ranking officer explains, when the camp commandant urges him to relax and “sit out the war as comfortably as possible,” his duty is to escape, or, if escape is impossible, to force the enemy to use as many resources as possible to contain them.

Each man contributes his expertise. There are “tunnel kings” to dig the three tunnels, a “forger king” (Donald Pleasence) to forge the papers the soldiers will need when they escape, a “scrounger” (James Garner) to beg, borrow, steal, or obtain through blackmail the materials they need, and others who work as tailors and manufacturers. An American who is something of a loner, Hilts (Steve McQueen) becomes the “cooler king” for his long stints in solitary confinement, as a result of his independent escape attempts. When “Big X” (Richard Attenborough), the British officer who supervises the escape, asks Hilts to go through the tunnel to get information about the area surrounding the camp, and then allow himself to be recaptured, so he can let them know what he has found, he refuses. But when his friend is killed trying to escape, his spirit broken by the camp, Hilts changes his mind.

Seventy-five of the prisoners are able to escape before the tunnel is discovered. The Germans track almost all of them down, and fifty are killed, including Big X. It is to “the fifty” that the film is dedicated.

As in “Stalag 17” and many other films about prison camp, the prisoners in this story must adapt to the direst of circumstances, and they choose differing approaches. Hilts adapts by working on his own, or with one partner, while others work on a massive group escape. Ives and Danny begin to unravel under the stress, not so much a “choice” as an involuntary response.

Unlike other prison camp movies, this one does not dwell on disputes between prisoners or on the deprivations of the prison camp, which seems almost comfortable. It is about the professionalism, courage, resourcefulness, teamwork, and loyalty of every one of the prisoners.

As in a traditional “heist” film, the story focuses on defining a problem and then solving it. They examine the restrictions imposed by their conditions, change the ones they can, and adapt to the ones they cannot. They must also adapt quickly and calmly when the plan does not go as they expected.

The story gives us an exceptional example of teamwork and loyalty. Note the way that the prisoners protect each other. When Danny (Charles Bronson) cannot take it any more and wants to escape on his own, his friend talks him out of it. When the Forger goes blind, Big X wants to leave him behind, for his own protection. But the Scrounger promises to take care of him.

Point out to kids what factors do — and do not — go into the prisoners’ calculations and strategy. Big X is cautioned not to allow his personal wish for revenge determine their strategy. But pride (in the sense of morale) is permitted to be considered. When asked “Have you thought of what it might cost?” he answers, “I’ve thought of the humiliation if we just tamely submit — knuckle under and crawl.” They also consider the risk of failure, to the extent they can. At the end, when the Scrounger asks whether the escape was worth the price, the best the British Commander can do is answer truthfully, “It depends on your point of view.”

Note: The screenplay was co-written by blockbuster novelist James Clavell (Tai-Pei, Shogun). His own experiences as a prisoner of war in a Japanese prison camp are the subject of “King Rat.” The outstanding musical score is by Elmer Bernstein (“The Magnificent Seven” and “To Kill a Mockingbird”). Richard Attenborough, who played Big X, became a director in the late 1960s of films such as “Gandhi” and “Shadowlands.” He continues to appear as a performer, and played Dr. Hammond in “Jurassic Park” and Kris Kringle in the 1994 version of “Miracle on 34th Street.”

Family discussion: Why are the experts called “kings”? What makes Hilts change his mind about getting the information they want? Who was right about taking the Forger out through the tunnel, Big X or the Scrounger? Given the results of their action in this story, should officers who have been taken prisoner feel duty-bound to try to escape?

If you like this, try: “Stalag 17” and “King Rat”

Major Barbara

Posted on December 13, 2002 at 5:17 am

Plot: Major Barbara (Wendy Hiller) is a member of a mission devoted to saving souls, and she promotes temperance, non-violence, and socialism. Adolphus Cusins (Rex Harrison), a classics professor, falls in love with her, but before she accepts his proposal, she insists that he must meet her family. He is surprised to find out that she is the daughter of a wealthy industrialist.

Her father, Andrew Undershaft (Robert Morley), a munitions manufacturer, returns to the family after an absence of many years. He tries to convert Barbara to his views by presenting her with an ethical dilemma. Will she accept large contributions to her mission from the makers of munitions and liquor, the very things she opposes? She cannot, and is disillusioned but understanding when her superior accepts the funds, reasoning that despite their source, the money will do some good.

Barbara visits the munitions factory and sees that her father is right about capitalism. It does not mean much when someone accepts her views in order to get food and shelter. But if she can persuade people simply by the force of her ideas, those are converts worth having. Furthermore, she can aid the poor by providing good jobs, good wages, and good benefits. Her father says that being a millionaire is his religion. Christianity is Barbara’s religion, but she will pursue it through capitalism.

Discussion: More directly political than “Pygmalion,” this provides a good opportunity for a discussion of what is now termed “corporate social responsibility,” and the role of the government, the church, and the corporation in meeting society’s needs.

Questions for Kids:

· How socially responsible should corporations be? How should they balance the interests of employees, customers, shareholders, suppliers, and the community?

· Who is in a better position to help society, government, religion, or business? Which kinds of help are each uniquely able to provide?

Connections: Robert Morley, age 32 when this movie was made, was only four years older than the actress who played his daughter. A very young Deborah Kerr appears as Jenny Hill, and Emelyn Williams, author of the autobiographical “The Corn is Green,” appears as Snobby Price. Wendy Hiller, picked by Shaw himself to appear in this movie and “Pygmalion,” also appears in “A Man for All Seasons” and “Murder on the Orient Express.”

Playwright and co-screenwriter Shaw was one of the twentieth century’s most brilliant writers, well known as a dramatist, essayist, critic, and social reformer. He was awarded the Nobel Prize for Literature in 1925. His play, “Pygmalion” (also filmed with Wendy Hiller) became the musical “My Fair Lady.” Among the many pleasures of his work are the superb female characters — strong, intelligent, and principled.

Activities: Teenagers may want to read or even act out some of Shaw’s other plays, including “The Man of Destiny,” “Misalliance,” “Caesar and Cleopatra,” and “Arms and the Man,” and will also enjoy his essays and criticism.

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Drama Romance

The Miracle Worker

Posted on December 13, 2002 at 5:17 am

Today is the 142nd anniversary of the birth of one of the most extraordinary teachers in American history, Annie Sullivan, who gave a little blind and deaf girl the power of language. William Gibson, who wrote two plays about the teacher and her student, says that when people refer to “The Miracle Worker” as “the play about Helen Keller,” he replies, “If it was about her, it would be called ‘The Miracle Workee.'” Sullivan, herself visually impaired, was first in her class at the Perkins School for the Blind. When she went to work for the Keller family she was just 21 years old. And Keller, who was blind and deaf due to an illness when she was 19 months old. When Sullivan arrived, Keller was almost completely wild, without any ability to communicate or any understanding that communication beyond grabbing and hitting was possible.

Every family should watch the extraordinary film about what happened next, and read more about Keller, who, with Sullivan’s help, graduated from Radcliffe magna cum laude and became an author and a world figure.

Ann Bancroft and Patty Duke won Oscars for their performances as Sullivan and Keller, repeating their Broadway roles and Duke later played Sullivan in a made-for-television adaptation. In this scene, after months of teaching Keller to fingerspell words, Sullivan is finally able to show her that language will give her the ability to communicate, with a new world of relationships, feelings, and learning. No teacher ever bestowed a greater gift.

Monday After the Miracle is Gibson’s sequel to the play, and Keller’s own book is called The Story of My Life. There is a photobiography of Sullivan called Helen’s Eyes.

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Drama Family Issues

Mr. Smith Goes to Washington

Posted on December 13, 2002 at 5:17 am

Plot: Naive Jefferson Smith (Jimmy Stewart) is sent to Washington to serve the remaining term of a Senator who has died. The governor (Guy Kibbee), and businessman Jim Taylor (Edward Arnold) believe that Smith, the leader of a Boy Scouts-type organization called the Boy Rangers, will do whatever he is told by senior senator Joseph Paine (Claude Rains), a friend of his late father, who was an idealistic newspaper editor. Paine approves of the appointment: “A young patriot turned loose in our nation’s capital — I can handle him.”

At first, Smith is such a hopeless rube that he is an embarassment. The cynical press ridicules him. He is daunted by jaded staffers Diz Moore (Thomas Mitchell) and Saunders (Jean Arthur), and reduced to stumbling incoherence by Paine’s sophisticated daughter (Astrid Allwyn). But a visit to the Lincoln memorial reminds him of what he hopes to accomplish, and he returns to the Senate to promote his dream, a national camp for boys. Saunders begins to soften when he tells her what he believes: “Liberty is too precious a thing to be buried in books.” She acknowledges her own idealistic roots as the daughter of a doctor who treated patients who could not pay, that idealism now buried under the practicality that resulted from her having to go to work at 16 because her family had no money. “Why don’t you go home?” she asks. “You’re halfway decent.”

Saunders warns him that Paine is corrupt, that he is promoting unnecessary legislation that will benefit Taylor. Smith goes to see Paine, and is crushed to learn that Saunders was right. Paine tries to explain that it is just a compromise. “It’s a question of give and take – – you have to play by the rules — compromise — you have to leave your ideals outside the door with your rubbers.” Smith promises to expose Paine, but Paine moves quickly and makes it appear that it is Smith who is corrupt. He presents a forged deed showing that Smith is the owner of the land for the proposed camp, and will therefore profit from the legislation.

Smith is ready to quit, but Saunders explains that he can filibuster — take the floor of the Senate and keep speaking — while his mother and friends get out the real story. While Smith holds the floor, his Boy Rangers print up and try to distribute their own newspaper. But Taylor’s henchmen stop them. After speaking for 23 hours, Smith sees that all of the letters and telegrams are against him. He looks over at Paine. “I guess this is just another lost cause, Mr. Paine. All you people don’t know about the lost causes. Mr. Paine does. He said once that they were the only causes worth fighting for. And he fought for them once, for the only reason that any man ever fights for them. Because of just one plain simple rule, ‘Love thy neighbor.’ And in this world today, full of hatred, a man who knows that one rule has a great trust.”

He vows to go on, but collapses from fatigue. Paine, overwhelmed with shame, runs into the cloakroom and tries to kill himself, confessing that he was the one who was corrupt.

Discussion: Frank Capra was to movies what Norman Rockwell was to illustration; he gave us a vision of our national identity that never ignored the challenges we face, although it was idealistic about our ability to meet them. This movie, made on the brink of World War II, was criticized for its portrayal of dishonesty and cynicism in Washington. But ultimately, it was recognized for the very patriotic and loyal statement that it is.

Questions for Kids:

· Paine tells Smith he has to learn to compromise. Is that wrong? How could Smith tell that this was not compromise, but corruption?

· Watch the scene where the press meets the new Senator for the first time.

· People today often criticize the press for being unfair or too mean to politicians. Do you think they were unfair? Were they too mean? Why does the press like to make fun of politicians?

· What makes Saunders change her mind about Smith?

Connections: It is hard to imagine a time when Jimmy Stewart was not a major star, but this is the movie that made him one. He was a perfect choice for the shy young idealist. Capra selected cowboy actor Harry Carey to play the Vice President, who presides over the Senate during Smith’s filibuster. His look of weatherbeaten integrity perfectly suited the part, and contrasted well with Rains’ suave urbanity.

Activities: Those families who visit the Washington locations featured in the movie, the Lincoln Memorial and the U.S. Capitol building, might also want to stop by the local Planet Hollywood, which features the desk Smith stood at during his filibuster, autographed by Stewart. Those who can’t get to Washington might enjoy taking a look at today’s Congressional proceedings on C-SPAN and comparing them to those portrayed in the movie.

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Drama Epic/Historical