THE LIBRARY AT QUEEN OF ALL SOULS (Leo McCarey, 1955)

'Once you permit those who are convinced of their own superior rightness to censor and silence and suppress those who hold contrary opinions, just at that moment the citadel has been surrendered.' Archibald Macleish

'To admit authorities, however heavily furred and gowned, into our libraries and let them tell us how to read, what to read, what value to place upon what we read, is to destroy the spirit of freedom which is the breath of those sanctuaries.' Virginia Woolf

'I have always imagined that Paradise will be a kind of library.' Jorge Luis Borges

A librarian, Josie Werner (Barbara Stanwyck) dedicates her life to the flourishing and development of a library in a small town called Queen of All Souls, Texas. It is 1954. Despite efforts to censor and diminish the library by several successive mayors and various townsfolk, the shack-like construct survives all winds. The collection, due to the work of Werner, swells, and begins to receive national attention as a bastion of liberal learning.

The attacks on Werner grow however; her relationship with a black man (Titus Chambers) is examined, and her past as a young unmarried woman with a series of romances is repeatedly held up as evidence of the impropriety of her books. The fact that she is played by Stanwyck means that we both believe that any story about her may be true, and love her for it.

And just when we seem set on a path of anguishing town politics and individual bravery (shown, perhaps in the form of impassioned speeches in a courtroom setting, or a defiant entrance into (or exit from) a town meeting), an apocalyptic plot twist sets us on our bums, the deus ex machina being an actual nuclear apocalypse. The Russians and Americans set on a path of mutual destruction, and those above ground have only hours of unburnt air left. All recriminations are deemed petty, and the town pulls together to begin the evacuation.

The film thus folds back on itself, and breaks at the middle. The second half of the film bears little relation to the first. The constant is Josie and her bloodymindedness. As convoys leave the town, heading for potentially safer mountains and bunkers, she refuses to go. She shows no panic, but slips into a quiet silence as she organizes her books. When asked why, she doesn't explain. Weeping relatives come to try and persuade her to join them in one of the protective areas. Mankind needs people like you. We need you. She refuses, saying that someone must tidy the books. Stanwyck's natural defiance here rings like huge deep bell, no trace of trebly spite, just true and low.

If Josie's reasons are unclear to us, they are to her too; indeed, McCarey seems to be attempting to figure out the meaning of a life's work during these slow minutes, in the increasingly empty town and near-silent library. The examination is a clear-minded one that still comes up with no answers, as if McCarey knows that his own position as a credible and brilliant artist might be secure (a director of Duck Soup and The Awful Truth bends and scrapes to no-one in any just celestial Hollywood cafeteria; if such artful shepherding of Marxes and Cary Grants and Irene Dunnes is not a karmic get-out-of-jail-free card, one wonders what might be), but also that this means absolutely nothing.

Nearing the end, Josie writes a letter:

'I don't believe that good people make the world better. And often times they make the world worse, despite themselves. Isn't that why the planet is dying? Good people making mistakes? But you should still try. One bad person can do so much damage that it takes generations to repair. But all the good people in the world I think keep the world afloat. And they shouldn't have ever worried about betterment or evolution because- what's changed? In 10000 years? Textural things. That's all. But human nature seems to be the same. Self-destructive.'

She then rips it up with a laugh so dismissive that we, the audience, feel ridiculousness at the weight with which we might have received her words. They are meant for us, there is no-one else left for Josie to talk to. But they are hollow, mere platitudes (perhaps even stolen, half-remembered from another production); an attempt at making retrospective sense of a decision (and many other decisions, millions of them across a life) that needs no explanation. Because there is none. McCarey spares us the fiery end we know is due, cutting away from Stanwyck as she smiles into the distance, dreaming of the twenty-four (and more) variations of the note that she could have written, all plausible but too pat, somehow; no line is big enough to suffice, to be more than a scratch in the dirt.

The Library At The Queen Of All Souls Directed by Leo McCarey Produced by Leo McCarey, Jerry Wald Written by Mildred Cram, Leo McCarey Starring Barbary Stanwyck, James Earl-Jones, Ray Milland 20th-Century Fox Release Date US: March 1955/ UK: Aug 1955 102 mins Tagline: 'Just Because You Didn't See It Coming Doesn't Mean You Don't Have To See'

QUOTES (Woody Allen, 1989)

Allen: 'Intrinsic to my understanding of history is this: The Witch never said 'You're not in Kansas anymore, Dorothy Gale.'
Minnelli: 'But she did.'
Allen: 'Exactly.'
Minnelli: 'Contrarily, Dorothy did say 'There's no place like home,' several times, but she was lying.'
Allen: 'Of course. Will you marry me?'
Minnelli: 'No-one said anything to make you say that.'
Allen: 'Jimmy Stewart. Philadelphia Story.'
Minnelli: 'Hepburn said no to Jimmy Stewart. She remarried Cary Grant.'
Allen: 'Well we can't all be Cary Grant.'
Minnelli: 'No. Some of us even less so than others.'


Woody Allen and Liza Minnelli in a scene from Quotes.

'The truth is that as a filmmaker (if not as a performer), Woody Allen has almost no personality of his own. Respect him as we may for preferring pastiche (or imitation as the sincerest form of flattery) in a period when the American cinema has capitulated to the whorish charms of parody (or imitation as the sincerest form of derision) , we ought not to elevate a pasticheur's talent into the temperament of an authentic artist. Allen is Zelig, Zelig is Allen. Brought into contact with Bergman, he turns into Bergman (Interiors, Another Woman); with Fellini, he turns into Fellini (Stardust Memories, Radio Days); with Pabst, he turns into Pabst (Shadows and Fog)... and so it has always gone. Zelig however, is the exception that once truly does prove the rule, and so Quotes is a rare stride towards something else, as if there exists in Allen a true original he is straining to supress. Quotes is Allen's career writ large and exploded, a cavalcade of every filmmaker he loves at once, a collection of brilliant techniques that serves to provide a mixed salad, avec dressing, with a small man in glasses sitting in sorrow in the middle.' Gilbert Adair, Flickers

'QUOTES is a blast. Take an inspired idea- the referencing of everybody else, and I mean everybody else- pepper with a gag or two, then stew in wit for aeons, and voila! a Cannes hit that will make minor rewards in Western territories. But Allen, for once, goes further, and his intricate web of references and borrowed dialogue becomes something beyond postmodern or meta.' Geoffrey Standage, The Sunday Times

'Allen alienates adroitly and aims angry arcs at any anti-Allenists (and Allenist alike) attending, acutely aware at all affects an arrogant audience anticipates. A+' Arsula Andress, San Francisco Chronicle

'Allen of course, must know that his presence in his own movie can cheapen his directorial nous somewhat, in that his verbal prodding can sometimes replace what greater directors do from behind the camera. But he is also smart enough to know that this gives him something to, and Quotes allows him to provide a director's cut from within. His character can talk about film style as he himself gives us film that contradicts that style.' Peter Bradshaw, The Guardian

''If bad puns a comedian doth make, then Allen is very funny indeed.' Here's one for you: Waiting for Godard.' Blixten Tongstress, Twice Weekly

'Allen never gives us three chords and the truth; three chords and the Truffaut, maybe. Even his tenderest moments are not wrought with any feeling other than nervous self-examination, leaving his voice to be that of a whinnying karaoke singer. Which as we all know, can be perversely poignant.' Mark Kermode, Videodrome

'If we see Allen's work as a schizophrenic dance between Bergman and something sillier, then this boils it down to the barest credentials. Insipid and inspired. A petulant stamp from an undergrown intellectual. Four stars.' Tom Bonnet, Sight & Sound

'Only eternal love between Farrow and Allen would provide the trust necessary for her to don that particular outfit and say those particular lines.' Roger Ebert, Chicago Sun

'Allen used to have a stand-up line that he re-used over and over, he liked it so much: 'I'm not scared of death... I just don't want to be there when it happens'. Well, he has been there when it happened many times: Hollywood Ending, Match Point and Whatever Works, to name but three deaths. But every time I reach back for Annie Hall or Manhattan I only feel sad for an auteur now lost. Only Quotes keeps me excited. It is an enigma, a flashing message not quite understood.' Paul Auster, Notes on Film Signs

'You know, people ask me who I am, and I presume it is a trick question. So then they ask what kind of man I am, and I realize that if they think I'm a man then I've actually tricked them.' Woody Allen

Quotes Directed by Woody Allen Produced by Robert Grenhut Written by Woody Allen, Mia Farrow Starring Woody Allen, Mia Farrow, Liza Minnelli Orion Pictures/Warner Brothers Release Date UK/US: Mar 1989 99 mins Tagline: 'Umm.. I Really Don't... I Gues Yuo Need Something For The Poster... Use Something From Ben Hur.'

ROOMS (Svenoslav Kartosky, 1967)

'Kartosky is a cartographer of fear, but be finds the absurdity of existence both compelling and comforting' Christian Metz

The weather chased her here, the wind at the wings of the plane, the sea blocking easy paths, the lightning that took down trees in her way, forcing her to turn left then right.

There is a large out-of-town supermarket. The entrance, through double-doors, is at the right hand-side of the front edge of the building. Buffeted by the wind, she decides to take shelter inside. The first room is small and dark. The impression is felt that the building is not too deep, but instead spreads away to the left. The visitor expects, of course, a cavernous space filled with strip lighting, but this option is not offered. Instead, there seems to be a series of small rooms connected to one another. When making her way through the first few series of rooms, the visitor is reminded sometimes of a fallow old teacher from primary school, or fleetingly remembers a game of dominoes with a dead relative. This is not unusual of course, for any visitor to any place will find themselves bedevilled by a waking thought of someone or some song for no reason that offers itself, but somehow the heavy flavours of the half-memories here are strong.

She feels a sense of huge spaces beyond her view. She feels lost, completely displaced. This configuration is illogical. But somehow she is comforted, in a way that makes little sense. It is as if up until this point she had some kind of thesis to defend, but now she is liberated from the chore. She tilts drunkenly. A light seems to flicker somewhere, but she doesn't see it so much as feel it.

She can hear the wind, far away, but it cannot reach her now. When did she leave the plane?

The visitor ducks behind a heavy curtain, sidesteps a pile of chairs and clims a set of three stairs. Then a shred of daylight, a coldness, stone floors. To her right are two identical cubicles, that remind her of the bathroom at her parents' grocery shop from when she was a child. She hasn't seen it for years, but remembers sitting on the cold seat and reading every comic in the shop. And here it is, not only doubled from her memory, but twinned again in front of her eyes, gloomy and cool.

And from here it is not too much of a step for her to begin recognizing other rooms- one ordinary door opens into an exact replica of her grandfather's shed, and the smell of honeyed wood brings involuntary tears to her face. The next room is vaguer, dimmer, and it is a while before she places it as a college friend's bedroom, pink, white and empty. She begins to rush through the rooms, desperate for certain places from her past, certain places that lack importance to everybody else except herself, were only significant enough to serve as obscured backdrops in family photos at Christmases and birthdays, and never appearing as the focus themselves. These vessels, stuck together in arbitrary fashion, seemed to make up a labyrinth of her past, minus people and context.

...and then for a second, the voice of her father, clear as a strong bell, rises into her eardrum. Lena, The Awful Truth is on TV. Irene Dunne. Cary Grant. Leo McCarey. Nineteen-Thirty-Seven. Lena! It's a good one, Lena.

She pushes through a stickered door and into her own bedroom, the one she had between the ages of six and sixteen. A man is sitting on the bed. He is dressed in a brown robe and has a kind, pink face.

Why Are You in my room?

Why are you in your room? Perhaps this is the real question.

Where Are We?

Sit down. There's something I need to tell you.

Who are you?

Don't you recognise me? I'm your brother. I'm here to tell you something. All the rooms you see here are rooms you have visited before during your life. They are here to provide a familiarity to the background. This is so that when you faint from news of your death, you do so in the apparent comfort of memories.

What are you talking about?

The configuration of all of these rooms together is absurd I know. This makes everything seem more like a dream. We find that if you think death is something like a confusing nightmare, then this helps you accept the news.

I'm dead?

Just think of it as a new year. A new decade, even. Walk boldly.

Rooms Directed by Svenoslav Kartosky Written by Svenoslav Kartosky, Mikel Kartosky Produced by Victor Garda Starring Joelie Michoz, Guus Speck Release Date: UK/US: N/A Cze/Fra: July 1967 32mins Tagline:Which ten-thousand rooms are you?

CARY GRANT GOES TO CAT HEAVEN (John Doanon,1990)

Cary Grant Goes To Cat Heaven holds a unique place in the faux-canon: It's legacy was a completely transformed industry, so much so that Gilbert Adair called it the 'Jean-Marc Bosman of film'.1

It was the movie that began the Great Footage Debate of the early nineties, which saw Humphrey Bogart posthumously advertising cleaning products('Here's Looking At You, Jif') and the work of Paul McCartney (who of course had died in a bicycle crash in 1967) being used without clearance to suggest that airlines were the safest way to travel (Wings' 'Jet' the so-literal-it-is-nonsensical choice). Paul's lover Linda, who survived Paul and spent years promoting vegetarianism and World Peace, sued Virgin Airlines (the offending company) saying that Paul 'would rather have died than have his music whored like this'. Virgin's lawyer, Rick McMinn, replied 'why not have both? Oh, and by the way, whores get paid.' Linda won the case, which caused devastation in the worlds of advertising and film (a period of disruption known to posterity as The Linda Effect or Linda-rance), as numerous productions were halted and companies sued. A series of sequels to Cary Grant Goes To Cat Heaven were canned (including Jimmy Cagney Contemplates the Elephant's Graveyard, Robert Ryan Witnesses The Neon Aviary Afterlife and Klaus Nomi on Pigeon Street), and the original was taken from the shelves of video stores for years.

The movie itself? Why, it is delightful. It is effectively a treatise on the virtues of wise sampling. Footage of Cary Grant from various Hollywood movies is cut together with footage of kittens and clouds to create a dreamy ambiance of loveliness. It is a miracle beyond the earlier Who Framed Roger Rabbit (, 1988), for no actors could be manouvred and no cartoons drawn; sure, the kitten stars are perfectly wonderful playing angels (in Cat Heaven all cats are kittens of course), and all deliver fine performances. But the real genius lies in the directorial discretion of which Grant clip to use at which point. This also results in a patchwork of famous and lesser Grant moments, and much fun is to be had from spotting the pilfered originals.

The delightful thing is that it is not just obvious candidate Bringing Up Baby that is pillaged:

Look! See the reaction shot of Grant as CK Dexter Haven in The Philadelphia Story looking at Hepburn, Katherine, contemplating a marriage proposal from Stewart, James. See it here used to suggest Grant's hopeful confusion as he enters the Gates of St Peter. We see, in effect, a Grant megamix, the mythical burden reconfigured in new contexts and found to be intact: Solid gold performance runs throughout, and the consistent selection means that say, a sentimental pairing of a beyond-cute kitten and maudlin strings is anchored by the tanned wonder himself goofing off delightfully.

Alex Cox called Cary Grant Goes To Cat Heaven it 'the hip-hop of film'2. 'Hollywood re-uses plots and cliches; why not footage? cried Salman Rushdie in a defence of 'sampling' in an essay entitled Everybody Calls Their Wife 'Baby', Why Can't I?3

Grant Goes To Cat Heaven Directed by John Doanon Prduced by Jeff Litbarsky Written by Doanon Starring Cary Grant Film Four Pictures Release Date UK: Jan 1990 US: N/A Running Time: 103 mins Tagline: 'In Our Dreams'

1. When The Downs Go Light Penguin Putnam, 1997

2. Sight and Sound interview, June 1991

3. Atlantic Monthly, August 1993