TOMORROW LA SCALA
UK, 2002, 108 minutes, Colour.
Jessica Stevenson, Samantha Spiro, Shawn Dingwall, Kaulvinder Ghir, Karl Johnson, Dudley Sutton.
Directed by Francesca Joseph (pictured above).
The story defies some credibility but, why not? Could a small operetta group actually be commissioned to put on Sondheim's Sweeny Todd in a maximum security prison in the north of England with a group of lifers? If they were, this is what could happen. While documentarist, Francesca Joseph's first fiction film is full of optimism about touching the potential in human beings, even murderers, and giving them a chance to build a new life, much of the dialogue is quite sharp and highlights the inherent physical and emotional dangers in the project. That said, this is a film that is often very funny, has a gallery of very well drawn characters, especially the prisoners, contains quite a lot of words to the wise and treats us to many selections from Sweeny Todd, surely one of the least likely operas to be suggested for murderers to perform - but, again, that's part of the plot. Very enjoyable, even if one asks whether it could every really happen like this.
1.Entertaining? The blend of the light and the serious? The tone of the title and expectations for opera lovers?
2.The credits, the failure? The characters, cast, the prisoners, Kevin as the man in charge? The interactions? Realism? The psychological truth of the film? The putting on of the opera?
3.The visualising of the prison, an actual prison in Cumbria being used? The English atmosphere of the prison? Outside the prison, inside the prison?
4.The musical score, on the road, walking to and fro, the significance of the excerpts from Sweeney Todd?
5.The group, their travel, hopes? The state of the group at the introduction, at the end? Victoria, the leader, her ambitions? The group and its talent? At work? The job – and taxes and government? The credibility of the characters and the plot?
6.Kevin, the introduction, the comic style, his being very correct, the rules for the prison – and the breaking of rules? The drugs? Flirting? Not friendly at first, but changing? The influence of Janey?
7.Sweeney Todd as the choice for the opera? Victoria’s outlining of the plot, the effect? The holding of the auditions and the variety of types? Selections from the group? Kevin wanting to be in the film play? His ambitions? Being present and absent?
8.The rehearsals, the skills demonstrated, the group enjoying the rehearsals? The set? And the later interpretations for and against? The costumes? John at the piano? The absences and Victoria upset? Janey being temperamental? John and his being more straightforward? The bracelet?
9.The CVs and the glimpses, the comic touch, Janey and the facts about the crimes? Jordan, Charly, Cliff? The violence, the rape and Walter?
10.Janey and Jordan, the rejections, the changes? Rajiv and his presence? Sidney and Julie?
11.Prison life, the convicts, raping, bashing, Walter and Victoria, Jordan, Cliff and Dennis, Sidney and Charly? The range of characters, their backgrounds, crimes, contributions to the opera?
12.Issues of sexuality? The speech, Janey? Kevin and the rules? The bar and the apologies? The extra day? The meal, choices? The celebration, the speeches?
13.The journalist and her being told off?
14.The blend of a prison story, rehabilitation of the prisoners, their way of life with the rehearsals for a musical, auditions and preparing, and the achievement of putting on the play?
