Displaying items by tag: Anthony Hopkins

MARY

US/UK, 2024, 112 minutes, Colour.

Noa Cohen, Anthony Hopkins, Ido Tako, Hilla Vidor, Ori :Pfeffer,  Gudmunmdur Thorvaldsson, Mila Harris, Dudley O'Shaughnessy, Eamon Farren.

Directed by D.J. Caruso.

Almost immediately, Mary looks straight to camera telling us to trust her, that we do not know her story at all. And, by the end of the film, we realise that, apart from the key Gospel scenes of the infancy narratives, just how much inventiveness there is in this storytelling. It is the work of screenwriter, Timothy Michael Hayes who is credited in the Internet Movie Database note, as responsible for “inventive biopics”. This is certainly the case here (and we might agree with the familiar  declaration during the final credits that, while based on actual characters, characters and events have been reworked for dramatic purposes.

It was only in the second and third centuries that Christians wanted to know more about the biblical characters, creating alternative narratives, different Gospels, giving names to characters who are not even mentioned in the Gospels, especially Mary’s parents, Joachim and Anne. The screenwriter has drawn on some of these apocryphal Gospels, especially the proto-evangelion of James, as well as the visions of mystics like Maria of Agreda and Anne Catherine Emmerich, the latter one of the inspirations for Mel Gibson’s The Passion of the Christ.

With the focus on the young Mary, her elderly parents praying for a child, their dedicating her to the temple, Mary as a young student at the temple, the encounter with Joseph…the film might well be described as a Young Adult interpretation of Mary aimed at the young adult audience. But, while the film might have been open to younger children’s audiences but the Mary stories interwoven with the dramatic history of Herod the Great, played by Anthony Hopkins in his mid-80s like a King Lear gone wrong, with some very bloodthirsty sequences, his torture of the High Priest, and the expected massacre of the innocents.

Filmed in Morocco, one of the difficulties is that the film’s sense of geography, Nazareth in Galilee, Jerusalem in the south, Bethlehem near Jerusalem, is rather skewiff, especially the closeness here of Nazareth to Jerusalem.

The screenplay also draws on some familiar Gospel themes and applying them these characters, Joachim fasting for 40 days and 40 nights in the desert, the visitation with Mary and Elizabeth, Mary under suspicion for her pregnancy and the possibility for her being stoned…

One of the difficulties of the screenplay is the frequent appearance of Gabriel, always in blue, sinister rather than angelic and also Satan with taunts and temptations for Mary. Which means then that Mary as the mother of the Messiah seems to be fairly common knowledge not only for her family, but for the high priest, for Herod, and for the people, the knowledge of the bright star signalling Jesus birth. Not exactly the Gospel perspective on the gradual awareness of Jesus and his mission.

One Gospel character does get some welcome attention, the prophetess Anna in the Temple, friend and protector of Mary (a credible and welcome interpretation of her role), with a frail Simeon coming in with his words to Mary of the sword piercing her heart.

There will be a variety of responses to this film, biblical scholars probably not enthusiastic at all, ordinary viewers, not familiar with Gospel details and literary forms, enjoying it at the Young Adult level mixed with swords and sandals atmosphere.

An American priest, from Green Bay diocese,  Edward Looney, a theologian with an emphasis on Marian studies, was invited to  write almost immediately an analysis of the screenplay for Crisis Magazine, relating it to the Gospels, and noting the influences of the early alternate Gospels and the visions of the mystics. It is well worth Googling: https://crisismagazine.com/opinion/the-unrecognizable-netflix-mary

1. The traditional Gospel films, biblical epics, Mary stories?
2. A film for the 21^st-century, imagination about Mary, the re-creation of her early life?
3. The Gospel references, comparatively few, the drawing on second century apocryphal Gospels and their narratives, the naming of characters unnamed in the Gospels, Joachim and Anne? The Gospel-referenced Simeon and Anna, the attention given to the prophetess, Anna? The influence of the German mystics, Spanish and Italian mystics and their visions?
4. The screenplay, the young Mary, the young Joseph – and the tone of a Young Adult story? The language of coming-of-age?
5. The visuals, the recreation of Jerusalem, Bethlehem, the surrounding desert? The placing of Nazareth nearer to Jerusalem than it is? The musical score?
6. Audiences watching the film, biblical scholars reacting to the license taken with the storytelling and imagination, the Catholic and Christian audience and their knowledge of Mary, interest in the imaginings? Non-Catholics and members of other religions, or not, observing it as a narrative?
7. The setting, Joachim and Anne, his 40 days in the desert, her pregnancy, giving birth, committing Mary to the temple, their life in Nazareth, Joachim under attack? The concern for Mary, the meeting with Joseph, the betrothal, her pregnancy, the law and her possibly being stoned?
8. The appearances of the Angel Gabriel, the blue cloak, the somewhat sinister androgynous look? Appearing to so many people, the screenplay indicating that most people knew that Mary was chosen, the birth of her son, his mission? The appearances of the Satan, his confrontation with Mary?
9. Mary, the temple, with the other young women, her concern about the poor, charity? With the authorities? Reprimanded? With Anna? The washing, the encounter with Joseph?
10. Joseph, young, his friends, the discussions, not particularly interested, fascinated with Mary, his approach to her parents, the courtship, the betrothal, her situation (and his not being warned in a dream to take her), the journey to Bethlehem, the crowds, the inn, the birth?
11. The other half of the film with Herod, Anthony Hopkins as a demented monarch, his relationships, wife, executions, his family? The rebuilding of the temple? His military advisor? His status, his image of himself? The tantrums? Visit to the temple, confrontation with Mary? The news about the child, the visit of the Magi, the attack on the children of Bethlehem, the killings, the rounding up of the babies, the corridor with the cribs? His vision of himself, in relationship to Rome and the Empire?
12. Mary and Joseph going to the temple, the presentation of Jesus, Simeon and his prophecy?
13. A satisfying drama, dramatising biblical stories, the inventions, the 21^st-century perspective of storytelling?

FREUD'S LAST SESSION

Ireland/UK, 2023, 109 minutes, Colour.

Anthony Hopkins, Matthew Goode, Liv Lisa Fries, Jodi Balfour, Jeremy Northam, Orla Brady, George Andrew-Clarke, Rhys Mannion, Stephen Campbell Moore, Peter Warnock, Aiden McArdle.

Directed by Matt Brown.

With Anthony Hopkins in his mid-80s and a 55 year career playing Sigmund Freud, who can resist? It seemed he never met Christian apologist and fantasy author, Oxford CS Lewis, but veteran psychologist Arnold M.Nicholi wrote a book, The Question of God, placing the arguments of each in juxtaposition, compare and contrast. In 2012, playwright Mark St Germain wrote a play, drawing on The Question of God book and some information that before his death Freud met an Oxford don (not identified).

So, with the collaboration of the playwright, here is a film version of the play. For those interested in Freud, a great deal on his perspectives on psychoanalysis and, as expected, his views on sexuality. For those interested in Lewis, a great deal on his conversion experience, his sense of the presence of God. Freud was about to die. Lewis was to have an impactful career in broadcast, writing, Christianity, the Chronicles of Narnia…

It is September 3, 1939. Hitler has invaded Poland. Chamberlain will declare war on Germany. The atmosphere in London is tense, parents and children flocking to railway stations to evacuate the children, and air raid siren and shelter, planes flying overhead. In terms of a World War II film, this is an excellent evocation, filmed with muted colour.

Freud is living in Finchley, having fled Vienna the year earlier with his daughter, Anna, herself a reputable psychoanalyst, especially for children, who lectures in London. Freud has cancer of the mouth and is in pain. His also listening to the radio, wanting to hear the news about the war. And he has agreed for CS Lewis to visit him, even though the two have opposing views.

While most of the action takes place in Freud’s office/den, the play has been opened out with great impact, dramatised flashbacks to the early life of each of the men, Freud’s life and work in Vienna, his reputation, his refuge in England. With Lewis, there is his childhood, parents, but especially the experience of the trenches, death of a friend, wounded, the siren and shelter evoking memories of trench terror. Through these flashbacks and the consequent conversations, we learn a great deal about the two men.

While the two meet, there is quite some hostility between them, Freud and his atheism, his free thinking about sexuality and pleasure, while Lewis is rather more buttoned up, eager to defend belief in God. Which means there are many interesting conversations, Freud and his quips and putdowns, Lewis more aggressive at times. In fact, what we see is an incipient psychoanalysis by Freud of Lewis, not just what he says but what he doesn’t say. And, as the two interact, there are psychoanalyst intimations about Freud himself, especially about his relationship with his daughter, Anna, and Lewis’s attack on their codependence.

For those who side with Freud, the film will confirm their beliefs. They will not be persuaded by Lewis. However, those who side with Lewis, will appreciate his sense of the presence of God, a final dream as he nods off on the train back to Oxford, a forest full of bright light, transcendent light. But Lewis does tell Freud that God is often incognito in the world.

Interesting writing, top performances, a film with substance and intelligent challenge.

1. A blend of actual history and imagination? An Oxford Don visiting Freud just before his death? Identifying CS Lewis’s? Based on a book of speculation, adaptation as a successful play, the text of the play and its being opened out with flashbacks?
2. Audience knowledge of and interest in Freud, psychoanalysis, his career, his theories, his work in Vienna, fleeing the Nazis, settling in London, his final illness, cared for by his daughter, the information about his death, September 23, 1939? The impact of Anthony Hopkins playing him, screen presence, dominating, articulate, delivery, humour, seriousness?
3. Audience knowledge of and interest in CS Lewis? Christian apologist, his radio broadcasts, he is books, apologetics, the war and his linking with children, leading to his fantasies and fiction, especially Narnia?
4. The action taking place in London, September 3, 1939? First of September, Hitler invades Poland? Tensions? Chamberlain’s declaration of war? Atmosphere in London, the muted colour for the film, the trains, parents and children, the children being evacuated? The atmosphere in the streets? The air raid siren and taking shelter? Freud listening to the radio, not wanting to hear the music and his reasons for this, wanting to hear what Chamberlain says?
5. The focus on Freud, his age, cancer of the mouth and the prosthetic his need for medication relief, the routines in the house, his wife away, Anna and her care, the past psychoanalysis with her father, the suggestion of codependence, her going to the lecture, the phone call, hurrying out, knocking on the doors, the doctor, the taxi, coming to his aid? His anticipation of CS Lewis’s visit, complaining about punctuality, his quips and putdowns to Lewis, ironic?
6. The flashbacks, Freud and his Catholic nanny, St Jim from the and her statue, age 6, his making the sign of the cross, his father and the Scriptures, his reaction, ousting the nanny, forbidding his son to talk of heaven? The influence on his atheism? His growing up in Vienna, his clientele, reputation around the world?
7. The focus on Lewis, his age, his critique of John Bunyan’s Pilgrim’s Progress, his interest in visiting Freud, confronting him, the existence of God, psychoanalysis, his background in Oxford, his childhood, his parents, he and his brother boarding school in England at a young age, the consequences, his service in World War I, the flashbacks to life in the trenches, his best friend, entrusting care of his mother to Lewis, going over the top, the friend being killed, the shrapnel near Lewis’s heart and inoperable, time in hospital, Mrs Moore, the relationship, friend, her later being housekeeper? The scene at the pub, The Inklings, the presence of Tolkien, the scene with Tolkien – and Freud praising Tolkien’s fantasies?
8. The venue, the action within the house, the main room, Freud then, desks, chairs, the many statues, duties, many cultures, Freud’s explanations?
9. The discussion, the equivalent of a psychoanalysis session, Freud so, analysing Lewis, what Lewis said and what he didn’t say? And some reverse psychoanalysis of Freud himself?
10. The range of the discussion, some antagonism, scoring off each other, Freud self-confident, Lewis confident but British reserve, buttoned up character, difficult to express his inner life? Discussions of God, atheism, Freud’s perspective, Lewis’s conversion and his explanation, a sense of the presence of God, his comment that God goes incognito in our world?
11. The issue of sex and sexuality, Freud expressing his opinions, freedom, pleasure, the issue of homosexuality in British reserve, careful on the issue of lesbianism, his daughter?
12. The focus on Ana Freud, with her father, the psychoanalysis, Lewis mentioning codependence, Freud harsh reaction? Yet Anna and her devotion, but her skills with children psychoanalysis, going to the lecture, the put down by the authorities, the phone call, out of the lecture, searching for the medicine, returning? The character of Dorothy, in psychoanalysis, in Vienna, coming to England, the relationship, Anna and her hesitance, the decision to go with Dorothy, to be with her in the presence of her father? And his final nod and smile of approval? His final image in the film?
13. The contrast with Lewis, the visit of doctor Jones and his wanting to have a relationship with Ana, his being influential in persuading Freud to go to England? Lewis taking the dog for a walk, Freud’s comment about the dog being companion, indicating psychological states of the clients? Lewis then leaving, returning to Oxford, the train, falling asleep, the scenes in the past with the deer, the recurring scene, the transcendent light in the forest? The final image of Lewis?
14. The impact of the film for atheists, agreeing with Freud, dismissing Lewis’s ideas? The impact of the film for those who agreed with Lewis, his expression of his beliefs? And little impact on Freud?
15. The final information about Freud’s death, assisted by his doctor? And the future career of Lewis?

ONE LIFE

UK, 2023, 110 minutes, Colour.

Anthony Hopkins, Johnny Flynn, Helena Bonham Carter, Jonathan Pryce, Lena Olin, Romola Garai, Adrian Rawlins, Marthe Keller, Alex Sharp, Ziggy Heath, Samantha Spiro.

Directed by James Hawes.

There is great symbolism in the name of this film, British Nicholas Winton, one life and what he achieved. There is also the symbolism of anyone saving one life and that being an achievement.

In 2000 there was a popular documentary, narrated by Judi Dench, Oscar-winner for Best Documentary, Into The Arms of Strangers: Stories of the Kindertransport,, documenting a significant rescue of Jewish children from Czechoslovakia in 1938-1939. The children had been stranded, ousted by the Nazis after the occupation of the Sudetenland, many of their parents destined for the camps. A group of British helpers and locals, with the connections of Nicholas Winton, a young banker from London, getting the approval of the rabbi and the authorities, organising British passports for the children, adopting families and a financial deposit, were able to save 669 children on train journeys from prior to London. With the invasion of Poland September 1939, many children ready to move, but the program halted.

There were several other documentaries on Nicholas Winton and the children, especially the trilogy of films All My Loved Ones (1999), Nicholas Winton - The Power of Good (2002), Nicky's Family (2011) by Czechoslovakian (born in Bratislava, Slovakia), Matej Minak.

Here is a drama, rather than a documentary, based on the characters and events. And, as might be expected, the film is a very moving experience.

The framework of the screenplay is the 1980s, the older Nicholas Winton, retired, at home with his wife, expecting a grandchild, clearing the house and destroying some old documents, but finding a significant scrapbook of 1938-1939, photos of the children, newspaper articles, and Winton wanting it to find a significant home. In this he was aided by several authorities but especially by Robert Maxwell’s wife, articles, television programs.

And, of course, the strength of the film is in Anthony Hopkins’ screen presence and performance, Hopkins performing this role in his mid-80s. Veteran Swedish actress, Lena Olin, plays his wife.

Throughout the film there are strong flashbacks to what actually happened in Prague, versatile actor Johnny Flynn plays the younger Nicholas Winton, a concerned Britain, banker, friends in Prague, visiting, wanting to do something, the locals, including Romola Garai as Doreen and Alex Sharp as Trevor, are initially wary but all work together to identify the children, photograph them, list details, arrange with rather severe bureaucrats in London for passports, find adoptive parents, get financial deposits for the trip and the immediate settlement.

Nicholas Winton was helped by his German-born mother, very supportive and determined, especially in confronting authorities, a fine performance by a vigorous Helena Bonham Carter.

Audiences familiar with Nicholas Winton will have seen footage (available on YouTube) of the famous television program, reviewing Nicholas Winton’s life, where the compere asked anyone in the audience who had been helped by Winton to stand up. All those in the studio audience stood. A very moving moment at the time, and now in the film.

One Life is a reminder that there were so many in Europe who shielded and hid Jewish families, many who rescued them, and, as always, lest we forget.

1. The story of Nicholas Winton and the rescue of the children from Czechoslovakia? Audience knowledge of Nicholas Winton, the documentaries about him and the transport children?
2. A true story, the 1930s, the anticipation of World War II, anti-Semitism, Nazi expansion? The arrest of adult Jews, the children, stranded, their rescue by train? Adoption in England?
3. The initial focus on the older Nicholas Winton, as played by Anthony Hopkins, the 1980s, his age, his marriage, children, home, retirement? The insertion of the flashbacks to 1938, Johnny Flynn as the younger Nicholas Winton, his mission and its achievement? The screenplay moving backwards and forwards in time, anchored in Anthony Hopkins’ strong screen presence, and Johnny Flynn’s persuasive performance, determination, hesitation, achievement in the past?

4. 1938, Nicholas Winton, his strong-minded mother, German, coming to the UK with her husband, Jewish background? The changing of the name during World War I? A strong influence on her son? His role as a banker, conventionally British, of the time? Yet his concern, his friends in Czechoslovakia? His decision to go to Prague, the encounter with the group, the meeting with Doreen, her scepticism, Trevor, the local members, their concern, social action? The dangers? The imminent German invasion of the Sudetenland?

5. Nicholas, his determination, his organisational skills, money and finance, raising donations, contacts in England? Working with the group, the visits of the rabbi, the Rabbi and his scepticism? Persuaded? Nicholas and his meeting the people, especially the children, their conditions, squalid, poverty, the parents, the wary father and then his change, fearing that Nicholas was a German authority? The range of photos, the young girls, their age, the little boys? Later sequences of Winton looking at the photos, wistful, remembering, regretful?
6. The return to England, the character’s mother, her understanding, support, going to the officials, the issue of the passports, the hesitation of the bureaucrats? The personal appeal to the bureaucrat, his family, his agreement, supplying the passports?
7. The organising of the children, getting all the details, the lists, the files, coordinating the train trips, the passports, organising the adopting families in England, and the financial deposit? The energy of the film in the sequences in showing the urgency, Nicholas and his mother, and those working in Prague, Doreen and Trevor, the locals?
8. The scenes of the trains, the children, the farewells and grief, the hopes of the parents, arriving in England, the families, the allotments? Separation of families?
9. The news of the invasion of Poland, the stopping of the program, the last train, the guards on the train and their treatment of the children, looking down on the adults accompanying them?
10. The war, 669 children saved, the vast number unable to be transported?
11. The 1980s, Nicholas and his wife, her fussing, wanting the house cleared, his throwing out rubbish, files, but the folder and the scrapbook, memories of Trevor? His going to visit the authorities, decisions for the scrapbook in museums? His wanting something more active? The connection with Robert Maxwell, going to see Lady Maxwell, her interest, the news items, reporting?
12. The television program, Your Life, Nicholas vaguely watching it, his wife not liking the program? His being invited, the tracking down of some of the children and what happened to them in England? The program, his being in the front row, sitting next to one of the children, the reconciliation?
13. The re-creation of the famous television program, Nicholas and his wife present, other two children next to him, the praise of his life, and the invitation to anyone in the audience who had a connection with the rescue children to stand up, everybody in the audience rising? The emotion?
14. Prague, Doreen and Trevor, the information as to their surviving, subsequent work?
15. The title of the film, saving long life, contributing to saving many lives?