Displaying items by tag: Guy Pearce

INSIDE

Australia, 2024, 102 minutes, Colour.

Guy Pearce, Cosmo Jarvis, Vincent Miller, Toby Wallace.

Directed by Chris Wallace.

On the one hand, the title, Inside, suggests prison. On the other hand, it could also suggest going into the interior of a person, their personality, motivations and behaviour. Both are relevant here.

There is an arresting prologue to the film, a wedding ceremony which we see taking place in the prison, a pregnant mother, a criminal father – and the focus then on the child, now a late teenager, and his being condemned by his criminal father and inheriting his guilt.

The young man is Mel (Vincent Miller convincing in his first film role), transferred to a prison, assigned to share a cell with a lifer, sentenced for vicious crimes of rape and child murder. He is Mark Shepard, a powerful performance by British actor, Cosmo Jarvis. But we soon learn that there is a reason for this sharing. Mark has got religion, holding his own services in the prison chapel, more than a touch of charismatic faith, testimony are to the fellow prisoners, speaking in tongues, finding that Mel has his own keyboard, enjoys playing it and so invited to play during the happenings in the Chapel.

So, already a different kind of prison film. There are guards, there are glimpses of the criminals but not in the traditional way of prison films. There is a greater freedom of movement, many sessions to prepare those for whom parole is coming up, getting them to write a letter of apology to their victims as a justice healing exercise, a different atmosphere.

And, yet, not entirely, a new character, Warren, played by Guy Pearce a veteran facing parole but seemingly unwilling to face it, granted a day’s leave to visit his son, played by Toby Wallace, not going well, Warren an enigma. But, he is a gambler, and, to pay his debt there is a bounty on Mark Shepard, and Warren choosing and grooming Mel to be the killer, and so find his place in the prison.

Which means then that the film operates as a psychological thriller, the interactions between the three men, the religious mania of Mark, the manipulation by Warren, Mel and memories of his killing a student in the past, the pressures on him – a dramatic resolution of Mark’s fate.

An interestingly different Australian prison film.

1. The title, the prison meaning, the inner psychological meaning?
2. The action in the prison, find entry, allotment of cells, the cells, the meeting rooms, offices, workplaces, the Chapel? Resemblances to prison films? Differences in terms of guards, cells, supervision? The musical score?
3. The story of Mel, the prologue with the wedding in prison, the pregnant mother, the prisoner father, his legacy to his son, the passing on of the criminal mentality? The flashbacks to Mel, as a boy, the clashes, his killing his opponent? Sentenced to prison?
4. Mel, as a character, his past behaviour, family heritage, age and immaturity, susceptibilities? Discussions with the authorities? His being sent to share with Mark? His keyboard? This leading to his presence in Mark’s evangelical gatherings? Mel and his learning through sharing with Mark? The encounter with Warren, Warren as a father-figure, genial, the touch of the sinister, the issue of the bounty on Mark, the imposition on Mel, to prove himself, his acceptance, in the challenge, unwell, the pressure on him?
5. The focus on the authorities, sympathetic, relationship with the prisoners, especially the discussions and meetings concerning parole readiness, the issue of writing letters to the victims? Mark in for life? Warren and the possibility of parole
6. Mark, his background, rapist, killing the children, life? His personality, his cell, possessions, the religious experience, explanations, gatherings, Pentecostal-like, his utterances, exhortations, talking in tongues, the men coming, scepticism, critical, yet larger numbers coming to the meetings? His use of Mel, the music?
7. Warren, his age, crime, possibility for parole? Father figure, yet sinister, the gambling, his debt, his connection with the controlling prisoner, looks and glances, bounty, Warren and his decision to groom Mel, their interactions? The sinister grooming? Warren the issue of the bounty, going out for the day to see his son, the character of his son, relationship with his father, the emotional impact of the visit? Warren, the return, going to the Chapel, urging Mel?
8. The background of the routines of life in prison, seeming ordinariness?
9. Mark, the final gathering, Warren and his preparing the shiv, Mel hiding it under the bed and not using it?
10. In the meeting, the dowsing of Mark, setting him alight, the conflagration and his death? The impact on Mel?
11. Mark, the discovery of the shiv, Mark and its use?
12. Warren, the consequences? And his future?

THE BRUTALIST

US, 2024, 215 minutes, Colour.

Adrien Brody, Felicity Jones, Guy Pearce, Joe Alwyn, Raffey Cassidy, Stacy Martin, Isaach de Bakole, Alessandro Nivola, Michael Epp, Emma Laird, Jonathan Hyde, Peter Polycarpou.

Directed by Brady Corbet.

The Brutalist is a vast film in scope and length. Beginning with an Overture, it becomes cinematic orchestral and in its two acts and epilogue cinematic operatic.

The screenplay is by former child actor, Brady Corbett, who directed Childhood of a Leader, Fox Looks, working with his partner, Mona. The scope of the storytelling is quite complex. It is multi-themed, beginning with Nazi persecution of the Jews, business close-up in the oppressive dark, concentration camp consequences. It then moves to re-settlement in the US and good use of the Statue of Liberty, Ellis Island, speeches and translations, then out into the vastness of America, a brother. In New York, then a train to Philadelphia.

Throughout the film there is a documentary evidence, radio news commentaries, about the significance of Pennsylvania in the history of the US.

The central character, Laszlo, is an architectural genius, and in prewar Germany, found unacceptable to national socialism, interned, along with his wife and niece. For most of the film, there is voice-over of letters from his wife, still in Europe.

This is the post-war USA, American business, migrants making good, shrewd businessman with no family backgrounds highly successful.

This is the story of Laszlo’s rise, not without its many pitfalls and falls. At first working with his cousin, Alessandra Mueller, participating in the commission from the son of a millionaire, Harry Van Buren is in (Joe all one) elevate his father, Harrison Van Buren’s personal library. Progress is made, Laszlo’s skill in design, his fine eye for detail, his modern furniture style, making a great impact until suddenly, Harrison bursts angrily onto the scene and dismisses everyone. Harrison is played by guy Pearce most convincingly.

But the central performances that of Adrien Brody (who won an Oscar for the pianist in 2002). He is sympathetic, sometimes upsetting, many outbursts, a growing sense of his own worth, his reaction to being challenged.

The film echoes the American confidence of the 1950s, progress and peace, buildings and achievement, the plans for building Harrison Van Buren’s community Centre in honour of his mother. There is the exhilaration of the design, very modern, the meeting of city officials, the inevitable as with material supply, budget overruns, interference from bureaucratic advisers, outbursts. And accidents, possibilities for being sued, compensation, he is in delay.

Unexpected is a sequence when Laszlo and Harrison go to Carrara to choose marble from the quarries there amazing visuals of the cliffs and quarries. But there is a key episode in Carrara that has something of a devastating effect on Laszlo and will offer a challenge to Harrison.

And, finally his wife, Felicity Jones, arise from Europe, wheelchair written, with the taciturn niece. And further complications with the Van Buren family, and with the niece and her fiance deciding to go to live in Jerusalem.

The film begins with an overture good end with an epilogue – and The Brutalist does, are vindication of Laszlo’s career and achievement, exhibition at Venice be a gnarly, and a tribute to Laszlo by his niece.

Often grim, sometimes overwhelming, moments of joy, and a perspective on American history in the post-World War II years.

1. Title and tone? Contemporary art and architecture? Personalities in themselves and their communication?
2. The scope of the film, orchestral and operatic, overture, acts and epilogue? The sound, the music, chords, heavy, light background? The visuals, the use of this division and its style? Editing and pace? The vastness of the impact?
3. The structure, the effect of the overture, setting the tone, from the concentration camps, the crowds, the darkness, the suffering, the release, the focus on Laszlo, the communication with Erzsbert? The freedom, the voyage, the Statue of Liberty and the various angles? Freedom and future?
4. The first part, from 1957 to the early 1950s? Migrants arriving, Ellis Island, the speeches and translations? Into the city – the glimpse of the women, the brothels, Laszlo and his friend? This impact after the years in the camps?
5. To Philadelphia, the train, the meeting with Attila, the welcome, change of name, his store and furniture, marriage to Audrey, Catholic? Their work and reputation, Laszlo criticising the furniture? But his working, his modern designs, Harry Van Buren and, the visit, the commission, the library, the background story, the father and his devotion to his mother, her illness? The surprise?
6. Gradual information about Laszlo, his studies in Germany, his skills, designs, Jewish background, Nazis and concentration camp? His skill in design, creative, demanding? The vision for the library, the visuals, the space, the cupboards opening, the shelves, the issue of the ceiling, its crashing? Harrison Van Buren arriving, the viciousness of his outburst, the dismissal? Laszlo and his reaction, the false accusation by Audrey, being ousted?
7. Laszlo, shovelling coal, the previous encounter with Gordon and his son, Laszlo going to the queue for the bread, their working together? Laszlo and his personality, accepting his fate? The continued communication with Erzsbert?
8. The arrival of Harrison Van Buren, his apology, researching Laszlo’s background, their discussions, the repayment, the possibilities for the future? The further conversations, Harry and his vision, as a tribute to his mother, the details of his background story, single mother, rejection by her parents, their later coming for money, his interviewing, withdrawing the $25,000, giving them 500? His mother’s death? His folio of photos of Laszlo’s work in Germany? The discussion about Laszlo’s past? The discussions about building the centre, the gathering of people and Mayor to present the project?
9. The focus of the film on the building of the project, the long years, the plans, the materials, Laszlo and his explanations of the structure, shapes, worship, the role of the Cross, the sunlight? The happy progress, Gordon and his work? The encounter with Leslie, they working together, ups and downs?
10. The financial difficulties, the time, Leslie and the consultant, Laszlo and his impatience, insulting, Harry and his mediating? The visit to Carrara, the marbles, Laszlo’s friend, the choice of the material, the celebration of the night, the drinking, the strange encounter, Harrison and his behaviour, talk, Laszlo his vulnerability, audience reaction to what they saw, what they thought they were seeing? The aftermath?
11. The train derailment, the lawsuits, the financial difficulties, Laszlo offering his payment of the building to continue?
12. Erzsbert, with their niece, the opening of the film and the interrogation of the niece, her growing up, mute, Erzsbert and her being confined to the wheelchair? Pain, the issue of drugs, Laszlo and his use of drugs for his broken nose and pain, dependence on Gordon?
13. Erzsbert, in herself, the meals with Harrison and his family, journalist training, Harrison getting the job, some financial independence? The tentative relationship with Laszlo, the gradual change in Laszlo, the communication and love? Her pain, the drugs, her collapse, hospital?
14. The niece, quiet, Harry Van Buren, his complaint, the incident with the niece, swimming, out into the woods, his return, behaviour? The effect on the niece? Her later fiance, the meal and discussion, going to Jerusalem?
15. Erzsbert, her going into the meal, her denunciation of Harrison and the rape? Harry and his defence? Margaret and her care for Erzsbert? Harrison and his retreat into the building, the search throughout the building and tunnels, his death?
16. The epilogue, Venice and its beauty, the biennial, the catalogue, the visuals of Laszlo’s architectural achievements, in the wheelchair, his age, the emotion of his niece’s speech, his response? His achievement?
17. Part of American history, post-World War II, the migrants, the Jews, prejudice and racism, finance, exploitation, achievements? The focus on Pennsylvania and its achievement and history? The final impact for the audience and being immersed in this world and experiencing the characters, likes, dislikes, difficulties, challenges?