Displaying items by tag: Hilary Swank

THE GOOD MOTHER

US, 2023, 90 minutes, Colour.

Hilary Swank, Olivia Cooke, Jack Reynor, Dilone, Norm Lewis, Madison Harrison, Hopper Penn, Karen Aldridge.

Directed by Miles Joris-Peyrafitte.

The Good Mother is a brief drama, set in Albany, the city not usually seen in American movies but here an impression of the vistas of the city, the buildings, the freeways, the neighbourhoods.

The title refers to Marissa, played by Hilary Swank, a journalist who has suffered the death of her husband, grief and drink. At the opening, we see the killing of a man jogging in the streets, the news coming to Marissa from her policeman son, Toby (Jack Reynor). At the funeral, she is very hostile to her son’s girlfriend, hitting her, but then apologising – and a bond growing up between the two women. Which means that the title could refer to the young woman, Paige, played by Olivia Cooke. Interestingly, Jack Reynor and Olivia Cooke are both British.

The women decide to follow some leads to see who was responsible for the killing, the dead son being an addict and dealer – though Paige asserts that they were off the drugs.

There is a strong sequence where Paige and Marissa go to a group discussion – and a highlight is a speech given by Karen Aldridge as Laurie, the children, addicts, their deaths.

There is a further complications, Paige discovering some drugs in her old house, Marissa pursuing her sons collaborator and his attacking her, aged Marissa interviewing a witness to the death and getting some clues, Paige with the phone number of the contact who set up the killing.

The narrative the film does not develop as we might have liked, harsh complications, harsh challenges some violence and sadness.

Which means that the screenplay combines familiar material but some unexpected plot developments.

1. The title? True, ironic? For Marissa, for Paige, for the grandchild?
2. The city of Albany, the views of the city, streets, buildings, freeways, homes, dangerous neighbourhoods, press office, trains, the railyard? The musical score?
3. The opening, tension, the runner, the pursuing lights, his death? The transition to Marissa, waking up, her drinking, going to the office, Toby coming with the news, her grief?
4. The background stories, the discussions and memories, the videos of Michael playing baseball, a good little boy, his talent, his shoulder injury, the drugs? Addicted, dealing? The long friendship with Ducky? Toby and his ambitions, the older brother, becoming a policeman? Marissa and the death of her husband, her grief, her drinking, going to group discussions? Toby and his advice, playing pool with her, urging him not to drink?
5. The funeral, Marissa’s grief, Paige present, Marissa and the attack, hitting her, the apology, their being together? Her dislike of Paige, Paige and her love for Michael, pregnant? The past friendship with Ducky, addictions in dealing, changing? Michael and his phone message, a change, buying a house? This leading to the bonding between Paige and Marissa, and the friendship with Gina, her pregnancy?
6. Marissa, going to back to work, her skill in writing, the editor urging her to write? With Paige, going to the meeting? Laurie and the cameo of her speech to the group, key revelation about feelings, children, addiction, care of children, taking Marissa to the safe injections centre? Her seeing Ducky, chasing him, his hitting her? Coming home, telling Toby, his saying he would handle it?
7. When did audiences become suspicious of Toby? Performance, body language, facial expressions? Suspicious?
8. Paige, going to the old house, finding the suitcase, the drugs? And the explanation of the drugs, femme fatale and cocaine? Causing deaths? Her escaping after the pursuit? Going to see Ducky, dead? Hiding the drugs in Marissa’s house? Marissa discovering them?
9. Taking refuge in Toby’s house, with Ducky’s phone, the mysterious call that lured Michael to his death? The information about the tower to underhand, the driver? Marissa and Paige visiting the old man who witnessed the episode?
10. Ringing the phone, Toby’s phone ringing, going to the basement, Toby confronting her, her fall, to the hospital, the birth, her death? Marissa taking the baby?
11. Marissa, suspicions of Toby, following him in the car, the train, the drugs to the man with a tattooed on the hand?
12. Marissa and her care of the baby, starting to write the story, giving it to the editor?
13. The open end, the document, the cigarette and her never lighting up, lighting up the lighter – to smoke or to burn the manuscript? The audience to decide what she would do, what they would do?

ORDINARY ANGELS

US, 2024, 118 minutes, Colour.

Hilary Swank, Alan Ritchson, Emily Mitchell, Skywalker Hughes, Tamala Jones, Nancy Travis.

Directed by Jon Gunn.

The intense joy of a birth. The sadness of an unexpected death. A crowded bar in Louisville, Kentucky, 1993, an exuberant drinker. Then the title comes up, Ordinary Angels. What is going to happen? Any connection? And the information that this is based on a true story.

With the initial emotional scenes, this is a film that wears its heart on its sleeve. It wants us to be drawn into its characters’ quests, to share the joys and sorrows. Most audiences are happy to surrender to this kind of invitation. Those who find such almost blatant presentation of emotions, will probably recoil.

And the story? It is a human story. And it is a faith story. The producers of Ordinary Angels have shown an expertise over the last 10 to 15 years in making “faith films” which appeal at the American box office – and sometimes further. There is some God language, especially the questioning of God in times of anguish, there are some church and congregation scenes, which will appeal to the faith audience. But they are in a setting of ordinary lives which many audiences will identify with.

And the connection? The opening birth is of little Michelle, pride and joy of her parents, Therese and Ed. The harrowing death is that of Therese – made all the more profoundly sad because Michelle is suffering from the disease that killed her mother and is in desperate need of a liver transplant. Michelle is five.

The exuberant drinker of the bar scene is Sharon Stevens, a feisty character, the kind of character that Hilary Swank likes to portray (remembering her Oscars for Boys Don’t Cry and Million Dollar Baby). A hairdresser, denial of her drinking problem, supported by her co-worker, she is caught up in the story of the sick child, attending the funeral, offering to help. At first glance, she doesn’t seem like the person who could help. BUT…

At the end of this kind of film, there are always photos of the characters on whom the film is based. And that is the case here. Ed and Sharon are still friends. But that is not how it started. Sharon organises a 24-hour haircutting marathon and raises over $3000 for Michelle. Ed, who works on roof reconstruction (particularly necessary after a high tornado through the city) is a devoted father, also relying on his mother’s help (Nancy Travis). But, Sharon keeps on keeping on, displaying quite an extraordinary talent for management, for never taking no for an answer, and certainly approaching so many people with questions who want her to take no for an answer.

You will have to see how she takes over Ed’s business, approaches CEOs, media, transport officials, who want to say no but with her insistence and appeal, say yes. ‘n Ed is played by Alan Ritchson, television’s Jack Reacher (as author Lee Child might have originally imagined him.)

Audiences will be wondering about Sharon herself, her age, her drinking. Halfway through, this is explained, the sadness of her early life, her son, our understanding of how she is driven, making amends for her life.

There is high drama in the finale, a blizzard, the need to fly to Omaha for the liver transplant, roads closed, visibility restricted, getting to the airport – but, Sharon ever using her wits, and a huge community effort, the journey is achieved on time. (Some bloggers have noted that the screenplay has been considerably heightened in dramatic detail from what actually occurred.)

Nevertheless, an emotional journey, seeing how people are good, especially individuals and communities responding in times of crisis. Heart on sleeve.

1. A true story, death, illness, liver transplant, costs, fundraising, individuals, community, ordinary Angels?
2. Louisville, 1993, the birth of Michelle in the jewellery, five years later, Therese and her illness, her death? Ed and his grief? Michelle and her illness, the need for the liver transplant?
3. The ordinary town setting, homes, hospitals, roof repairs, hairdressing, bands and bars, audiences identifying? The musical score?
4. Ed, a good man, devotion to his wife, to his daughter’s, reliance on his mother, hospital bills, the medication? Find to pay the bill, no credit on his cards? Not enough money for groceries? His grief, love for his children, desperation?
5. Sharon, in the bar, drinking, loud, dancing? Friendship with Rose, the hairdressing, Rosa’s friend, warning her, going to the AA meeting, stating she was not an alcoholic? At the supermarket, reading the story about Michelle, the effect on her?
6. Sharon and her motivation, fundraising, not an ordinary angel? Going to the funeral, the encounter with Ed, with the girls? Are being moved? The idea of the fundraiser, the marathon wrong with hairdressing, the advertisements, urging everyone, raising $3000, coming to the house, giving it to Ed? His reaction?
7. Sharon, bonding with the girls, the visits, looking after them, Ed’s mother and friendship, bonding, her falling, the injury, relying more and more on Sharon? The little girls and their response to her? The contrast with Ed, wary? Wanting to be self -dependent?
8. Sharon and her taking over, looking at all his bills and documents, her skill at accounting, management, priorities? The impact of the tornado, the houses destroyed, the need for more roofing? Her preparing a presentation for him, getting to him to slow off the photo, going with him to meet the boss, her persuasiveness, the contract? Ed and his success? The money? The issue of selling the house, its refusal, the memory of his wife? Sharon, going to the banks, taking the muffins for the staff, her story about Michelle and the needs, talking with the managers, going to the hospital, stern talking about the costs, getting the debt waved? Not having to sell the house?
9. The effect on Ed, with his daughter’s, his mother, wary of Sharon?
10. Sharon going to see her son, the band, the audience learning her story, husband, on her own, alienation from her son, the interview with him, his refusal, her phone calls, his birthday? His finally coming to help with the clearing of the snow?
11. Sharon, her motivation, the mistakes of the past, neglecting her growing up? Her maternal instincts? Comfortable with the children and they with her? Her business skills? Giving up drinking? Rose complaining, absence from the hairdressers? Sharon’s reaction to Ed, beginning to drink?
12. A showdown with Ed, the break? Rose the challenge? Going to the AA meetings and her admission?
13. The time limit for travel from Louisville to Omaha, the blizzard, the news of the availability of the liver, time to get to the airport, the snow, the roads blocked? Ed driving, all roads closed, the logs on the Road, and desperate, the phone call?
14. Sharon, the episode with the television in the home, and ousting them? The story on the television, the host, Sharon phoning her, the appeals, the need for a plane, clearing the tarmac, and helicopter? Sharon drawing on the friends, the bank manager, urging him to be a hero, the Vietnam helicopter pilot and his phoning in, the need for the snow to be cleared, the pastor and his offering the church space, the congregation, Rose and her family, everybody shovelling away the snow? The landing of the helicopter? Ed thinking Sharon?
15. The aftermath, the surgery, Michelle and her survival?
16. The photos of the actual people during the final credits, Ed and Sharon, Michelle, growing up, university degree, her marriage?
17. A faith film, the face dimensions, the God language, Ed and his complaints against God, the funeral sequence, going back to church, his mother urging him, the girls? The role of the pastor?
18. An emotional film, heart on sleeve, audiences accepting this (those who dislike emotional display not responding)?