Displaying items by tag: Hugo Weaving

HOW TO MAKE GRAVY

Australia, 2024, 120 minutes, Colour.

Daniel Henshall, Hugo Weaving, Agathe Rousselle, Brenton Thwaites, Damon Herriman, Kate Mulvaney, Benedict Hardie, Fayssal Bazzi, Kieran Darcy-Smith, Kim Gyngell, Jonah Wren Phillips, Adam Briggs.

Directed by Nick Waterman.

Paul Kelly has been a musical icon in Australia for decades, singer and performer, composer, strong songs and lyrics. This film is based on his Christmas song, How to make Gravy, 1996 (the lyrics can be found by Googling). Producer, Meg Washington and her partner, director, Nick Waterman, have elaborated on the characters and situations in the song, creating a narrative – and introducing a most sympathetic character, not in the song, the prisoner, Noel.

The film has a Queensland setting, an extended family gathering for Christmas, the background of grief with the central character, Joe (Daniel Henshall) grieving the death of his mother. There is his wife, Rita (French actress Agatha Rousselle), his young son Angus (Jonah Wren Phillips) young daughters. For the Christmas dinner, his sister and brother, uncles, some of the guests are initially jovial, the grief surfacing, Joe highly aggressive towards his brother-in-law, a fight, the police, in prison.

In prison, Joe is victimised by a fellow prisoner, have Red, and other bullying prisoners. Joe has no anger management and fights back, to his detriment. His wife visiting, his son would like to visit, he has phone calls, but the families not sure how he is bearing up in prison.

Where the original song narrative is enhanced is the introduction of a most sympathetic life-sentence prisoner, Noel (Christmas name and ultimately his wearing the Santa Claus hat), a sympathetically vigorous performance from Hugo Weaving. Noel is charge of the prison kitchen, offers Joe a job, Joe offering his family’s recipe for making gravy. There are some jovial and joyful scenes in the kitchen, the cooking, and, eventually, the chaplain providing some wine for the gravy recipe.

Echoing Paul Kelly’s Catholic background, there is a young chaplain, not many in his congregation, a bit desperate. And there is a prisoners’ choir who perform with zest.

In the meantime, the screenplay offers the difficulties at home, Angus and his tensions, his musician uncle trying to help out at home (Brenton Thwaites), Joe in an angry outbur but provoked st being prevented from seeing his wife and son at Christmas.

How does the film bring everything to a climax – Angus angry with his mother and uncle, running away, going to the prison – but a kindly guard allowing Angus in and a happy reconciliation with his father. And the kindly Noel effecting some peace in the prison.

A film for Australian audiences to enjoy – with the hope that others will enjoy it as well.

1. Paul Kelly’s song, popular, Christmas, prison, family? A dramatisation of the song?
2. The Queensland setting, the town, home for Christmas, the prison, exteriors, interiors, the kitchen, the yard and fights? The musical score, the range of songs, music and lyrics?
3. The Christmas theme, the first Christmas, 51 weeks later? Introduction to Joe, lying on his bed, Angus urging him awake, preparing for Christmas, the grief at the death of his mother, his relationship with his wife, daughters? The guests arriving for Christmas, the uncles, his sister and Roger, Dan, the separation, his daughter?
4. The tension at the table, the speeches, the conversation, aftermath, family tensions, criticisms, squabbles, Joe and his aggression, Roger, the fight, the calling of the police?
5. Joe in jail, his angers, his grief, the visits from his wife and their talking, his son wanting to visit, the phone calls? The routines of the prison, Joe being picked on, Red his associates, the violence, Joe as victim? The other prisoners, life in the prison?
6. Noel, his Christmas name, Hugo Weaving’s presence, in jail for life, yet his attitudes, offering to help Joe, offering him the job in the kitchen, Joe and his return, the rules, the attendance at the meetings, the significance of the meeting, Joe telling his story, the response of the men? Joe and the recipe for gravy, the ingredients, no wine? The bonding with the men in the kitchen, the preparation of the meals? The preparation for Christmas, the detail? Joe at home in the kitchen, going to the concert, looking forward to Angus’s visit? Red picking on him, the fight, his being prevented from seeing his son?
7. The men in the kitchen, the choir practices, the priest, talking with the men, the concert, the sermon, his drinking the wine, his bringing the wine as a gift for the gravy? Noel’s intervention?
8. Rita and the children at home, Dan moving in, helping, the girls coping, the pressure on Rita, her love for Joe, her mother’s phone calls, her choices? Dan and his support? The dancing, Angus’s anger? Going to see Joe with Angus, his not being allowed the visit?
9. Dan, his daughter, the woman across the street, her bullying sons picking on Angus, the fight? Her chatting with Dan, the sexual encounter? And having to come to terms with himself and Mary? Her saying she had forgiven him?
10. Stella, with Roger, the visit to Joe, the tensions with Roger, the bouquet, his presence at the meal, the only one at home during the search, talking with John on the phone, the apology? Stella and the future with him, saying her choice was family or Roger?
11. Angus, the upset, seeing his mother in Dan, running away, the search, the desperation? The bike, the dog and the bus, Paul Kelly as the driver, going to the prison, the sympathetic guard and surveillance, letting Angus in, keeping the dog? Bringing Joe to the visiting room, revealing Angus, the embrace?
12. Joe and his final confrontation with Red, standing up to him and his bullying? Noel making him to go to the concert? Getting the meal, some kind of peace?
13. The Christmas ending, family reconciliations, hope for the future?

LONE WOLF

Australia, 2021, 103 minutes, Colour.

Hugo Weaving, Diana Glenn, Tilda Cobham-Hervey, Josh McConville, Stephen Curry, Marlon Williams, Chris Bunton, Lawrence Mooney, Tyler Coppin.

Directed by Jonathan Ogilvie.

Lone Wolf is an unusual Australian production, directed by Jonathan Ogilvie (The Tender Hook). Ogilvie has adapted Joseph Conrad’s story, The Secret Agent, which was filmed by Alfred Hitchcock in 1936 with the title, Sabotage. It was also filmed in 1996, with an 1890s setting, starring Bob Hoskins and Robin Williams.

Conrad’s novel has now been brought into the present, and the situation and location is an international meeting to be held in Melbourne. The basic outline of the novel is present, Conrad the manager of the shop (Josh McConville), pornographic books and tapes, the clientele, but his being involved with an anarchist group who meet at the shop and play cards, is contacted by anarchists to carry a bomb and to cause an upset but without any injuries. The anarchists know that he is also a police informer. He lives at his shop, Winnie his companion (Tilda Cobham-Hervey), and her younger brother with a disability, Stevie (Chris Bunton).

However, Ogilvie draws on the conventions of Found Footage film, surveillance cameras in the streets, the shop, cameras within the shop, plus footage from Stevie who likes to film, especially in the house but also on an excursion to the beach.

The key idea is that a parliamentarian and his police assistant (Hugo Weaving and Stephen Curry), approached by an officer who has a crisis of her own and presents them with an edited version of all the found footage, building up the story of Conrad, the contacts, his commission – and it seemed to go wrong and the discovery of his mutilated injured body.

However, there are further complications with Conrad – and, especially, with the Minister and his assistant, ambitions, cover-ups…

1. Adapted from Joseph Conrad’s novel? Hitchcock’s 1936 version, Sabotage? Christopher Hampton’s 1996 version, Secret Agent, set in the 1890s?
2. The background of anarchists, meetings, disruption of society? Ordinary citizens? Double agents?
3. 21^st-century politics, international meetings, finance, protests, sabotage?
4. The Melbourne sitting, the vistas of the city, the shop and the streets, the interiors of the shop, the ministers office? The musical score?
5. The visual style, the variation on Found Footage? Surveillance material, the placing of the cameras, government surveillance, police surveillance? Spying and privacy?
6. The compilation of the video material, the editing, the narrative, the anarchy scenario, the report? Stevie and his camera, his footage, the beach, at home?
7. Conrad, the shop, the books and videos, pornography? The range of customers? The group, their meeting at the house, playing cards, the range of characters, the priest? Winnie, her relationship with Conrad, her looking after Stevie, disability? His camera? Conrad and his visit to Sydney? The meetings, the contact from the anarchists, knowing that he was a double agent, wanting him to carry the bomb, the pressures, an explosion without fatalities? The drama in the house, with Winnie, with Stevie? The plan, the reporting of the explosion, the grim skeleton, presumed dead?
8. The anarchists, the characters, their aims, the international meeting, lies, victims? Conrad as the Lone Wolf?
9. His survival, the plan to leave, Winnie and Stevie? And his death?
10. Contemporary protests, politics and anarchy?

THE ROOSTER

Australia, 2023, 101 minutes, Colour.

Phoenix Raei, Hugo Weaving, John Waters, Rhys Mitchell.

Directed by Mark Leonard Winter.

There are some actual roosters in this film. But, there are some eerie roosters seen in nightmares. And, the rooster can stand as some kind of symbol for the two central characters, Dan (Phoenix Raei) and The Hermit (Hugo Weaving).

This is the feature film writing and directing debut from actor Mark Leonard Winter. In his performances, he is frequently dark and brooding. And he has brought these qualities to his film, dramatic, sometimes comic.

The setting is a small town in the Macedon Ranges outside Melbourne, rather isolated in the bush. And it has only one policeman, Dan, middle-aged, a sad past gradually revealed, driving around, a rather remote shed-office, sometimes a visit from the regional police chief, a brief welcome cameo from veteran, John Waters. He keeps chickens, and the rooster. And he has the dreams, repeated, a mysterious naked woman carrying a rooster, and a body hanging from a tree… Some premonitions of what is to come.

When a friend of Dan’s, with mental difficulties, and parents hostile to Dan, is killed, the man’s wandering dog leads Dan to the grave. But this also leads him further into the bush, coming across another remote house, and encountering Tim, also known as Mit, which is short from his nickname, The Hermit.

While Phoenix Raei gives a convincing performance as Dan, and our sympathies are with him, Hugo Weaving, giving time to Dan, takes over the screen, the dynamics of the story, another sad past gradually revealed, regrets. There are suggestions that something sinister but is this just speculation on Dan’s part, on the audience is part?

The Rooster shows us Hugo Weaving at his screen best, reminding us that he has top line films and television series for decades. He can make each character he portrays a real and convincing.

This is a film about men, sad men, men who become friends, but also wary of each other. The symbol of the growing friendship, apart from alcohol, is The Hermit’s continued invitation to Dan to play table tennis with him.

So, sometimes brooding, sometimes funny, so many sad stories, so many sad pasts, and the discovery of how much a friendship can change the friends, coming to terms with the past, some moments of happiness.

1. The title? The actual roosters, Dan’s favourite, feeding it, challenging it, finding the foxes have killed it? The naked woman in his nightmares giving him the rooster? The final bonding with the new rooster? The symbolic theme of roosters?
2. The Victorian countryside, the town and the stores, the bush, the Hermit in the bush, homes and interiors? Atmosphere? The musical score?
3. The opening, Dan and his nightmare, the man hanging on the tree in the distance, the naked woman and the rooster, Dan in the car, trying to make contact, to be heard? The reprisal of the nightmare? Illuminating his psyche?
4. The revelation that Dan was police, at home, by himself, feeding the chooks, with the rooster, the eggs? Driving to the police hut? The episode with Steve, the audience seeing Steve going through the bush, taking off his clothes, the children playing sport nearby, the gathering of his clothes, Dan putting the blanket over him, taking him home, the episode with his parents and their rejection of Dan? The dog, nickname Boss, at the door, in the middle of the road, leading Dan to Steve buried in the bush?
5. The effect on Dan, travelling through the bush, discovering the Hermit, isolated, his hut, having the bath, calling Dan a pervert, pursuing him? Dan, his return, bringing the alcohol? The core of the film and his bonding with the Hermit? His wanting to find out the truth of what happened to Steve in his death?
6. Hugo Weaving’s portrait of The Hermit, Mit, his real name Tim? Audience response to them, in his house, the bath, naked, his aggression towards Dan? The mysterious background, the photo of wife and daughter? Alcoholic? His anger at Dan, saying his father stole his pay packet (number later explanation that it was taken to give to support his wife and daughter)? The tentative steps, conversation, the importance of the table tennis games, their recurring, the baths, naked? Talking, bonding? Dan and his suspicions, the locked box, the remnant of the fluffy toy? The Hermit gradually talking about the death of Steve, the deal with his motor, burying him?
7. The effect on Dan, the bonding with the Hermit, some friendship in his life, his explanation about his past relationship, unable to have children, his partner leaving him? His memories of his father? The visits from the Chief, telling Dan stories about his father and The Hermit? The Chief and his wanting to track down the hermit, Dan not telling him the truth?
8. The Hermit, his illness, the medication, the cancer, the effect? Dan giving him the walkie-talkie, the conversations, playing the music? The story about his daughter, bringing home the dog, the attack on her? Dan and the audience, suspicious that he had killed his wife and daughter? His death? Dan going, the key, opening the box, and the children’s toys?
9. The photo, the phone number, and making the phone call, the daughter and string, talking with the Hermit’s wife? Arranging the funeral? After the cremation, the Ashes, Dan and his burying them?
10. The repercussions of this experience – and Dan’s future?

THE ROYAL HOTEL

Australia, 2023, 91 minutes, Colour.

Julia Garner, Jessica Fenwick, Hugo Weaving, Ursula Yovich, Toby Wallace, Daniel Henschel, James Frecheville.

Directed by Kitty Green.

Writer-director, Kitty Green, notes that she grew up in a hotel. Which means that she knows what she is talking and writing about here. But, some years ago, she was impressed by a documentary, Hotel Coolggardie, which recorded the experience of two young women, from Europe, working for a time in the pub in the mining area of Western Australia. It focused on how the young women dealt with the situation, with the customers, with the response of the men who frequented the pub.

Kitty Green, along with writer, Oscar Redding, have produced a fictionalised version of Hotel Coolgardie.

This is a drama although it is advertised as a thriller (with a lot of discontented audiences who expected more thriller conventions). But, as a drama, set in an outback pub, many audiences will immediately remember the film version of Ken Cook’s novel, also made as a television miniseries, Wake in Fright. That was the story of an Englishman in Broken Hill, caught up with the drunken match oh culture, succumbing to it, waking in fright.

One of the phrases to describe this is “toxic masculinity”. And, this is the theme of this film – though not quite as aggressive, though definitely aggressive, as Wake in Fright.

Two young Canadians are holidaying in Sydney, played by Julia Garner (who worked with Kitty Green in The Assistant) and Jessica Fenwick. They run out of money, go to an employment agency, the only immediate job available way out in the outback, train, bus, car pickup and they arrive at the Royal Hotel.

A lot of what happens at the hotel is what we would be expecting. Live is more the goodtime girl and joins in the spirit of nights at the pub. Hannah, on the other hand, is strong-minded, doesn’t smile, but is wary of the men. The pub is owned by Billy, inheriting it from his family (played by Hugo Weaving), but Billy is unwell, alcoholic, chauvinist torts the young women. His partner, also work’s chauffeur at the hotel, is veteran first Nations actress Ursula Yovich, an anchor for the hotel, the Billy and for the girls.

The men come in each night from the mines, most of the miners, some of them with science and engineering background, especially Matt, a meteorologist played by Toby Wallace, who offers some friendship to the girls. There is also the minor, Teeth, James Frecheville, seemingly more subdued than the others, and more sympathetic. In fact, everybody survives well enough day by day, not as bad as Wake in Fright, though that is not particularly reassuring for Hannah.

And, while most of the men fail to respond well to the challenges, the most sinister character is Dolly, played with a mixture of smiling insinuation and violent outbursts by Daniel Henschel (many audiences still remembering his sinister serial killer in snow town).

On the one hand, the picture of life at the hotel, each night, is presented as realistic. However, the ending, looking realistic, is far more to be seen as symbolic, an apocalyptic ending to this kind of life at the Royal Hotel.

1. The title, sounding pretentious, the hotel in the outback, the family owning it for generations, the mining town, the surroundings?
2. The Australian literary and film tradition of Wake in Fright? The pub, the locals, the male ethos, presence of females, harassment and misogyny? The owners and coping? The aboriginal presence? Alcohol? The women coming in to serve at the bar? The documentary, Hotel Coolgardie, and this screenplay as a fictionalised version of documentary revelation?
3. The situation of overseas visitors in Australia, holiday, travel, enjoyment, issues of money, jobs? Hannah and Liv, Canadian backgrounds, getting away, furthest away, in Sydney, the touristic look, the clubs, music, drinking, dancing, flirting, the Norwegian and Hannah? Liv going to the bar, the card refused, the girls needing to get a job, the agency, as in the bush?
4. The visuals of the South Australian landscapes, the highways, the desert, the distances, Martin backgrounds, off the beaten track, by train, bypass, deposited, Carol and the car picking up the girls, the dust? Arriving at the hotel, the locked door, the rooms, the English girls upstairs spaced out?
5. Life at the hotel, the miners, Gladys and her drinking, the absence of women? Billy, managing the hotel, from his father, his moods, age, issues of money, owing the aboriginal delivery man $4300, not paying the girls, explaining how everything worked, his rules, exclusions for behaviour, but letting people in? The rituals?
6. The importance of Carol, aboriginal background, picking the girls up, working the kitchen, managing the hotel, her relationship with Billy, control of him, urging him to pay, forbidding him to drink, his collapsing, behaviour in the hotel, the final collapse, taken to hospital? Carol taking him, leaving everything behind?
7. Anna and Liv and their personalities, live more as the easy-going, not having the money, taking the job? The contrast with Hannah, more controlled, edgy? The trip, the arrival, the accommodation, the British girls and their stories, learning the ropes from Billy? Carol and the cooking? The girls gradually getting used to things, going to the swimming pool and its being empty, sunbaking? The friendship with Matty, his taking them for the drive, the distance, the service station, the key to the toilet on a box, finding the pool and falls? The good effect? And seeing the kangaroo?
8. The range of men, their behaviour, the drinking, the sexist remarks, the crude four letter comments, what is called “toxic masculinity”?
9. Matty, meteorologist, friendly, taking the girls out, with Hannah, drinking, the sexual approach, her refusal, his reaction, sleeping the car, his apology? His later making advances, a mixture, with Dolly, the effect of drink and flirting, Hannah rejecting him?
10. The contrast with Teeth, quiet, the miner, more polite, friendship with Liv, making progress, but the drink, the reactions, crashing the car, Billy banning him, his return, disgruntled at the end?
11. Dolly, sinister, smile, driving the British girl, returning, sitting at the bar, drinking, the seeming charm, but the advances, at the door and Hannah barricading the door, the later confrontations, live excusing him, and the suspicious, her wanting to leave? In the bar with the loner and the Jubilee couple having champagne, Dolly and his behaviour, Hannah and her stances, the violent reaction? Dolly coming upstairs, the confrontation with Hannah, pushing her, her injury? Dolly getting the support of Matty?
12. The ultimate effect on the girls, the experience of wake in fright, the misogyny, the need for self-preservation, the snake in the bottle, smashing it, the lighter for the candle on Liv’s birthday cake, the Canadian flag? And with the lighter, setting the hotel alight, their walking away?
13. Marketing emphasising the film is a thriller, the bloggers reacting badly? The film, however, as an Australian drama, the outback, men and women, realistic and symbolic, and the final five and walking away as more symbolic than realistic?