GLADIATOR II

US, 2024, 148 minutes, Colour.

Paul Mescal, Denzel Washington, Pedro Pascal, Connie Neilson, Joseph Quinn, Fred Hechinger, Lior Raz, Derek Jacobi, Matt Lucas, Tim McInerny.

Directed by Ridley Scott.

While sequels are often welcomed by an audience, they also often find it difficult to maintain the standard of the original film. Which is the case here. Gladiator won the Oscar for Best Picture in 2000 as well as an Oscar for Russell Crowe in his role as the strong Roman warrior, Maximus. She is one was a triumph for prolific director, Ridley Scott.

It was something of a surprise when plans were made over 20 years later for this sequel. The focus is on the son of Maximus who died in the first film, his son with Lucilla, the daughter of Marcus Aurelius. He is Lucius, played by Paul Mescal, seen first quietly living in North Africa, the Romans attacking under the leadership of General Acacius, Pedro Pascal, the North Africans defeated, taken to Rome, sold as slaves, many commandeered as gladiators.

Audiences will see the parallel scenario with the original film, the provinces, Roman warfare, prisoners, slavery, the Colosseum, gladiators, harsh life, brutality in the arena, political intrigue.

As with the original film, Gladiator II looks quite spectacular, special effects, naval battle sequences, extraordinary fights in the Colosseum especially against monstrous effect monster monkeys, and the recreation of a battle sequence in the Colosseum. Many of these scenes are very violent, and some of them exceedingly brutal in the impact. Sometimes we might wonder, as we watch the brutality of the fights and audience excitement that we are very much like these vicious Romans and their control of human life with thumbs down.

As with the Emperor, Commodus in the original film, there are two rather despicable emperors this time, the twins Geta and Caracalla (Joseph Quinn and Fred Hechinger) as symbols of the decline of the Roman Empire. Returning from the original film is Connie Neilson as Lucilla, daughter of Marcus Aurelius, mother of Lucius, recognising him, trying to make contact, eventually sacrificing herself for him. She is also in a relationship with General Acacius. One of the difficulties for the impact of the drama is that while Paul Mescal is exceedingly serious and single-minded as Lucius, he is not charismatically engaging for the audience a little in here and charm, while Pedro Pascal as Acacius does have leadership charism.

But, the big difference for this drama is the presence of Denzel Washington as the former slave with political and power ambitions, based on an actual character, Macrinus, a master in buying slaves, controlling the gladiators, with entree to the Emperor’s, deals with corrupt senators, waiting for his power grab moments, unscrupulous with his violence, even with the Emperors.

Given the limitations, the repetitions in parallels with the original, and the single-minded sternness of Paul Mescal as Lucius, audiences who enjoy Roman epics, will enjoy Gladiator II as well.

1. The impact of the original film? Its legacy? So many years for a sequel? The continuity? The scenario of the first parallel scenario of the sequel?
2. The work of Ridley Scott, epics? And audience response?
3. The settings, North Africa, the city, the battles, the Navy, the Roman conquest? The road to Rome? The entry? The Colosseum, the quarters for the gladiators? The animals? The use of the Colosseum, fights, naval battles? The royal palace? Homes? The market for gladiators? The musical score?
4. The links with the original, the mentions of Maximus, the flashbacks and the appearance of Russell Crowe? Connie Neilson as Lucilla, her relationship with Maximus, with, discovering with Lucius? Derek Jacoby as the senator?
5. Africa, Lucius and his life there, relationship with his wife, warrior, silent about his identity, the local authorities, the attack of the Romans, the details of the battles, strategies, defeat? Imprisonment? The death of his wife, seeing her pass into the next life, grief?
6. The prisoners going to Rome, the entrance to the city, the legions and the triumphant entry, general Acacius, his relationship to Lucilla, his tribute to the Senate, their suspicions, their wanting him to go on further conquests? His own response, with Lucilla, his significance in the revolt against Rome, his legions at Ostia, the sending of the message, his being trapped, sparing Lucius, his own death? Lucilla’s grief?
7. The role of Macrinus, dented Washington’s presence, slave, freed, ambitions for the Senate, ruling Rome? The auctions of slaves, seeing Lucy is in action, his talents, strength, perseverance, purchase? His master of slaves and the treatment of the slaves? The training, the accommodation in the below the Colosseum? The fight in the Colosseum, the monstrous monkeys and battles, UCS and his survival? The response of the crowds, the emperors, thumbs up?
8. The personality of Lucy is, silent about his identity, his anonymity in Africa, his relationship, the defeat, the death of his wife? With the other slaves? With the master of slaves, his being tested? With Macrinus? With Lucilla, her visit, his identity, his resistance? His eventually changing, the encounter with Acacius, the fight in the arena, spared, acacias death?
9. The background of the emperors, their status, twins, effete life, games, the court, the worms? The attitude of the Senators? Acacius? Macrinus and his setting them up, the death of Geta?
10. Arrow colour, wilfulness, childish, nominating his monkey as senator?
11. Lucius, behind-the-scenes, the ex gladiator, observing, supportive Lucius, his sending him to Ostia to bring the troops?
12. The buildup, the taking of Lucilla, in the arena, her death, the many troops converging on Lucius?
13. The troops arrival, Macrinus and his control, his deals with the senators, the corrupt senator, the gambling, the meeting of the senators, Gracchus and the past, and government, decline? The death of Gracchus?
14. The troops arriving, Lucius and his a leadership, the confrontation with Macrinus? And the future?

ALL OF US STRANGERS

UK, 2023, 105 minutes, Colour.

Andrew Scott, Paul Mescal, Jamie Bell, Claire Foy.

Directed by Andrew Haigh.

With strangers in the title, and referring to everyone, strangers to one another, strangers in our relationships, this is a very melancholy title.

The screenplay, based on a novel by Japanese author, Taichi Yamada, was written by Andrew Haigh who has had a successful career writing and directing screenplays which probe same-sex relationships, Weekend, Looking. He also wrote and directed the insightful film about an aged married couple, 45 Years.

Irish actor, Andrew Scott, has had a substantial career since he was very young, Moriarty to Benedict Cumberbatch as detective in the series, Sherlock, C in the James Bond film, Spectre, and as a comic priest in Phoebe Waller’s comedy series, Fleabag. This is one of his best and most moving performances.

He plays Adam, in his 40s, alone, lonely, a gay man who has had not had an emotional relationship. He is a screenwriter, probing his own history in his writing. Scott makes Adam someone whom we respond to with care, concern about his loneliness, occupying a room in a huge new high-rise apartment block in London, but the other flats still empty. He encounters Harry, Paul Mescal (Normal People, Aftersun, Foe, Gladiator 2) at his door, Harry drinking, suggestive, but Adam closing the door on him.

But we know that Harry will persevere, something will develop between the two.

While watching the film, the key word that emerges in our consciousness is “empathy”. Adam is such a pleasing and sympathetic character who invites our empathetic attitude towards him, for him as a person, for him as a lonely man, for him as a man with a homosexual orientation. And the theme that the film explores is what is “being in love” for Adam.

This is a question is posed to him by his mother. And the appearance of Adam’s father and mother takes us into a different realm in the storytelling. They have been dead for 30 years, sadly killed in a car crash when Adam was 12. But, as he looks at the box of photos from the past, he has an overwhelming desire to visit the house again, takes the train, walks the street, encounters his parents, goes into the house, sits down and talks with them. They are played very effectively (and we remember Billy Elliot and The Crown) by Jamie Bell and Claire Foy.

So happy is Adam in his parents and rediscovering them, that he goes back, encountering his mother alone, she innocently asking about his girlfriend, he telling her about his orientation, her being rather bewildered, not knowing how to talk with her son. In his next visit, he encounters his father has been told by his wife about Adam and mentions that she needs to rearrange a few things in her mind. What follows is a powerful discussion about Adam and his experiences as a young boy, bullied at school, his father realising the orientation and the question between them of why his father never spoke to him about the issues and why he never spoke to his father.

These revisits to his parents have a disturbing effect on Adam, waking disturbed, Harry there as support for him. The line between fantasy and reality is disappearing.

These ghostly themes continue with some farewells, and a very sad ending.

In these years of discussion about same-sex relationships, talk about blessings of same-sex unions, this is an empathetic film for a wide audience.

1. The title? Melancholy? Relationships?
2. The London setting, the block of flats, high, empty, the interiors, the corridors, the lifts? The musical score?
3. Adam’s story? The performance by Andrew Scott, empathy? His age, screenwriting, exploring his past, living alone, lack of relationships? Hearing the alarm, going outside, looking up, seeing Harry? Harry and his visit, the talk, Adam shutting the door? Harry’s later return, his story, father, alienated, his mother? Adam inviting him in, the talk, the touch of tension, Harry relaxed, the drink, discussion about the difference between gay and queer, the physical attraction, the sexual encounter, the aftermath?
4. Adam and his writing, seeing the photos of the past, the audience learning that his parents had died in a car crash, black ice, father instantly, mother later, losing an eye? The house, his desire to visit the house?
5. Adam and his physical condition, health? The screenplay showing him to visit the house, the encounter with his parents, the return visits, his waking up? The line between reality and dream? Sometimes overlapping? At home and sleeping and waking, Harry reassuring him? Waking up on the train, but this being part of dreams? Seeing Harry in the underground, following him, alone on the train?
6. And these scenarios as possibility for his screenwriting, exploring and understanding his past?
7. Going home, comfortable, his parents at the age they died, their welcoming him, the characteristics, father being jovial, mother loving her son and being fussy? His happiness in meeting them again? The decision to return, the visit with his mother, her asking about girlfriends, getting him something to eat, his revealing his orientation to her, her not understanding, her being uncomfortable? The visit to his father, his father reassuring him that his mother had told him, that she just had to rearrange some things in her mind, Adam telling his father the things were different, his telling about equality, marriage, less prejudice, but sometimes this rising as it did in the past? His father and his understanding, memories of Adam at school, Adam talking about the bullying, calling him girl, the boys and girls both critical? His father saying he was aware of this? Adam asking why he didn’t come into to talk with him? His father asking why Adam didn’t tell his father?
8. The final visit, the outing with his parents, the restaurant and the waitress, the family meal? But his parents not eating, a more ghostly presence, telling him that had to leave, and wanting them to stay, even to visit them once a year? The question about whether the death was instant, his mother not seeing well, but Adam reassuring them they died quickly? And then disappearing?
9. Adam returning home, going to Harry’s apartment, finding Harry dead? Harry outside, knowing that his body was in the other room? Adam reassuring him, settling him down, urging him to go to see his mother?
10. Reality and fantasy, ghostly presences?
11. And Adam, his illness, live in dying, his memories in coming to terms with his life, in love with Harry (and his mother asking him this explicitly,?
12. An empathetic film for gay audiences? An empathetic and invitational film for wide audiences?

FOE

Australia, 2023, 110 minutes, Colour.

Saoirse Ronan, Paul Mescal, Aaron Pierre.

Directed by Garth Davis.

From a novel by Iain Reid who collaborated with the director on the screenplay. It is a slow-burn drama, (some bloggers complaining that the fire took a long time even to kindle). However, for those who enjoy intriguing dramas, elements of the unknown, the probing of relationships, there is much to commend a careful watching of Foe.

Foe has a global theme, the continued destruction of planet Earth, ambitious moves towards settlements on other planets, preparations for work on space stations. It is 2065, frighteningly close to the present, the continuing barrenness of the planet and it should be so close. There are sequences of devastated countryside (filmed in Queensland, Victoria, South Australia). However, as with global filmmaking these days, the setting for the story is the midwest of the US (and with an Australian director, Garth Davis (Lion, Mary Magdalen) two Irish leads, and a British lead).

While it is important to focus on the futuristic, science-fiction aspects of the scenario, in many ways, they are quite secondary, simply offering the opportunity for the main theme, the exploration of a marriage. We see a couple who have been married for seven years, he on the property and in the house owned by his family for centuries, working in a large chicken processing plant, she working as a local waitress in a diner. Saoirse Ronan is Hen. Paul Mescal is Junior. The marriage is not always easy, Hen wondering about the affection of her husband, dreaming of something better. Junior seems to be satisfied where he is. Quite a lot of scenes between the two leads dramatising the tensions, ups and downs of the marriage. No children.

Then the science enters in the form of a government agent, Terrance, played by Aaron Pierre, very British in his delivery. The government has investigated the couple, wants Junior to spend a year on a space station, a sign of the future. He lets the couple ponder this for a year, then returning, the plan to go into action, and the proposal, definitely science-fiction here with artificial intelligence, robotics, and plans to create exact replicas, physical, mental, emotional, some company for Hen during her husband’s absence.

While the initial part of the film has been a probing of the marriage, this intensifies with Terrance’s presence, interrogations, tests, trying to understand each of the characters, the relationship, so that the substitute will be a proper companion.

While there is scientific success, there are some emotional complications, building up to quite a dramatic conclusion, surprising dramatics, and the final solution which we may have been anticipating.

There is very little futuristic technology seen in the film, that being kept to the very end. Rather, this is a psychological study of two people in a futuristic setting and challenge. And a slow-burn.

(Recently, with the same time sitting, a more elaborate conflict between humans and AI creations was seen in The Creator.)

1.    Title? Enemies? Marriage? Interaction between Hen and Junior? Terrance as a foe?

2.    Science-fiction? Earth and its destruction? Survivors? Quality of life? Space travel, space stations, a future?

3.    Artificial intelligence, robotics, clones, the creation of perfect copies, physical, emotional, mental?

4.    2065, not so long into the future? The possibilities of Earth degradation? The possibilities of technological development?

5. The settings, filmed in Australia, the American midwest, barren plains, vast open spaces, no rain, poor crops, the Homestead from the past, the elaborate chicken factory, the diner? The musical score?
6. The picture of the marriage, seven years, Hen in the shower, voice-over, pondering Junior’s love for her or not? His being rooted in the area, pride, family? Her work in the diner? His work in the chicken factory? Life at home, his storing everything, the piano, her love of playing, Junior not wanting her to play? The change, playing, consistent – then destroying the piano?
7. The arrival of Terrance, the car, isolated area, the government, his proposal, their reactions? His building up the possibilities? His return after a year?
8. The process, interviews with Junior, Terrance getting to know every aspect of his life, the scenes of interrogation, the physical tests, psychological tests, emotional tests? The effect on Jr? The effect on? Criticisms, observations, becoming more involved? Terrance and the intrusion into their lives, talk, drinking, the attraction?
9. The scenes of ordinary life, the chicken factory, the diner? The episode of Junior out in the fields, the flying saucers, his being injected, his returning to the house, the confrontation?
10. The twist in the plot, the government preparing the complete replicant, the confrontation between the two, the humanity of the replicant, Junior returning from the space station, detached? The effect on Hen, the companionship with the replicant?
11. Terrance, the crew, technology, observations, the scene of their toasting their success?
12. The replicant, his humanity, the pathos of his last moments, the death, the corpse?
13. The aftermath of the marriage, Hen and her comments about leaving the envelope, the blank page inside? Her explaining her ambitions to do more, Terrance and his sympathy?
14. Hen, her disappearance, Jr by himself, the reappearance, more formal, learning, the indication that she did not have all of Hen’s knowledge, Junior accepting her as companion?
15. Hen, in the plane, the pass comments about air travel, her leaving behind her replicant, going on a personal quest?

CARMEN

France/Australia/US, 2022, 116 minutes, Colour.

Melissa Barrera, Paul Mescal, Rossy de Palmer, Elsa Pataki, Benedict Hardie, Tara Morice.

Directed by Benjamin Millepied.

This interpretation of the Carmen story, based on Prosper Merimee’s 1845 novel with influences by Pushkin’s story, The Gypsy, rather than be says Opera, will be an acquired taste. With the French born choreographer, Benjamin Millepied, now working in the US, directing his first feature film after music videos, a huge emphasis in this version is dance.

Yet, one could describe the visual style and the staging of particular scenes as “operatic”, stylised, set pieces, larger than life. And, yet, many of the sequences are presented with a sense of “realism”. But, interspersed are touches of magic realism, ghostly appearances, scenes of fire, memories. The Internet Movie Database offers a summary: Benjamin Millepied's complete reimagining of CARMEN tells a story through an experimental dreamscape featuring an original score and songs. Yes, an experimental dreamscape.

And dance. This is a story of a young dancer, Carmen, Mexican, her flamenco-dancing mother, menaced by a young boy from the cartels shooting her. Her mother has urged her to go to Los Angeles, to find her friend, managing a nightclub there, Massilda. But, she has to get through the border, a dreary desert outpost, staffed by former soldiers to ward off migrants, violently. One of the soldiers is Aidan, a retired Marine, relying on his sister, with some friends, a boxer, but depressed in being stranded on the border.

As regards the drama, touches of melodrama, there is shooting at the border, Aidan defending some of the refugees, helping Carmen, driving away. They helped on the road by friendly taxi driver whose name is Angel. And another dancer friend drives them to Los Angeles. Which means than a lot of the film takes place within the nightclub, quite a range of dance which should exhilarate audiences who have come for the dancing. Aidan hangs out but feels the police will be after Carmen and himself and wants to move on. He gets an opportunity for getting some money from a friend who sponsors bareknuckle fighting – which provides something of a climax for the film, but presented, as is some of the other dancing, with ballet style, but this crowd excited by the violence, a stomping dance sequence.

Melissa Barrera (In the Heights, Scream) is a dramatic Carmen. Paul Mescal (Normal People, After some) blends passive moments with active moments. But, a star for Pedro Almodovar for many decades, Rossy de Palms, draws audience attention more than the star-crossed lovers. She is a powerful presence even when not singing or dancing. Elsa Pataki has a good role as the assistant at the nightclub. Carmen was filmed in Australia in 2021, the Broken Hill area for the desert sequences, some drab Sydney locations for the nightclub and the boxing. And many Australian actors, including Tara Morice, and dancers in the cast.

There are several songs, a great deal of choral chant throughout (incorporating some of the Bizet lyrics), but the strong impact is of the musical score itself, by Nicholas Brittell, powerful at times, the score seeming to drive on the action and the drama.

Some audiences have been enraptured, others alienated, and all stops in between.

1.     The original novel, Bizet’s Opera, the many adaptations, films of the Opera, Carmen Jones in the 1950s? This new interpretation?

2.     The work of the director, his reputation as a choreographer, his first feature film, his experience in music videos? Collaboration with the screenplay? The introduction of music, songs, their range, the choral background, the driving musical score? His interaction of dance, the range of dance, flamenco, modern dance, ballet, stomping dance…? The insertion of songs and dance into the screenplay and narrative?

3.     The adaptation of the original story, the role of Carmen, the touch of the femme fatale, the soldier, love, danger?

4.     The realistic, surrealistic settings, the desert (Australia standing in for Mexico), the drab border situation, the visuals, Los Angeles, the streets, the nightclub, the bareknuckle fighting? The comment on the experimental dreamscape? The move from realism to the surreal, to touches of magic realism, the importance of fire, the sparks, the ordinary slit, the burning globe…? Ghostly appearances?

5.     Carmen, her relationship with her mother, her mother dancing, the little boy, shooting her, the Mexican cartels, the danger for Carmen, going to the border, the encounter with Aiden, the crossing of the border, the military patrol, the shootings, Aidan helping her, the truck, the taxi and Angel driving, his support, the dancer and his driving, arriving in Los Angeles, the goal of the meeting Masilda? The club, her being given refuge, Aiden with her, the bond with Michelle, memories of her mother, in the club, Gabriele, the dances? Carmen and the relationship with Aiden? The dancing? The need for escape, farewelling Must still do, going to the boxing, the pursuit, Aiden shot, the surrealism of the final dance between the two? Her future?

6.     Aiden, Marine background, his service, the effect, with the others at the border, the patrol, their attitudes, his injured friend, reliance on his sister, life on the border, the patrols, attitude towards the refugees, the violence and the shooting? His helping Carmen, the escape, the taxi, the drive to Los Angeles, finding the nightclub, must still do welcoming him, his observing Carmen at the nightclub, the sexual encounter, his fear for the police pursuing, needing money, going to his friend, the arrangement for the bareknuckle fighting, his taking Carmen, the fight and its brutality, getting the money, the police arriving, the chase, the shooting, his being wounded, with Carmen, the symbolism of the final dance?

7.     Miss older, her friendship with Carmen’s mother, the nightclub, her appearance, command, singing, dance? Support of Carmen? The farewell?

8.     The people at the nightclub, Gabriel, the dances, the rooms of the club, the dance area, the theatrical area, performance?

9.     Audience response in terms of the drama and melodrama, in terms of the dreamscape, the experimental style of the film, the musical score, the songs, the range of dancing?