Displaying items by tag: Peter Malone's Movie Reviews

SPIT

Australia, 2025, 102 minutes, Colour.

David Wenham, Arlo Green, David Field, Gary Sweet, Lewis Fitz-gerald, Maude Davey, David Roberts, Helen Thomson, Andrea Moore, Pallavi Sharda.

Directed by Jonathan Teplitzky.

In 2002, there was an award-winning comedy-drama, Getting’ Square, set on the Gold Coast, the story of drugs, corrupt police, investigations – and the roguish character, John Francis Spitieri, whom everybody called Spit, an addict but reforming, thongs, old crumpled clothes, providing a great deal of comedy along the way.

It is not necessary for audiences to have seen Getting’ Square to enjoy this follow-up, focusing on Spit. In fact, the film has a lot of things going for it, indeed more than a lot of things. Writer, Chris Nyst, is a criminal lawyer and knows the characters that he has created for the original and for Spit. David Wenham has noted that he is an ambassador for Kings Cross’s Wayside Chapel and is very much aware of many variations on Spit. Both Nyst and Wenham won AFI awards back then and are candidates for 2025, an even better script, and Wenham having lived with this character over a long time.

The screenplay is alive, vivid life through the characters. We laugh out loud then, only minutes later, some moments of deep humane pathos on serious themes, then laughs again and throughout some serious and violent sequences connected with the thugs and the law. As mentioned, these characters were in the original and there are some references back, some clips from the original – and, with such admiration for the court scene in the original, another court scene which is as good.

But, this time, Spit returning to Queensland on a fake passport and detained by the authorities, is more of a larrikin, an Aussie larrikin rather than a rogue. His face is now weatherbeaten. And he has his ambling gate, the thongs, the jeans, weary on the surface but pretty shrewd when he wants to be – and this is especially the case in the inner unexpected solution to his problems.

He is still pursued by the drug chief and the corrupt police (snarling Gary Sweet and David Field). But, on landing he is sent to a detention centre, encountering the refugees, listening to their stories. His dealing with them, teaching English, is very enjoyable Australian comedy, especially in dealing with Australia’s and the world’s hyper- abundant F-word. Spit sees it not as an swear word but as an emphasiser (though he cannot quite pronounce that correctly). His class illustrating its variety of emphases is quite hilarious (even for those who do not yet use it) and is followed up with many variations on it throughout the film.

But, for pathos there is the story of Spit’s sister and their separation, foster homes, reunited, her son, her illness and the demands on Spit’s affection.

One of the clever aspects of the screenplay is the frequency of quips, word misunderstandings that provide a lot of wit. And there is the courtroom, David Roberts providing a prosecutor straight man to Spit’s mischievousness, and all about reading glasses. David Wenham shows how adept he is. We know he does serious well, but he really embodies the comic Spit.

And he plays alongside a number of Australian character actors, especially with New Zealander, Arlo Green, as a sympathetic Syrian refugee.

Jonathan Teplitzky directed Getting’ Square (and also directed Wenham in Better than Sex) and the excellent, The Railway Man.

This reviewer would enjoy watching it again and certainly laughing with it.

1. The popularity of get in Square? A criminal world in Queensland? The quality of the screenplay and awards, David Wenham as spit and his awards? Welcoming him back with his own film?
2. The Queensland settings, airports, detention centres, restaurants, funeral parlours, police precincts, the courts, gardens, the beach and the sea, hospitals? Atmosphere? The musical score?
3. David Wenham’s portrait of Spit? His appearance, clothes, thongs, swagger? His vocabulary? The Australian larrikin, drugs in the past, criminal connections, reform, time in the UK, the Falls passport, arrival, behaviour at the airport, in the detention centre? Criminals discovering his being alive? The law and courts discovering that he was alive?
4. His background, story of his childhood, parents, his sister, the fire, foster care? The reuniting, his sister, death, her son, the bonding with Spit, her illness, death? His responsibility for the boy? Talking to the authorities, the future for him and the boy?
5. In the detention centre, Spit at something of a conman, taking the classes, listening to the stories of the refugees, giving them Australian names, vocabulary, the class on the use of the F word? Meeting with Jihad and his Syrian background story? Friendship?
6. Chika, His role in the past, drugs, the violence, his thugs, connections? Wanting to get Spit, sending the thugs, Spit in the confrontations, escaping? De Viers, police, corruption, his assistant, manipulation, contact with Chika? Plots, arrests, abducting Spit, holding out the window, and that you are later revelation for the solution? Spit and his escapes, disguised as the woman, running through the suburbs?
7. Jihad, out of detention, skill with flowers, his relatives, the welcome, the parties, at the funeral parlour, helping Spit, becoming more involved?
8. Spit, going to the funeral parlour, memories of the first film, the wife, the money, setting up the funeral parlour with the money, Spit and his share in the ownership? Their involvement in saving Spit?
9. Court, the police, tough attitudes towards spit, towards those in the detention centre? Hiring the lawyer, her style, pushy, ambitious, self promoting? In the court? Nile to, the past, wanting to get Spit, the prosecution in the court, Spit and his behaviour, language, the comedy with the glasses and is eventually stealing them in Tool losing them are not able to read the documents?
10. The police and the court, Chika and his pressure on the criminal, the criminal turning round, killing Chika?
11. The final Revelation, Spit and his writing on the wall, proving that he was abducted, vindicated?
12. The 21^st century Australian comedy, larrikin style?

DANCE FIRST

UK, 2023, 100 minutes, Colour.

Gabriel Byrne, Fionn O'Shea, Sandrine Bonnaire, Lisa Dwyer Hogg, Leonie Grainne, Aidan Gillen, Maxine Peake, Bronagh Gallagher, Robert Aramayo.

Directed by James Marsh.

Mention of Irish writer, resident for decades in France, Samuel Beckett, usually leads to the naming of Waiting for Godot. And there is reference to this throughout the film although the title quotation, here attributed to Beckett talking to a student, has reference to Godot. The title, coming later in the film, emphasises experience first, then reflection.

The film has been directed by James Marsh, noted for documentaries like Man on Wire as well as feature films like Theory of Everything.

The film is also a tour de force for Irish actor, Gabriel Byrne, portraying Beckett throughout his adult life but also the device of having him also appear as his inner self, continued discussions, challenges, greater understanding. The film opens with his being awarded the Nobel Prize for Literature, his judge at a catastrophe, his refusal to the speech – and a contrived sequence where he goes on stage, crashes through, escapes and begins the dialogue with his inner self.

This is a portrait of Beckett rather than a biography. The chapters are headed by the names of people who are significant Beckett’s life. In the early part of the film, Beckett as portrayed by the on O’Shea, a very serious bespectacled young man, ambitious writer, dominated by his sometimes terrifying mother, leaving Ireland as soon as possible, seeking out James Joyce in Paris (a very fine performance from Aidan Gillen, different from his other roles), part of his household, Nora Joyce wanting him to marry their daughter, Lucia, who has mental problems.

Beckett is very serious, wanting to hear every word from Joyce, reticent, having to take Lucia dancing, her thinking she was engaged, the terrible track tantrum when she learns the truth, throwing a charity mother, and her spending decades in an institution.

The significance influence on his life was Suzanne, his partner for many years, sharing the times during World War II when neutral Irish picket could stay in France, but join the resistance, their activities, and years of working in the fields to survive. But, literary agent, Barbara, Maxine Peake, admires Beckett, praising, begins a liaison with him.

The film moves towards Beckett success in theatre, Suzanne and her continued challenge to Beckett, the Nobel Prize.

Beckett certainly has his place in world literature – perhaps this film will raise further interest in him and his work.

1. The reputation of Samuel Becket, writer, novelist, playwright, Irish background, living and working in France, the Nobel Prize?
2. The structure of this portrait of Becket? The highlighting of significant characters for each chapter? 100 minute portrait, sketches of key events in Becket’s life, the influences, aspects of his career, though not to the forefront?
3. The meaning of the title, experience before reflection, dancing first then later thinking?
4. Gabriel Byrne, his portrait of Becket, and the dialogue with his inner self? This continuing throughout the film, Becket with insights into himself, the significance of self-reflection?
5. Becket’s Irish background, his family, the significance of his mother, her strong character, dominating, unpleasant, her controlling of the little boy? The continued controlling as he grew up, her expectations and demands? Her relationship with her husband? His being a fond father, softer with Becket, his dying? Liberating Becket to move away from home?
6. Becket, in his teens, early adulthood, bespectacled, serious, writing, the interactions with his mother?
7. Becket going to France, the importance of James Joyce, Joyce’s reputation, listening to Becket, Becket’s admiration, very serious? Inviting him to the house? Nora Joyce, a character, running the household, relationship with her husband? Welcoming Becket? His seriousness, ignoring conversation, wanting to listen to Joyce? Joyce, his character, tolerance?
8. The influence of Lucia, her mental condition, emotions, at the table, her mother trying to foster a relationship with Becket, his being unwilling? Taking her dancing as a condition of coming back? The dancing, her exuberance, his reticence? Her expectations, imagining engagement? Her mother encouraging? Joyce benign? Coming to a head, the many outings, his refusal, Lucia’s tantrum, throwing the chair? Her going to an institution? Her being there for decades? And the effect on Becket throughout the time?
9. Suzanne, meeting Becket, the attraction, her admiration and encouragement? Helping Becket to understand Joyce, Joyce and his distancing himself? The meeting with Alfie, their translation, he begins Wake, their contribution, the launch, the speeches?
10. The 30s passing, the outbreak of the war, Becket Irish and therefore neutral, staying in France, Alfie and the Resistance, Becket wanting to join, going with Alfie, with Suzanne, the years of the war, working in the fields, the effect?
11. The aftermath, Becket and his writing, becoming more famous, relationship with Suzanne, Barbara arriving, her admiration, her personality, her influence, the relationship with Becket, over the years, the performance of the play, people’s admiration, that he was a genius, Suzanne and her negative reaction is, the encounter with Barbara? The continued relationship, tension is?
12. Becket’s output, success, theatre, the Nobel Prize, catastrophe, his not giving a speech?
13. Into the 80s, the relationship with Suzanne, her illness, his care for her, her death? Barbara and her presence? Becket into his 80s?
14. The outline of Becket’s life and influences, indications of his career and acclaim? References to waiting for Godot?
15. The importance of the continued conversation between Becket and his inner self, in the aftermath of the Nobel Prize, the discussions about the characters in the past, his attitudes, his career, success on not, his self-image? And the title of the film, coming later in the film?
16. The film fostering admiration for Becket and his literary career, fostering interest in study of Becket?

UNDER THE STARS OF PARIS / Sous les étoiles de Paris

France, 2020, 86 minutes, Colour.

Catherine Frot, Mahamadou Yaffa.

Directed by Claus Drexel.

A brief French film which is very touching. It focuses on life in Paris, especially for the poor and homeless. But it also focuses on refugee issues, detention, deporting.

The photography of Paris is visit, the river, the bridges, the streets, the life of the poor. There is some travel sequences, airport scenes.

The initial focus of attention is on Christine, an older homeless woman, played by veteran Catherine Frost. The early scenes show her life, age, clothes, walking the streets, collecting food, not interacting with people, her hideout for accommodation. Then the film introduces a young boy, played by Mahamadou Yaffa, who has since it appeared in some television series. He is from Africa, does not speak English, has lost his mother, has a document identifying her information that she is to be deported.

The boy follows Christine, she helping him, but wanting to be rid of him, his continual following her. The film shows the growing bond, Christine’s motherly tendencies, the boys need for some kind of physical support, food, emotional support, and the search for his mother. The scenes of the two bonding are quite moving.

The film shows the plight of refugees in France, deportation, the effect on people, on families, a challenge to refugee and deportation policy.

1. Brief film, human impact?
2. The title, the Paris settings, the river, bridges, the neighbourhoods, the streets, poverty, centres for the poor and hungry, the detention centre, the airport? The musical score?
3. The portrait of Christine, her age, physical condition, poverty, the way she walked, her clothes, communication, her hideout, the food, the magazine, the worker and his interactions? Relating to people, alone?
4. The portrait of Suli, Eritrea, his age, background, unable to speak in French, his mother, the document, detention, separated from his mother? Alone, lost, hungry? The encounter with Christine, helping, is seeing her as a mother, purging him off, his continuing to follow, the gradual bonding between them, travelling together, the information about the detention centre, the visit, getting more information, the airport, the further travels, in the airport, hiding, intervention Patrick, his sympathy, hiding them? The seeming frustration, the final glimpse, Patrick helping, the mother, reconciled with her son?
5. The effect on Christine, some meaning in her life joy, surrogate mother? The experience of the boy, his devotion to Christine, we Sulli and the future memories?

THE BIBI FILES

US, 2024, 115 minutes, Colour.

Directed by Alexis Bloom.

There is only one BiBi, Israel’s Prime Minister since 1996, Benjamin Netanyahu. Here is a documentary made by reputable directors and producers, director Alexis Bloom and Oscar-winning, prolific producer and director of so many telling documentaries, Alex Gibney. They are offering 115 minutes of intense scrutiny of Benjamin Netanyahu.

The film was in production prior to the Hamas attack and its massacre of Israeli citizens, taking of hostages, October 7, 2023. The reduction continued then until July 2024, incorporating the attack, the war on Gaza and the consequences. Audiences will watch the principal issues of the film with their perspective on Netanyahu and his handling of the situation in Israel and Gaza.

The film is highly critical of Netanyahu, the focus on the charges of corruption, interrogations, witnesses, testimonies, and the preparation of the trial. However, with the war, Netanyahu has no time for a trial – with many critics, including Israelis, stating that he is using the war and its prolonging, as a means of avoiding trial and imprisonment. In fact, Benjamin Netanyahu did not what this film to be released.

There are flashbacks to Netanyahu’s inauguration as prime minister in 1996 as well as his surprise victory for a fourth term in 2015.

But, the focus is on the issues of corruption, statements from witnesses reminding audiences that politicians should not accept gifts, perception of bribes, of undue influence for outcomes. The film surprises its audience with so many sequences in Netanyahu’s office, quite small, two officials interrogating the Prime Minister at some length and in great detail, particular episodes and contacts, Netanyahu preferring to say acquaintances, social acquaintances rather than friends, the listing of the range of gifts over the years and their financial value, the implications of the gifts and the consequences.

One of the first witnesses interrogated is the movie producer, Arnon Milchan, his career, contacts with Netanyahu, visa issues, his being a go-between for those wanting personal contact with Netanyahu. And his connection with gifts, especially for Netanyahu’s wife, supportive of her husband over the years, very influential on him, also being seen interrogated, as also their son, Yair, who identifies with the right wing.

The film is hosted by Raviv Drucker, speaking straight to camera and to us, a credible and persuasive compere, analyst. And he has quite a number of talking heads, substantial interviews with them at some length, including childhood friends of Netanyahu, his press manager whom d he enounces in his testimonies, advisers to previous politicians speaking of political integrity, and former Prime Minister, extremely forthright in his criticisms, Ehud Olmert.

It is very evident in the film sequences that Netanyahu frequently states that he does not remember situations, but that critical witnesses referred to his accurate memory. And, his commentary on most of the witnesses against him is the frequent repetition of “Lies”. Then there is the issue of the plans to change the judiciary, favouring his legal situation, and the enormous protests in Israel against the proposed changes.

As well, there is the focus on the two members of the Likud, extreme right views, seen in speeches and actions, and the Arabs, wanting possession of the West Bank…

Then the Hamas attack, some very graphic scenes presented here, the destruction of Gaza and the many deaths, also some graphic scenes. A young Israeli survivor, aged 20, is interviewed, the deaths she witnessed of friends, but her response to the events of the war, calling it not a war but a massacre.

There are scenes of the release of hostages, and Netanyahu and his wife greeting them, despite criticisms of his slowness and lack of effort to have further hostages released. Then there is a repetition of his mantra “total victory”, and his speech to the U.S. Congress, for total victory and their upstanding applause.

With the war and the determination of total victory and the support of the right wing, the incursions into Lebanon, subduing of Hezbollah, issues with Iran, audiences will have their opinions on Netanyahu in 2025. However, whatever the outcome of the war, the accusations against Benjamin Netanyahu over the decades for corruption still remain.

BRIDGET JONES: MAD ABOUT THE BOY

UK, 2025, 124 minutes, Colour.

Renée Zellweger, Chiwital Ejiofer, Leo Woodall, Hugh Grant, Colin Firth, Mila Jankowicz, Casper Knopf, Sally Phillips, Nico Parker, Sarah Solemani, Shirley Henderson, James Callis, Claire Skinner, Isla Fisher, Gemma Jones, Emma Thompson, Jim Broadbent, Neil Pearson, Celia Imre.

Directed by Michael Morris.

Bridget Jones came on the cinema scene almost a quarter of a century ago two very successful films. She was immediately popular, embodied in a British style by American actress Renée Zellweger. In 2016, she had a baby and another film. In 2024-2025, she is a widow, with two children at school, trying to manage, sad memories of her husband, played by Colin Firth and reappearing here in some pleasing ghostly presences. (Not too happy memories of previous films with real appearances of her parents, Jim Broadbent and Gemma Jones, and a number of old friends turning up, Sally Phillips, Shirley Henderson…).

Bridget Jones has been welcomed back by audiences – though, for many of us, her distinctive mannerisms, quirks of accent, tics of behaviour, can be often offputting or, at least, disconcerting.

So, what is the widow to do? Get some advice from her old friend-nemesis, Daniel, a welcome return by Hugh Grant, still the playboy attitude but soon to be threatened by age, illness, more than a touch of conscience, and a reconciliation with his absent Italian son.

She goes to Memorial dinners for her husband, gets loads of advice from her contemporaries, to be out and around, date, be on the market. She also gets her advice from her gynaecologist, Emma Thompson again, which is more grounded but not heeded until later.

What happens is that on Hampstead Heath, her children climb a tree, she tries to rescue them, and a handsome worker (Foxster, Leo Woodall) intervenes, she more than a touch smitten, he getting in contact, a whirlwind affair. Is this the answer to her longings? But is going back to work as a television producer, on a show for women and women’s issues, another answer?

By this stage, her fans will be hoping that she resolves life’s issues. But, in those who find her a bit offputting, not eliciting audience sympathy, would be tempted to give up on her.

But,   lifechanges, her toyboy puts his foot in it about age; she is still thinking of her husband; her children react, especially her son who misses his father. And she listens more attentively to her doctor’s advice.

And, there in the background is the teacher at the children’s school, Mr Willaker (a charming Chiwitel Ejiofor, despite his propensity for discipline and continually blowing his whistle, loudly).

So, gradually, some sensible moralising, some more considered choices, some sensible interactions, and Bridget Jones will have a future.

1. Popularity Bridget Jones, Renée Zellweger’s presence and performance? Mannered style? Over almost 25 years and four films?
2. The London settings, home, school, television studios? House parties, large parties, the range of songs?
3. Bridget’s situation, widow, the death of her husband, charity work and his death, Colin Firth, his presence in memories throughout the film? The two children, their ages, her bond with the children, at school? Her going out to the Memorial dinner for her husband, her awkwardness? With the of the mothers, the Society mother, getting her to join in the activities and her later doing this?
4. Memories of her dying father, his urging her to go out? Memories of her mother? The visit to the doctor, practical, urging her out?
5. At school, encountering Mr Waliker, his whistle, his manner, with the children, stern? Later talks with him, his teaching science, rational, his criticisms of Billy’s work?
6. The outings, with the children, climbing the tree, Roxster and his presence, climbing and rescuing them, Mr Waliker observing?
7. The relationship with Roxster, his age, his work, his manner, the effect on Bridget? Tentative, going out, her infatuation, the beginning of the relationship, a fling? The effect on her? On the children? Especially Billy? Memories of his father? The party, the dog, in the water, Roxster diving in, the wet shirt, the reaction of Bridget’s friends?
8. The range of friends, from the past, new friends, meetings, chatting, urging her to enjoy herself and break out?
9. Daniel, from the previous films, the Hugh Grant’s style, his babysitting and bond with the children, his own life, his illness, in the hospital, the talk with Bridget, the talk about his son? And the son arriving at the party, charming, Daniel more at peace?
10. Roxster, time of the relationship, his backing out, not communicating, later return, his mention of time travel, indicating she be younger, her retort that he should come into the future with her? The break?
11. The work of the television station, the program, the focus on women, the guests, the personalities, the producer, Bridget enjoying her work, talking about her relationship and finding herself on stage with the applause?
12. Chloe as the nanny, her being recommended by friends, her role in the house, her ideas, efficient in every way, bonding with the children, the perfect nanny? Bridget finally accepting her?
13. Bridget and her memories of her husband, going through the documents, the diary, writing the message to him, and with children and setting the balloons?
14. Mr Waliker and his class with parents, her setting up a television program, the girl with the chart, Billy and his apprehension, the discussion about fruit fly, turning the discussion to the presence of the soul, and another life after death?
15. The shift in emphasis from the atmosphere of the fling to more serious? With the children? The discussions with Mr Waliker, going on the walk with him, the rain, the discussions, issues of reason, imagination, magic? The effect on him, the change, still blowing the whistle, but in class? The importance of his talk with Billy? The cut, the return to the concert, Billy singing, I’ll do Anything, in memory of his father, to have a memory of his father, the enthusiastic response?
16. The visit to the doctor, her practical advice, common sensed, Bridget listening to it, memories of her father, discussions with her mother?
17. The change of atmosphere, the light and more permissive episodes with her friends and with Roxster? The change, the serious interactions with Mr Waliker?
18. A year later, happiness, a new beginning, Mr Waliker the piano, the friends, her mother, her future in her 50s and beyond?

IL SIGNORE DELLE FORMICHE/ LORD OF THE ANTS

Italy, 2022, 132 minutes, Colour.

Luigi lo Cascio, Elio Germano, Leonardo Maltese.

Directed by Gianni Amelio.

Drama dealing with issues of sexual orientation in Italy in the 1950s and 1960s. Reviewers note that the director, the veteran Gianni Amelio, a leader in Italian cinema for many decades, came out later in life and this permeates his treatment of the story of an Italian academic, Aldo Briaibanti, who was arrested in the late 1960s and charged with the crime of “plagiarism” which is the translation of an Italian accusation, plagiaro which means someone taking over the mind and personality of another for immoral purposes.

While the second part of the film shows the court case, the early part introduces us to the character of Aldo, academic, a student of Ants, their behaviour, with a collection of species, but also tutoring young students in philosophy, putting on avant-garde drama, a group of disciples. His harsh towards one of the students but very favourable to his younger brother, Ettore (Leonardo Maltese)  who has brought him an ant sample. The younger brother falls under the sway of Aldo, defies his Conservative parents who are condemnatory of homosexuals, and moves away from home, studying, admiring Aldo, sometimes in a sexual relationship with him.

On the dramatic side, his parents abduct Ettore, seclude him in an institution and he is subjected to shock treatment (reminiscent of scenes in Suddenly, Last Summer). He is also called in, in his debilitated state, as a witness against Aldo in the court.

Luigi lo Cascio is a dignified Aldo, with his convictions, with his personal pride, generally silent in the court. However, there is another character, a journalist, Ennio (Elio Germano) who works for the Communist newspaper, writes about this case despite wariness and criticisms from the editor. His girlfriend is very much involved in public protests and campaigns on behalf of Aldo.

Which means that this is an excursion back into Italy of the 1960s, an era where freedoms were emerging but with the authorities’ strong stances against homosexuality.

1. Based on actual characters and events? A historical reappraisal?
2. Italy, the 1950s and 1960s? The Po Valley and its atmosphere? The contrast with Rome? The vistas of Rome, the city, the courts, the monuments, the demonstrations? The musical score?
3. The title, the focus on Aldo, his studies, expertise? The imagery for human behaviour, connections, community?
4. The opening perspective of Ennio, observing Aldo? His observations, interest, growing sympathy, inviting the audience to observe?
5. 1966, Aldo and Ettore, very, will the relationship, love, the mother and brother coming, the raid, Ettore being taken, Aldo pursuing, hospital, the electric shock treatment, the consequences?
6. Perspectives on homosexuality in Italy in the 1950s and 1960s, the Catholic tradition, the Communist Party and its antipathy, illness, hospital, electric shock treatment? The issue of Plagia, the crime of taking and appropriating a personality? (Abolished in 1981).
7. Audience response to the relationship, the behaviour of the mother and brother, the electric shock? Sympathy for Ettore?
8. 1959, Aldo and his centre, the students, Ricardo and his relationship, Aldo condemning him for not having intelligence to read the book, the other students, philosophy, abstract reflections, imagery, the avant-garde theatre and Aldo’s impatience and demands? Ettore coming with his brother, interested, presenting the ant, the discussions, books, the family dinner sequence, the young brother taking Ettore’s book, the father and his comments, the condemnation of Aldo and his sexuality? The brother continuing with Aldo, hostile, the bike riding with Ettore, forbidding him to go back?
9. The discussions returned Aldo and Ettore, the interest, Aldo and his reputation, with students, sexuality, grooming, relationships? Ettore and his response, the break with the family, wanting to paint?
10. The arrest, the imprisonment and the charge, the court sequences? Aldo and his silence? The prosecutor and his laughing, aggressive attack? The charges, the witnesses, Ettore’s mother and her emotional condemnation? Ettore himself, the powerful sequence, the focus on his face, the effect of the electric shock, his speaking his mind, hesitation, strongly? The declaration for Aldo?
11. Ennio, his relationships, his work with the paper, the attitude of the editor, taunts, encouragement, firing him? Ennio and his hat, his dress, style? His girlfriend, her brother and the antagonistic conversation, later meeting him in the Piazza? The articles, the article on Aldo’s mother? Covering the case, talking with Aldo? Persuading Aldo to speak – and Aldo’s speeches in the court? His taking the letter to Ettore?
12. The judgement, the protests, against homosexuality, the Communist protests?
13. The focus on Aldo’s mother, sympathetic, as a character, support of her son, the graffiti on the house, her grief, present at the court, anxious, upset at the judgement, thanking the supporters, her death, Aldo’s visit after she died?
14. Aldo’s visit to Ettore, his painting in the fields, Ettore and his reading of the letter, keeping it with him, not answering, asking forgiveness? The exchange of the poem?
15. The final information, Aldo two more years in prison, release, living alone, no contact with Ettore?
16. The changing perspectives during the 20^th century on homosexuality,, legalising, within the Italian social, cultural and religious context?

WIDOW CLICQUOT

UK, 2023, 90 minutes, Colour.

Haley Bennett, Tom Sturridge, Sam Riley, Ben Miles, Paul Rhys, Phoebe Nicholls, Cara Seymour, Nicholas Farrell.

Directed by Thomas Napper.

In case the “Clicquot” in the title did not immediately resonate, it would have been clearer had the filmmakers use the French for Widow, Veuve. And the champagne connection would have been made.

This is a comparatively brief film, 90 minutes. And, it is reminiscent of the style of previous decades BBC costume dramas, beautifully photographed,  performances with great dignity, serious and even ‘important ‘issues of the past. Something of the stately treatment.

This may well appeal to an older audience, interested in the past, wondering about the origin of the champagne and who the widow was. Audiences who like the drama to get on with it may at times be very impatient.

Audiences like this reviewer, whom the date for this history was not immediately at the top of memory will be grateful for a mention of Napoleon and of 1811. Which means that France is involved in the Napoleonic wars, this story beginning only a year away from the retreat from Moscow, Napoleon will be returning, exiled, escaping, defeated at Waterloo. There are some glimpses of warfare in the distance from the vineyards. But, there are also Napoleon’s social reforms, the Napoleonic laws, codifications, regulations, and, here, especially about the role of women, property, commerce and development.

The setting then for Barbe Nichole, the widow of creative but disturbed, Francois Clicaquot, played by Tom Sturridge in a 19^th century romantic, tragic style. This contrasts very much with Haley Bennett’s performance as Barbed Nichole, at times passionate in the flashbacks with her husband, enduring his eccentricities, grieving his death. But, she was a companion in his vision and talent for creativity in cultivating the vines, in developing the champagne, understanding the soil, the conditions, the blendings.

With the death of her husband, and a clash with her father-in-law, she decides to restore the impoverished vineyards, the loyalty of her workers, clashing with rivals, but engaging the help of a career salesman, travelling in Europe, Louis Bohne, a pleasantly charming Sam Riley. She stands firm against opposition, the men who are trying to dominate her, put her out of business, eventually bringing her to court, arguments about the Napoleonic law and the possibilities for women to administer the estates of their husbands.

With the screenplay championing creativity of a woman, standing against hostile men, creating a champagne which sold all over Europe, was favoured by the Tsar of Russia, has survived for centuries, is admirable, the audience might have appreciated this more with greater development of the character of Barbe Nichole that is presented in these 90 minutes.

1. The title and audience knowledge of Veuve Clicquot? Of French champagne, development and experimentation in the 19^th century, marketing and sales, the continuing tradition into the 21^st century?
2. Audience interest in the story of the background? A historical drama, the style of BBC television historical dramas? Costumes and decor, locations? Style of performance, style of dialogue?
3. The structure of the film, the introduction to Barbe Nichole, her inheriting the Vineyards from her dead husband, his father wanting possession and selling the properties, the local rivals and their interest? Her decision to run the Vineyards herself? Her reliance on the workers, even when unable to pay them, the criticisms of the manager, his disdain for a woman in charge? And the importance of Louis Bohne and marketing and distribution?
4. The development of the Vineyard, and the insertion of the flashbacks, the glimpses of François, his love for his wife, the daughter, his commitment to the Vineyards, sitting outside, singing to the vines, commending this to his wife? Successes and failures with the champagne? Continuing developments? His health, mental health, fewer explanations of his condition, as seen in the flashbacks with his wife and his devotion to her, his death, the funeral?
5. Opening in 1811, the Napoleonic era, the wars, the March on Moscow in 1812 and the retreat, the glimpses of war and explosions over the horizon? Ultimately Napoleon’s defeat? However, the importance of Napoleonic social reform, legislation and codes? The issue of a woman inheriting? The issue of a woman running a business?
6. The court case, the criticisms of the widow, her relationship with Louis Bohne, the accusation that she did not marry because she wanted to keep control according to the Napoleonic code? The speeches against her, the condemnations, the support of her accountant, of Louis, the presence of her father-in-law, her silence during the proceedings, the provision of love for her husband, to continue his tradition, her skills with the Vineyards, with developments for the champagne?
7. Seeing her at work over the years, the long hours, the intervention of her mother, the support of her companion, the relationship with her daughter (and the memories with her father)? The friendship with Louis, his believing in her, his extensive travel, the contracts, the marketing, his shrewdness in preserving bottles, sending to Russia, the admiration of the Tsar? The difficulties over the years, her perseverance, ultimately success, the payment of the workers?
8. A history of champagne, historical background? The portrait of a determined woman, in the 19^th century, determination and achievement?

CLEAN

US, 2021, 94 minutes, Colour.

Adrian Brody, Glenn Fleshler, Richie Merritts, Chandler Ari DuPont, Mykelti Williamson, RZA.

Directed by Paul Solet.

1. The title, expectations? The central character’s nickname? Working as a cleaner, the focus on the rubbish, saving some for repair, disposing of the rest? The rubbish on the New York streets? The imagery of the human rubbish on the streets, the need for cleansing the streets? The criminal gangs, working with the fish, smuggling the drugs, needing for cleansing? Michael, crime boss, brutality, going to church, confession, wanting some spiritual cleansing? The final mission for Clean?
2. The New York streets, the neighbourhoods, at night, the darkness, the thugs in the street, the violence, the abandoned homes, the absence of families and children? The close-ups of the streets and the driving, the overviews of the lights at night? Atmosphere? Musical score?
3. The central character, nickname of Clean, collecting the rubbish, driving, repairing the hoover, going to the pawn shop, the encouragement of the pawn shop, his living alone, preparing the food, the contact with Dianda, her grandmother, the conversations, the food, his going to the groups, listening? His visit to the barber, the wise advice, the friendship? His observing life around him?
4. The enigma of his character, not knowing at the end and his reputation and action, his flashbacks, embrace and the little girl, the deaths?
5. The thugs in the street, his pursuit, his being bashed, the hospital, not wanting painkillers? Continuing on? Continued repairs? The encounter with Michael, the stench, taking away the rubbish, including the body, not taking payment?
6. Michael, the gangsters, the family, his subservient wife, disappointment with his son, wanting to make a man of him, the son getting out of jail, with his friends, the music, his father’s disdain? The confrontation with the Chinese, the smuggling of the drugs, not enough? The brutal murder, disposing of the body? The contrast with him being at church, listening to the gospel, later going to confession?
7. Dianda, her age, going to school, with her grandmother, the grandmother’s reaction to Cleag? Her going off, with the group, Clean finding her, the drink and the drugs, Michael’s son present, the filming, his weapon, his bashing the men, including Mikey? Mikey, the doctor, warming to his father? His father not taking him to hospital?
8. The buildup to the confrontation, Clean taking the grandmother and Dianda, seeing the corrupt policeman, Michael setting the bounty, the policeman and his pursuit, Clean and his evasion, at the diner, the women going to the toilet, his getting another truck, the thugs arriving, the confrontation?
9. Clean, going to the pawnbroker, buying the guns, the flare? In the truck, driving into the house, the shootouts, the massacre, the confrontation with Michael, Mikey coming in, bandage, the gun, shooting his father, no more bullets for Clean?
10. The aftermath? The women? Clean and his future?
11. American violence, focus, drug dealing, guns, vigilantes’ action, vigilantes’ justice, violence and brutality?

MYSTERIOUS WAYS

New Zealand, 2023, 90 minutes, Colour.

Richard Short, Nick Afoa, Joe Malu Folau, Michael Hirst, Becky McEwen, Maureen Fepuleai.

Directed by Paul Oremland.

As in… God moves in.

This New Zealand film takes on an issue in the Anglican Communion, not only the issue of the morality of homosexual behaviour, strongly disapproved of in African countries and African Anglican dioceses, but also the issue of same-sex marriage as well as Anglican priests in gay relationships and in marriages. While some of the dialogue indicates that this is something new in the Anglican Communion, there  have been several precedents in the United States for some time.

The focus is on the parish of St John’s, the priest, Peter, a widower with an adult daughter, has acknowledged his orientation and is in partnership with a man Jason, whom he encountered in prison work, the man imprisoned for eight years for armed hold-ups. He is in rehabilitation, working with a group of young people in the parish, especially their football team.

The film shows the ordinary workings of the parish, preaching, baptisms, as well as the involvement with the youth group.

The priest also appears regularly on a radio program and the interviewer has raise the issues of gay relationships, the priest’s relationship and the question of marriage, eliciting an on-air proposal. The presses had discussions with the Bishop who is partly sympathetic but very conscious of the overall views of the Anglican communion.

There are quite some emotional issues, tensions, scenes of homophobia, scenes of support of the parishioners, the arrival of the priest’s daughter and her support of her father, the arrival of Jason’s aunt up in a more fundamentalist Christian perspective and discussions about the issue and family support.

There is also the arrival of a Samoan, Billy, the tradition of Fa'afafine and fa'afatama, fluid gender roles that move between male and female worlds. He is quite a flamboyant character, supportive, exhibiting the fluidity, especially in the performance of song and movement at the end, an enthusiastic and creative interpretation of Amazing Grace.

The screenplay does not raise in any detail the theological issues, the biblical background turning teaching on homosexuality, which limits its persuasiveness for either side of the discussion. The focus, very personalised and focused on Jesus himself, is on the importance of love in human life and relationships.

The final sense of this film is that the two men want to be married, and not be married officially in the church, but, with a gathering in a church, a woman with authority to preside at weddings, joins the couple for a celebratory ending of the film.

1. The title, God’s workings? In people’s lives, in issues of sexuality, particularly in the case of homosexual relationships and same-sex marriage?

2. The New Zealand setting, the city, the church, exteriors and interiors, meetings with the bishop, the radio station studio, the youth group and meetings, the football matches, the atmosphere of the Anglican church? The musical score, songs and hymns, the final spectacular based on Amazing Grace?

3. The situation of Anglican clergy, marriage, relationships? Same-sex relationships with the clergy? Marriage? The screenplay not presenting theological arguments? Biblical arguments? The issues of the tradition of the communion? The emphasis on Jesus, pastoral outreach? Love?

4. The character of Peter, his marriage, widower, his daughter, her support? Encountering Jason, Jason and his prison sentence, robbery, coming out, the love between the two? His working with the youth group? Samoan and Christian upbringing? His relationship with his aunt, her coming, approval and disapproval, the discussions, helping with the cake, at the final celebrations, her affirmation?

5. The Bishop, the stances of the Anglican Communion, differences around the world? Personal sympathy, the discussions with Peter, his reaction to Peter’s on-air proposal, the further discussions, taking a stance?

6. The personal relationship between Peter and Jason? The bonds, the proposal in the air, Jason’s reticence, his past, listening to the radio, the decisions by the Bishop, his feeling hurt, going away, with his aunt?

7. The arrival of Billy, the Samoan tradition, the fluid gender characters, his flamboyance, costumes, cheeriness, meeting people, support? The preparation of the wedding, his creativity, in the church, Amazing Grace and his variations? Symbolism of him as an Angel, shedding the various costumes and finally angelic? His disappearance, the story of his illness, his death, the book bequeathed to Peter and Jason?

8. The homophobia, the placard outside the church, the bashing of Jason, the young man from the group, his previous attitudes and disapproval, his running away?

9. The reconciliation between Peter and Jason, apologies, in the church, the celebration, the wedding celebrant emerging, the community support, the ceremony, the happy ending?

10. The realities of the issues within the Anglican Communion? This film contributing to the awareness, to the discussions?

SUMMER CAMP

US, 2024, 95 minutes, Colour.

Diane Keaton, Kathy Bates, Alfre Woodard, Eugene Levy, Dennis Hayesbert, Beverly D'Angelo, Josh Peck, Betsy Sodaro, Tom Wright.

Directed by Castille Landon.

Usually this kind of title indicates an American summer, teenagers gathering and spending weeks away. And, this is how it begins.

So, alert to teenage audiences and their expectations, identifying with the first 10 minutes, especially teenage girls and the characters, issues, conflicts, friendships. But, the action then moves 50 years forward, offering them, perhaps, some images for their future. The vision of senior ladies.

And, so, an alert to the target audience, older women, perhaps memories of their past, watching this for 10 minutes and moving into a more familiar present. We have been introduced to the three central characters, Ginny with her voice-over and commentary, Mary, Nora.

And, 50 years later, Mary is accomplished in her work in the hospital. She is played by Alfre Woodard. Nora is a scientist with technology, addicted to her work. She is played by Diane Keaton repeating her performances in so many films recently, all the mannerisms and tics (and sometimes she wears Annie Hall type clothes!). Jenny is played by Kathy Bates with an extraordinary red Wing! He is the leader of the group, organise this reunion at the summer camp, but hard to persuade Nora to leave her work – and meeting up with the three rivals from 50 years earlier.

This is definitely a film for the target audience, older women. Younger audiences will not be particularly interested. And there are the token men, this time played by Eugene Levy (seriously rather than comic) and Dennis Hayesbert.

The women bond, Nora has to give up her work despite strong efforts to the contrary, Mary is visited by her dominating husband and they have a very serious confrontation (an effective scene), and Ginny is challenged in her controlling of people, which is her profession in helping people to well-being. So, on the rapids, Nora having to be rescued from the water, cheery sessions, touches of romance, a final confrontation and truth telling.

So, best reviewed by its target audience to see whether they identify, enjoy the comedy, the touches of romance, the confrontation.

[There are some good lines throughout, Ginny accused of being a psychopath but s noting that he was on a path! Some action with bows and arrows and a reference to the older men and the patriarchery. An introvert preferring to explore “the great doors”.]

1. The title, the youth camp, the senior women’s camp?
2. The atmosphere of the camp, dining, meeting rooms…? The countryside, the river rapids…? The musical score?
3. The opening, familiar from youth camp films, the bonding of the three, the other three in-girls? Events, period, the three in the future?
4. 50 years later, Mary and her work in the hospital and her expertise, 45 years married, the demanding husband, her children and pride? Friendship with the other two? Ginny Moon, single, effusive, voice-over, her work with people, her reputation? Cheery personality? Nora, academic, marriage and her husband dying, addicted to her work, science and technology? Not wanting to go on the reunion? The other two persuading her?
5. The camp, the manager and her pleasant attitude, Vick in control, like a Sergeant Major, comic episodes, comic turns? Jimmy, awkward, the disasters in the dining room, redeeming himself on the rapids, his jobs, befriending the three women?
6. The gang of the past, their confidence, meeting again, interactions, on the river, Jane and her leadership, the session with Ginny, her admitting of the truth, feeling liberated?
7. Stevie and Tommy, the male presence, knowing the women in the past, their stories, Tommy and overseas work, Stevie and a heart attack and retirement? Mary attracted to Tommy, the pottery, being together? Nora attracted to Stevie, to retrieve the phone, being caught, the conversations, the time together?
8. The conversations, the meals, on the rapids, Nora being rescued? Ultimately the courage for the jumping? The friendship, Nora and her continued work, their wanting her presence? Mary, the phone call to her husband, his arrival, the serious discussion with him about their 45 years? Ginny, the criticisms of the group, her being hurt, rehearsing her speech, the presentation, the absence, but late arrival, her breaking down, talking frantically?
9. Serious talk, the discussions with Jimmy, Ginny hurting his feelings, employing him?

• A film for the target audience, some precarious experience for them, listening to senior ladies talking…?