Displaying items by tag: Peter Malone's Movie Reviews

THE POOL

Australia, 2024, 95 minutes, Colour.

Directed by Ian Darling.

This is a cinema essay/poem rather than a narrative about the Icebergs Pool at Bondi Beach, Sydney. In fact, at the end, there is information that this is the most filmed and photographed pool in the world.

For audiences who enjoy beautiful and skilful photography, this is their kind of film. For audiences who need some kind of ongoing narrative to keep their attention and provide some continuity, they will have to rely on some of the stories that swimmers at the pool tell, moments of narrative.

In fact, the film does not give much background to the origins of the pool, except that it opened in 1929 and has been popular ever since. There are statistics given of how many people swim at the pool each year.

On the one hand, the film is a masterclass in cinematography, in editing. There are beautiful scenes of the weather, the sky at dawn, the expanses of the beach and the ocean, the crashing of waves over the pool, vistas of Bondi beach and its background. On the other hand, there is a focus on so many of the men and women, mainly older, and their devotion to the pool, the long years of coming, some even five days a week early in the morning, the regimes, the benefits, the friendships, and the beer drinking at the end of the day.

In fact, the comments of so many of the older men and women are an exhortation to good health and exercise and audiences seeing the benefit.

The population that goes to the pool in the 2020s is significantly white, glimpses of some other participants from Asia and other cultures. In fact, it is often a blokey culture at the pool, especially the men friends over the years, but an equalising of executives with workers the same in their swimming gear. But, there are many women, an increasing number.

Life at the pool is very much controlled by the staff, the importance of racing, the importance of training, the visualising of the various races, the laps, the timing, the qualifications.

Which means then that this is a social document, as mentioned also a cinema poem, reminder of the beach culture of Australia, of Sydney and especially the status of Bondi Beach.

Best to quote some of the statement by the director, Ian Darling.

We set out to make a beautifully cinematic film, where every shot is a stunning portrait and a pleasure to watch. The filmmaking process opened our eyes to the raw beauty of the place, and how the smallest detail; a random wave, a spectacular sunrise, a massive storm, a perfect dive, an individual swimming stroke, the challenge of cold water, the fear of swimming, the healing powers of the water could help us create a story measured and told by the sum of the parts. Making this film also opened our eyes to the incredible cast of characters who populate this place. We didn’t want to make a traditional film where we followed a limited number of people in detail, rather we wanted to gain snippets from many characters who call the pool their home. But more than anything we wanted to make a film where there was just one central character. The pool itself. It just happened to have lots of arms and legs, and an endless well of stories to tell.

This is a time for gentle, poetic, meditative films to also find a place in the canon. We will always need documentaries that highlight injustice, human rights abuses, environmental destruction, and a myriad of other problems. But sometimes we need films that make us feel good about being human again too, and, perhaps, never more than now.

RED ONE

US, 2024, 125 minutes, Colour.

Dwayne Johnson, Chris Evans, Lucy Liu, J.K.Simmons, Bonnie Hunt, Kristofer Hivju, Kiernan Shipka.

Directed by Jake Kasdan.

Most films about Santa Claus require quite a suspension of disbelief - except for the littlies. But, this one even more disbelief than usual for those who say they don’t believe in Santa Claus. Most of us!

Santa, the Red One, though initially seen enjoying himself meeting all the children at a Philadelphia shopping mall, is suddenly whisked away in a super-powered sleigh, the sturdiest reindeers you have seen, to an extraordinary mythological North Pole, then the victim of a vast conspiracy, his abduction, an evil which determined to take his place on Christmas Eve rounds and imprisoning forever those on the “Naughty List”!

Not exactly the scenario we might have been expecting for Dwayne Johnson and Chris Evans.

This is a piece of Christmas entertainment for older children (of whatever age!). The mythological story of the abduction, draining Santa Claus of his energies, the manufacturing of imprisoning it globes to be distributed on Christmas Eve to trap those naughty, is played out as the equivalent of a high-powered action show. Plenty of action – but always with its heart in the right place but not necessarily all those fighting fists.

Dwayne Johnson is obviously enjoying himself as Cal,  Santa’s long time bodyguard, for several centuries, in fact. And, J.K.Simmons as Santa is enjoying himself even more. He even has bodybuilding sessions at the gym with Dwayne Johnson. As for Chris Evans, we don’t like him at the start, arrogant, mean minded (even snatching a lollipop from a baby in a pram). He has all kinds of tech skills, he is hired out to break into high-class systems, enabling the witch to abduct Santa. And he has a young son who rather idolises him but is disappointed in him.

In fact, there are quite a lot of pauses in the film for Dwayne Johnson to give moralising lessons for the young audience, basically to be good.

So, lots of fantasy, lots of action sequences, particularly enjoyable are those where Cal’s powers enable him to go into miniature form at a moments notice and then reverse, very handy for battling and tricking hefty opponents.

Lucy Liu appears as the director for mythological operations. There is also the Krampus and his ogre-like warriors, Mrs Claus (Bonnie Hunt) a range of elves and a huge benign polar bear key staff-member at the North Pole.

Director, Jake Kasdan, has made the Jumanji films so he is at home with fantasy blends of realism and imagination. Audiences seem to be enjoying the red One – and best to avoid reading reviews by critics who think that this kind of thing is beneath them!

1. Red One, code for Santa Claus?
2. The tone of the film? Christmas film? Santa Claus film? Variations on the theme? Not for the youngest audiences, four boys, for children (of all age)?
3. Audience suspension of disbelief, belief in Santa Claus, Christmas Eve, the North Pole preparing all the gifts, travelling around the world, the deliveries, happy children? Variations on this theme?
4. The opening, the children, the gifts, Jack as very sceptical – and audiences discovering at the end that the young sceptical Jack was the older Jack of the action?
5. Santa Claus, at the mall, enjoying talking with the children, his personality, Cal present as his bodyguard, the intrusive man, the children waiting? Santa, ready to go to the North Pole, the reindeer and their size, the super sleigh, moving through space and time? The dome at the North Pole?
6. Expectations of life at the North Pole, the elves, the polar bear, Santa Claus’s wife, the preparation of the gifts, almost Christmas Eve? Santa, going to the gym, exercise, push-ups, weights… Cal retiring?
7. The witch, her pleasant appearance, her ugly appearance, her henchmen, her plan, abducting Santa, the deception of the break and the dome, keeping him at the North Pole, draining his energy? Her work, creating the globes, their finally worked in, miniaturising and capturing people? The intention to rid the world of naughty children, imprisoning them? Creating a better world?
8. The introduction to Jack, his age, careless, his skills, supervision, taking the lollipop from the baby, visiting his son, the complaint of his wife, phone calls, to take him to meetings? His age, devotion to his father, the disappointments?
9. Cal, the experience of the abduction, Zoe, her being in charge, the various meetings, the plans, the ruining of Christmas?
10. Cal, his personality, the guard for centuries, putting in his letter of resignation, becoming involved, tracking down Jack, the interchanges, hearing about Jack’s son? Knowledge of the witch, Jack identifying the contacts for the plan, going to the resort, the interrogation of the contact, his fears, the arrival of the monsters, icy, transforming others into ice? The humour of the fight sequences, Cal and his being miniaturised? The toy cars and other aspects of the shop, from miniature to full-size, driving away?
11. The visit to Germany, the Krampus, Santa Claus’ brother, the revolt, the ogres, the fight sequences in the slaps? Jack and Cal escaping?
12. Going to the North Pole, the buildup to the confrontation, the witch and her success, the mass production of the globes, trapping both Jack and Dylan? The talk, Jack being good and kind, the breaking of the glass?
13. The witch, preparing all the globes, the sleigh, getting ready to go?
14. The arrival of the Krampus, the witch his ex-wife, his decision to be on the side of good?
15. The fights, the sabotage of the sleigh, the breaking of the globes? Confrontation with the large witch, miniature fight? Her being imprisoned in a globe?
16. Finding Santa, resuscitating him, going on his rounds, the speed and the possibility of delivering all the gifts everywhere in the world on the one night!
17. Jack, the bonding with his son, and the revelation of the sceptical young Jack? Cal and his decision to stay on guard in Santa Claus?

KISS ME, KATE, The Musical

UK, 2024, 160 minutes (15 minutes intermission), Colour.

Adrian Dunbar, Stephanie J Block, Charlie Stamp, Georgina Onaurahm John Stacy, Nigel Lindsay, Hammad Animashaun, Peter Davison.

Directed by Bartlett Sher.

Kiss Me, Kate is a 1948 Broadway musical, book by Sam and Bella Spewak, music by Cole Porter. It was successful on Broadway, made into a lavish in MGM feature film with Kathryn Grayson, Howard Keel, Ann Miller, and an introduction to Bob Fosse and Carol Chaney and Fosse’s choreographic style.

This version is staged in London’s Barbican theatre.

The stage is very adaptable, movable, at times backstage of the theatre where Shakespeare’s The Taming of the Shrew is being performed, sometimes the dressing rooms, sometimes the outside, and sometimes the stage itself for the Shakespearean performance. Which means that the costumes move from 1948 style to period costumes.

This version does have some reservations about the male chauvinism of the central character, a speech by Adrian Dunbar as the lead and the  of director The Taming of the Shrew, highlighting more contemporary issues of feminism, women’s rights, misogyny… The audience is asked to accept these perspectives in Shakespeare’s play.

There is some parallel of Shakespeare’s play in the relationship between the leading actor and the leading actress, formerly married, divorced, she engaged to a high-powered military presence at the White House, even taking a phone call from the President. She is played by Broadway star, Stephanie J.Block. It is a surprise to find dramatic actor on screen and television, Irish Adrian Dunbar, as the director. She has a strong stage voice, his rather more subdued, pleasant.

There is a strong supporting cast of singers and dancers and, at times, some lively choreography, especially with the ensemble joining in Its Too Darn Hot. Audiences familiar with the play and the film version will be looking forward to the renditions of the various songs and the choreography. The basic plot about the divorce, the reunion on stage, the engagement, a final reconciliation seeming rather slight in comparison.

Which means that the Cole Porter music and lyrics are what is important. The central song is So in Love, sung by both leads. The actress playing the younger sister, Bianca, has the showstopper of Faithful in my Fashion. The lead has The life I Lately Led. The actress has I Hate Men. And there is the jaunty introduction to the play on tour, We open in Venice…

But, as in the film, so much of the show is stolen by the two supporting actors playing the gangsters who have to keep an eye on the lead because one of the lesser actors has signed his name for a betting loan. They have their guns, create some mayhem on stage and behind the scenes but, ultimately, have their song, Brush Up your Shakespeare, with its jaunty tune, its amusing lyrics and plays on Shakespeare’s titles and characters (and rhymes), even getting the audience to join in.

Kiss Me, Kate has its high moments and its rather more ordinary moments, so, something of a mixed classic.

A PERFECTLY NORMAL FAMILY

Denmark, 2020, 97 minutes, Colour.

Kaya Toft Loholt, Mikkel Boe Folsgaard, Rigmor Ranthe.

Directed by Malou Reymann.

With this title, and its tone, audience will expect that we are not going to be looking at this perfectly normal family. This is a Danish film, dramatising gender transition. (And remembering that Denmark was the location for the 1953 celebrated case of transition, Christine Jorgensen).

At first, the family seems perfectly ordinary, mother, father, older daughter, younger daughter, and seeing them together, the little girl playing football with her father support, a family gathering. Then, the announcement that Thomas the father has already begun transition and his wife has asked for divorce.

While the film does give some attention to Thomas and his transition to Agnete hormone treatment et cetera in Denmark, going to Thailand for the final surgery, returning, email appearance, style, manner.

The focus of the film is on the effect of the transition on the two children, especially the younger daughter. She switches in moods and attitudes towards love for her dad, upset at the change and the consequences for the family. There is an effect on the older daughter who seems to be more accepting. The key scene is the older daughter’s confirmation where everybody gathers, speeches are made, acknowledgement of Agnete, the younger daughter making a speech and the two sisters embracing.

There is a further complication when Agnete decides to take up a position in London, the two daughters most unwilling but finally capitulating and some sequences of their visit to London and sightseeing with their dad.

Those interested in the transgender issues, a strong talking point. For those against transgender issues, and during the early 2020s, quite some resistance, for example in the US, providing more ammunition for their cause.

1. The title, the focus on the family, ordinary, the change, the consequences?
2. Danish society, issues of transgender, acceptability, public opinion? The director from Holland?
3. Ordinary society, homes, school, football matches, outings? The musical score?
4. The father, Thomas, the marriage, relationship with his wife, the two daughters, their ages, his bond with Emma and her football? Jovial? The mother, in the background? The meal, her announcement about the divorce, the instant reactions?
5. Thomas and his story, the long sense of being female, his marriage and children, still being dad, but consultation, therapy, hormone treatment, the change, the meetings, the family with the therapist, the upsets, his going to Thailand, the surgery, his coming back?
6. Thomaas becoming Agnete, the name, his appearance, clothes, female manner, with the children, in going out, social, the future?
7. The repercussions for the two daughters, Caroline, her age, more accepting? Emma, her age, trying to comprehend? The ups and downs of the relationship? The issues of living with each parent? The holiday, sharing the enjoyment, Emma and her ups and downs, acknowledging Agnete or not? The other families, the table, the comments about the resembling their mother…?
8. At home, the situations, the football, Emma at school, the gossip of the children, the taunts, her reactions? Caroline, building up to the confirmation, the celebration, everybody present, her grandfather’s speech, reference to his son-in-law, the song, Emma and her speech, Caroline happy, the mother happy?
9. Emma and her ups and downs, relying on her ups and downs?
10. Agnete, deciding to move to London for the job, the reactions of the children, Emma and her demands, Caroline and her demands? Agnete and her explanation, the promises?
11. The upbeat ending, the visits to London, the tourism? The future of this perfectly normal family?

JESUS CAMP

US, 2006, 87 minutes, Colour.

Directed by Heidi Ewing, Rachel Grady.

The documentary which won many awards and was nominated for an Oscar for Best Documentary.

In its time, it was a focus on evangelical Christians and their mission to reclaim America. It was made during the second term of George W Bush as president.

The completed film was shown to the evangelicals who approved its content and style and its being seen. The director spent a lot of time at some evangelical conventions and, especially, at a summer camp for youngsters, primary school age generally, in Missouri. There is also a sequence in a huge evangelical church gathering in Colorado Springs led by its minister, Ted Haggard.

The directors also included interviews with a Christian radio broadcaster, Mike Papantonio, and at his desk and microphone, taking calls, especially in the latter part from Becky Fisher, one of the main leaders in her own church and at the Jesus Camp. However, he is very critical of what he considers the extremes of these evangelists, their indoctrination of the children, the effects of this kind of “brainwashing” on them and their future. It is interesting that the approved the film including the Papantonio sequences and commentary.

Blog comments on the Internet movie database are with consulting. Almost 100% they are in favour of Mike Antonio and his critique, the acting strongly to the indoctrination of the children, many naming it as abuse.

Becky Fisher is enthusiastic, speaks to camera, as a vision of the United States is a country loyal to Jesus Christ. She is very enthusiastic, rising up the children, their responding eagerly to her as well as to some others her assistance, especially one, looking somewhat sinister one might think, engaging with the children, talking about the unborn child, little packets of miniature foetuses, class of the children, rousing them to be Crusaders for pro-life.

The film also focuses on three young children, Levi, Rachel, Tori. Levi, son of a Minister, is extraordinarily confident, his uninhibited in his being photographed, in his being interviewed, in his declarations and enthusiasm. Rachel is the same. Tori, also convinced, is more involved in dancing and music in the evangelical context.

The film shows the intensity of some of the sessions, the enthusiasm aroused by Becky Fisher, her getting them to pray, silence, then charismatic, speaking in tongues, leading to a great deal of emotion and, especially, weeping, some religious frenzy. And, many of the children out there with their parents who encourage them to respond fully to the evangelists.

Depending on one’s point of view, once religious convictions and practice, the response to the film will be enthusiasm for these are most people, their strong beliefs, their spirit of crusading, their slogans of fighting, some of the dance routines which highlight weapons and martial attitudes. But, as indicated by the end IMDb responders, the sequences are frightening, especially where a cardboard cutout of the Pres is introduced, is made out to be the equivalent of a St and crusading leader, and the children regarding him like this.

And, there is some speculation as to what the children will be like in time to come. Googling Levi and Jesus camp, there is an interview with documentary filmmaker, Morgan Spurlock, five years after the events of Jesus Camp.

Viewing the film almost 20 years later, especially in the aftermath of the re-election of Donald Trump, the film is even more frightening. These youngsters of 2006 grew up to be among the cohort of voters for Donald Trump in 2024.

For audiences watching the film in the aftermath of the 2024 elections, and realising how much of the film was prophetic, recommendation would be to watch the films of documentary filmmaker, Don Parker and. He made to documentaries on Donald Trump himself, a critique for the 2020 elections, a critique for the 2024 elections, the first with the word And fit in the title, the second with the word And truth in the title.

But, particularly relevant to Jesus Camp is his second film in this trilogy, 2023, entitled God and country. It is in the vein of Jesus Camp except that it is highly critical of the evangelicals, the reclaiming of America by this kind of Christianity and the endorsement of the MAGA saved by Donald Trump. In God and Country, there are many interviews with these extreme evangelical Christians, and scenes of them praying and proclaiming in the attack on the Capital on generally the sixth 2021.

Jesus camp made an impact in its time, and is still frighteningly relevant.

BLOOD QUANTUM

US, 2019, 98 minutes, Colour.

Michael Greyeyes, Elle Maija Tailfeathers, Forest Goodluck, Kiowa Gordon, Gary Farmer.

Directed by Jeff Barnaby.

This is another zombie film using all the conventions of zombie horror. And there is an indication in the title, the focus on blood.

However, it is a zombie film with a difference. A Canadian production. And the focus is on a Native American community.

The first part of the film establishes the community and the variety of characters, there is the father, fishing, cutting the salmon, and the salmon coming alive, his putting them in a box, then the visit of his son, the sheriff, and the salmon moving again. The character of this sheriff is strong, picking up calls, the rabid dog and shooting it, then finding it in the trunk of his car. There is also the relationship with his ex-wife, communicating with her, the introduction to the two boys, one on the bridge and tormenting drivers, the other surly and in jail. With this setting, there is a visit to a house, and a man berserk, violence, and biting the characters. He is a zombie.

Then the action moves forward six months.

There is the expected tension with a community affected by zombies. But, here is the difference with this story. The Native Americans are immune from the zombies while they can suffer pain inflicted by humans. The community is in chaos, the sheriff trying to keep order, helped by his father, one of his sons with his pregnant girlfriend, the other remaining surly.

Which means the latter part of the film shows a lot of the zombie horror, the non-Native Americans being infected, biting, confrontations, their being killed. In the meantime, there are many attacks on the Native Americans but their not dying.

Serious drama the end, the attempts to find a boat to escape the community, failures with the boats, the pregnant woman giving birth but her being infected and having to be killed, the survivors sailing away to an uncertain future.

The same, but different.

EMOH RUO

Australia, 1985, 93 minutes, Colour.

Joy Smithers, Martin Sacks, Philip Quast, Genevieve Mooey, Max Phipps, Jack Ellis, Bill Young.

Directed by Denny Lawrence.

Australians would know that the title of the film, Emoh Ruo, is Our Home spelt backwards. And, over the years, owning one’s own home is the Australian dream. (12 years later, one of the major film affirmations of Australians owning their own home despite difficulties were seen in the classic comedy, The Castle.)

The film opens with a family, parents and son, living on the coast, in a caravan park. The father is happy working on his motorboat. His wife is itching to move. And, there are the persuaders, especially with shonky deals.

When the move actually happens, the family finds themselves on the outer fringes of the city, difficult neighbours, the house not what they imagined. The husband begins to build a barbecue – which is the salvation of the family because when they decide to move out, the house literally collapses, but they move to the coast again and the barbecue takes off.  A successful business venture.

1. Australian comedy? The 1980s? Perennial?
2. The Australian family, realistic, satirical, foibles, gentle? Audiences identifying?
3. The Sydney settings, the beaches, the western suburbs, the city and authenticity, the coast? The interiors, caravan, new house? The musical score, variety, the songs? The title, Our Home in reverse, the Australian dream of the home, the heritage, the facts, tongue in cheek treatment, advertising, dealers, loans, aspirations, the effect?
4. The opening, Australia, Margaret, York, Tregado and the effect? Les and the ads? The effect on people?
5. Des and Terri, the Harper site, the caravan park, the family, oversee, the showers, the barbecue and the rain? The transition to the suburbs, the Jerry built house, the difficulties, furniture, the final collapse?
6. Des and Terri, the relationship, Des and the motorboat, his work, Terri and her aspirations? Jack, part of the family?
7. The pressure to buy a home, Sam Tregado and his pressures? Des, not wanting to move, the boat? Terri, wanting to move, the tension between them?
8. Des’s decision, selling the boat, the house, the move, the outer suburbs, difficulties with the neighbours?
9. The difficulty of settling in, not the Australian dream, difficulties between husband and wife, Des and his building the barbecue?
10. Moving to the happy ending, moving out of the house, the collapse, the saving of the family, and the prosperity with the new barbecue?

THE BUCKINGHAM MURDERS

India, 2024, 106 minutes, Colour.

Kareena Kapoor, Ash Tandon, Ranveer Brar Keith Allen, Prabhleen Sandhu, Manish Gandhi, Rahul Sidhu, Kapil Redekar.

Directed by Hansal Mehta.

This is an Indian production, financed, range of Indian actors led by one of the most famous actresses in India, Kareena Kapoor. It was filmed in England, using both English and Hindi – however, the Netflix release is complete Hindi dialogue.

The film opens with the shocking killing by a drug addict of people in the bowling alley, especially the young son of police Inspector, Jass Bamhra, played by Kapoor. Devastated, she transfers to the police department in High Wycombe and is immediately asked to participate in the investigation of the murdered 10-year-old boy.

This means that the film works as police investigation, a great deal of screenplay attention to the police precinct, the variety of perso the nnel, their interactions, the methods, the uncovering of the truth. It also means that the film works as a murder mystery. And, quite a number of twists in merge and, for most audiences, the ultimate villain will be more than a surprise.

The film explores tensions between migrants to the UK from the subcontinent, the range of different cultures and religion, Hindu, Sikh, Muslim.

Jass remains deadly serious throughout, a touch of relief as she remembers happy times with her son. She is also aggressive, having punched the killer at the opening of the film, and also attacking one of her fellow officers who is very prickly in his work with her. He is also shown at the bedside of his sister, hospitalised with severe drug overdose.

There is the focus on the family of the dead boy, his being adopted, the difficulties of his father and antagonism towards a former partner. There is the put upon mother.

Eventually, a suspect is arrested, interrogated, a confession. But, Jass is not satisfied and pursues her investigation, uncovering quite a number of further complications raising issues of drug deals, boys used as couriers, disapproving of homosexual relationships…

And, there is a surprise conclusion to the resolving of the mystery.

1. An Indian production, filmed in England, Hindi and English (Hindi with English subtitles for Netflix)?
2. The title, police procedural film, murder mystery? Expectations of police work, detection? Murder mystery, victim, possible suspects, plot twists, unexpected guilty?
3. The background of race riots in Leicester and other cities, racial issues? Again pervading the film? Migrants from the subcontinent, Hindu,Sikh, Muslim?
4. The opening, the intensity of the shooting, the bowling alley, the glint in the eye of the killer, the victims? In court, suit and tie, addict, his self pitying plea that he was ignored, his anger, shooting?
5. Jass Bamhra, in court, serious, the death of her son, the verdict, her physically attacking the killer? Her grief, flashbacks throughout the film, the grief and anger pervading the film, her work as a detective?
6. Her relationship with her father, the conversation about her maturity when young, her father regretting she didn’t have a childhood, the death of her mother? Her abilities, joining the police? Her decision for a transfer, a lesser rank? Her going to High Wycombe?
7. Her arrival, Miller in charge, the assignment, the murder of a boy, her wanting out, later demanding in? The other members of the force, Hardy and his working with her, the multiracial staff, black, white, men, women?
8. The search for the boy, everyone in the park, his eventually being found, in the car? His parents, their situation, the father and his collaboration in the business, religious differences, losing customers, atmosphere of feud? Sikh? Antagonism towards Muslims? The later confrontations in the street? His wife, quiet, sad, put upon? The later interviews, his self-assertion, the revelation of his affair and meetings, that he was violent towards his wife, son as adopted, age, insurance policy and its being blocked? Suspicions on him despite his protestations?
9. The finding of the body, the autopsy, DNA and prints? Leads?
10. Hardy, confrontation with Saquib, under suspicion, drugs and addiction, his age, his mother being protective, his father and the partnership in business and the consequences?
11. Saquib, the interrogations, surly? His friendship with Nadem, his statement and his story, the murdered boy, the drugs, dispute about the payment, so keep and his anger, drowning the boy, the body, the car? Hardy and his harshness, the background of his sister, addiction, in the hospital, vegetable state, his visits, motivations?
12. Jass, serious, stern demeanour, the clashes with Hardy, her punching him, transferred to desk work, off the case? Yet her persistence in investigation? Her interview with the parents after the finding of the body?
13. Nadem and his arrest, fear for his father, his version of the story?
14. Her continued suspicions, about Saquib, getting Miller’s permission to have 10 minutes with him, his surliness, and breaking down his resistance, the twist in the plot, the homosexual relationship between Saquib and Nadem, the kiss, the swimming, their keeping it quiet, family, Nadem and his father the imam?
15. Further developments, the Sikhk household, the two brothers, four years in prison, the almost death of Hardy’s sister, his doing the social media programs warning people against drugs? His younger brother, the visualising of his over attention to the wife? The husband, returning, hearing the young man with his wife, attacking him, bashing him to death?
16. The suspicions on Hardy, his setting up of Nadem, Nadem’s phone call, in the car, Jass and Miller following, the revelation of the truth about the body, Hardy and the setup, his killing himself?
17. The further investigations, interviewing the girlfriend of the husband, the business deals?
18. Jass, suspicions, to the airport, the confrontation with the wife, the interrogation, the flashbacks, the different interpretation of her behaviour, her resentments about the boy, her husband, the relationship with the young man, her using him, the flashback to his drowning the boy and leaving him?

Audience interest in the complexities of the plot, social, religious and cultural differences, business differences? The nature of the police detection? The murder mystery, the different involvements? The solution, unexpected?

RASPUTIN AND THE EMPRESS

US, 1932, 121 minutes, Black and white.

John Barrymore, Ethel Barrymore, Lionel Barrymore, Ralph Morgan, Tad Alexander, Diana Wynyard, Edward Arnold.

Directed by Richard Boleslawski,

Rasputin, often referred to as the Mad Monk, has a singular place in 20^th century Russian history. He had great notoriety, his place in Russian society, his influence at the Royal Court, the devotion of the czarina, his helping the haemophiliac son, his infiltrating himself into the very life of Russia, the court, in politics, mesmerising some, alienating others, a profligate life, finances and political blackmail…

And, the conflict leading to a confrontation, the attempts to kill him, his resistance to dying, but, ultimately, his death. And his living on in the popular imagination.

Already in 1932 there was a German film about him and this MGM production, lavish in its way, sets and decor and costumes, starring the three members of Broadway’s “Royal Family”, John, Athol and Lionel Barrymore, enhanced the Rasputin stories. Later films included Christopher Lee as Rasputin, the Mad Monk, and Alan Rickman, striking in the film, simply called Rasputin.

John Barrymore has the heroic role rather than the villainous role as the Prince who finally confronts Rasputin. Ethel Barrymore is the czarina. But it is Lionel Barrymore who is centre stage as Rasputin, and full stops out for the performance and the style of histrionics.

There are interesting supporting roles for Ralph Morgan is the Czar and Edward Arnold as the consulting doctor, especially for the young prince and his haemophilia.

MGM was involved in a court case concerning the presentation of a Princess, her devotion to Rasputin, an alleged rape and its consequences. The film's inaccurate portrayal of Prince Felix Yusupov and his wife Princess Irina (renamed "Prince Chegodieff" and "Princess Natasha") resulted in a historically significant lawsuit against MGM and gave rise to the "all persons fictitious disclaimer", which has since become standard in Hollywood works of fiction.

1. The fascination of Rasputin in Russian history, his career, reputation, his representations in so many films?
2. The reputation of the Barrymore’s, the only film that they appeared in together, but not so many sequences together?
3. The black-and-white photography, the recreation of the period, costumes and décor, sets? Musical background? Silent sequences?
4. Audience knowledge of Rasputin in the last days of the Czars? The 1900s, World War I, the imminent Bolshevik revolution, the execution of the Royal family?
5. The atmosphere of the Royal family, the Palace, pomp and lifestyle? The Czar and his character, leadership? The Czarina, her strength of character, devotion to her children? The young prince, his haemophilia? Prince Paul and his principles, his wife? The film establishing all these characters and their interactions?
6. The presence of Rasputin, his background, religious, fanatical, his appearance, his powers, the hypnotising of the young prince, the Prince in his power, his haemophilia? The Czarina and her gratitude? His presence in the court?
7. Prince Paul, his stance, principles, opposition to Rasputin? His wife and her devotion, support? The interactions, Rasputin and his schemes, Paul and the confrontations? The ultimate buildup, the dinner, Rasputin and his powers, the poison, the guns, the river?
8. The portrait of Rasputin, his mental state, his mesmerising powers, gaining dependence? Political influence and presence? Financial issues? Gaining power, information, blackmailing?
9. The drama of the Princess and her support, the question of her relationship and the rape in real life, the insertion of a sequence, the court case and this sequence excised?
10. As an example of MGM style and filmmaking in the early years of sound?

KLITSCHKO: MORE THAN A FIGHT

UK/Germany, 2023, 96 minutes, Colour.

Directed by Kevin Macdonald.

Kevin Macdonald is a longtime British director, Oscar-winning for documentary, the film about the Munich Olympic Games assassinations, One Day in September (2000) but also the director of feature films including The Last King of Scotland.

His focus this time is on the celebrated Ukrainian personality, Detailing Klitschko. The longtime Mayor of Ukrainian capital, Kyiv, since 2014 and continuing during the war with Russia. Which means that the film is interesting for audiences who want to know something more detailed about Ukraine and its experience of the Russian invasion.

However, the significant aspect of his early life is that he was a champion boxer, in Ukraine, but, internationally, in Germany and winning titles in the United States. This film covers a great deal of his boxing background, inserts from footage from the period. Also significant is his brother, Wladimir, also a champion boxer, the two having made names for themselves, especially in the 2000s. Which means the film is of great interest for boxing fans.

The film also fills in the background of their father, strong in the Communist ideology, opposed to the west. But, his becoming a victim of radiation  the disaster at Chernobyl. With the fall of the Soviet Empire, the next generation was far more open to the west.

As a personality, Vitaly Klitschko is larger than life, literally in height and weight. In the film highlights his screen presence, offering a whole range of episodes where he meets people, read and listen is, but also some challenges. This is particularly the case after the Russian invasion and its effect on the population of Kyiv.

There is some counterbalance as well as complimentary attitudes towards Klitschko and his personality, the film interspersed with interviews from his children, admiringly, and his ex-wife supportive but also insightful about their relationship and his personality.

A surprising perspective is the interactions between Klitschko President Zelenskyy. When Zelenskyy was a popular comedian, he did imitations and taunts of Klitzschko, especially moments when Klitzschko was comparatively inarticulate and awkward. With the invasion and Zelenskyy’s presidency, there is still a personality clash, Zelenskyy thinking Klitzschko is just a popular and populist leader, while Klitzschko considers Zelenskyy as wanting to centralise power for himself.

McDonald gives enough material to help audiences appreciate this difference – though, it does sometimes seems slanted against the Zelenskyy.

With a documentary being released during the war with Russia and the uncertainty of the outcome, this film will be interesting to watch and reflect on after the conflict between Ukraine and Russia is resolved, whether it be peace and some autonomy for Ukraine, or Russian dominance.