Displaying items by tag: Peter Malone's Movie Reviews

THE PACT/ PAGTEN

Denmark, 2021, 117 minutes, Colour.

Birthe Neumann, Simon Bennebjerg, Nanna Skaarup Voss, Asta August, Anders Heinrichsen, Marie Mondrup.

Directed by Bille August.

A pact can signify some arrangement for peace. There can also be Faustian overtones, a pact with the devil. This film emphasises the latter.

The central character is Karen Blixen (Isak Dinesen her pen name), Danish, living in Africa, writing about Africa, her book, Out of Africa very well known from the Oscar-winning film by Sidney Pollack, 1985. She was also the author of another Oscar-winning film story, Babette’s feast.

This film is directed by veteran Danish director, Bille  August, noted for such films as: Pelle the Conqueror, House of the Spirits, Best Intentions, Les Miserables.

This is the story of a young poet a talented writer, married with a young child, possibilities for future success. He is played by Simon Bennebjerg (who was convincing as a violently smug villain in The Promised Land). He is taken up by Karen Blixen, now returned from Africa, unwell, moving in a literary set, but wanting to become a patron of a successful writer. She proposes an arrangement whereby she finances him, gives him opportunity is one for writing. She calls it a pact and requires absolute mutual trust. Complications arise because of his love for his wife and small child. The Baroness also manipulates his absences from his wife whom she dislikes. She also arranges for him to go to study in Bonn, setting up a possible affair with the author and one of her friends.

Birth e Neumann is powerful as the Baroness. She is self-absorbed, has a certain ruthlessness, enjoys exercising her domination of the author.

This is a strong Danish story but also a story about writing and creativity, patronage, and manipulation and mutual dependency.

1. Audience knowledge of Karen Blixen, about Africa, her life, relationship, writings?
2. The title, the young writer, his being chosen by the Baroness, the patronage, her control, the pact and its terms, her need, the effect on the author, on his wife? Growing sinister? Faustian?
3. The character of Karen Blixen, the references to the past, her experience of Africa, Out of Africa, its success, her relationship with Dennis, pilot, love, his death? Her writings? Retirement home, affluence, lifestyle, her friends, the art world, hosting dinners? Age, health?
4. The introduction to Thorkild, his age, relationship with his wife, the baby? His writing, poetry? Some acclaim? The encounter with the Baroness, being floated, her circle, Benedicte and Knud? Benedicte allegedly reading the manuscript and recommending it? His not being comfortable in this circle? Riding his bike?
5. The impact of the mansion, the facade, the grounds, interiors? Riding his bike? The contrast with his ordinary home and street?
6. The pact, the Baroness and her intentions, her needs, power, the touch of Svengali? Thorkild, his response, being flattered, the temptation, the conditions, the demand for mutual trust? His wife and her hesitation? His having to go to live with the Baroness, seclusion, his writing? In fact his succeeding? Writing better, the Baroness and her response? The meals, his wife coming to the meals, the Baroness, some friendliness, yet disdain?
7. The Baroness’s companion, her influence, presence?
8. The Baroness, the greater control, her vision for his life, without his wife, her keeping him down? The advice to have an affair? The desire to move him, opportunities, going to Bonn, discussing with his wife, his going, the communications, the Baroness sending Benedicte? The company, touring together, talking, the sexual encounter, the consequences? Benedicte, her relationship with Knud, the break, her eventually going to England?
9. Thorkild, his return, the tensions with his wife, the injury, hospital, recovery?
10. The Baroness, the effect of her control, her protégé, amoral/immoral? Taking the role of the devil in the Faustian pact? Her health, the aftermath?
11. Thorkild, his success in writing, being tempted, the effect of the pact, it is yearning for wife and child? A final resolution?

COMMITMENT HASAN

Turkey, 2021, 147 minutes, Colour.

Umutt Karadag, Filiz Bozok.

Directed by Semih Kaplanoglu.

Here is a film which takes its audience into contemporary Turkey.

On the one hand, it a film about the Turkish countryside, farmers, crops, the weather, business, successes and failures. There is also the prospect of government intervention, the erecting of towers on properties for power lines, protests, manipulations, deals.

On the other hand, there are many implications of the film about life and political life in Turkey, the influence of government, the bureaucracies, the banks and loans, deals behind the scenes.

At the centre is a farmer, his wife with whom he eloped long since, his daughters away studying, the confrontation with the authorities about the building of the tower, his help with the judge and a garden to get favourable results, interactions with bankers, discussions with the neighbour and the prospect of buying his land. His wife is seen also driving hard bargains especially with the woman who has done embroidery for her and is rejected because of the wrong colour.

There is also a religious background to the story, the application by the couple years earlier for the possibility of being selected to make the Haj and finding that they have been chosen, the preparations, financial issues, and the wife wanting her husband to be morally prepared for the pilgrimage and to confront his alienated brother and other people with whom he had financial dealings.

Strong impact for the home audience – a film for international audiences to observe, to enter into this Turkish atmosphere.

1. The work of the director? In Turkey? Worldwide? Turkish social issues?
2. The title, the focus on Hasan, his background, the farm and produce, inherited, his father, the clashes with his brother and the partition of the property, eloping, relation with his wife, his children, the daughters away in their studies, the boys at home? The workers on his property? The setting for the conflicts?

3. The setting, the land, conditions, storms, drought, wins? The crops? The workers and the gathering of the crops, salesmen arriving, contracts, bargaining? The issue of the tower to be built, on his land, his objections, the agent and the discussions in the field, the possibility of moving 100 m, to less fertile land, his going to the office, disregarded, going to the judge, the discussions, the proposition, supplying the judge with plans for his garden, the office, change of decision, the building of the tower, his not telling his wife?
4. Hasan as a businessman, his wife telling him about the failure of the land nearby, his discussion with the banker, getting the information, the costs? Going to visit the owner, his failure, manipulating the conversation, the farmer asking Hasan to buy his land, the deal? The later return of the bank man, Hasan rejecting him?
5. The choice to go on the Haj, his wife’s ambitions, the costs, Hasan and the agent, the discussions, having to go, the discussions about costs with his wife, her discussion about the elopement, not studying, not having her own money? And his not giving her full information about his accounts? The banker offering the credit card, joint?
6. The wife, the tough stances, the old woman bringing the cloth for the gift, the wife saying she wanted a blue border, the bargaining, the old lady returning the money and taking the cloth? Her urging her husband to be ready for the Haj, his going to the bootmaker, paying the debt but receiving a gift? Her urging him to reconcile with his brother, going to the worker, the argument? Finding his brother, his brother and his memory gone, his wife, the brother mistaking who he was, going out into the land, Hasan following him – and the end of the film?
7. A portrait of contemporary Turkey, the farming community, the town, religious dimensions, political dimensions, finances, deals? Farms, crops? And issues of pertinent personal integrity in this context?

STOCKHOLM

Canada, US, Sweden, 2024, 92 minutes, Colour.

Ethan Hawke, Noomi Rapace, Mark Strong, Christopher Heyerdahl, Bea Santos, Mark Rendall, Ian Matthews, John Ralston.

Directed by Robert Budreau.

Since the 1970s the phrase, Stockholm Syndrome, has been increasingly used to cover the situation where hostages, captives, begin to feel that they are being treated well by their captors and tend to identify with them rather than their rescuers. At the time, one of the prime examples was the abduction of heiress, Patty Hearst.

This film, filmed in Stockholm itself, tells the story (both more and less) of the episode which was the basis for the Stockholm Syndrome.

Ethan Hawke gives a strong performance as Lars, the prisoner, disguising himself in order to hold up a bank. He is definitely a wild card, erratic behaviour in the bank, and with the various personnel. And, his demand is that his friend, in prison, be released. Unexpectedly, he is played by Mark Strong. The police expect him to act as something of a mediator.

And there is the exasperated chief interrupted at a photo shoot and persuaded that the situation at the bank is very serious, some of the mediators, using a gun, creating tension.

Ultimately, there are three hostages, led by Swedish actress from the Stig Larsson Girl series, Noomi Rapace, a bank teller, married with a child, the opposite of many of her roles. There is another teller as well as a man who is found and taken hostage.

The drama shows the interactions between the two men, the treatment of the women, the softening of their attitudes, their actual collaboration in setting up deceptions for the police. The police also try microphones, drilling through the roof, the insertion of gas.

Lars finishes up back in jail, a visit from his hostage and her reflections on her experience, and the beginning of the status of the Stockholm Syndrome.

1. The title, the city, the bank, the vistas of the city? The bank heist? The origins of the Stockholm Syndrome?
2. The introduction, the use of the word absurd, serious and comic, extreme? Based on a true story?
3. The Bob Dylan songs and lies and his urging the singing?
4. The introduction to Lars, his behaviour, his disguise, the wig, the bag, weaponry, to the bank, the proclamation of the robbery, his manic behaviour, the reaction of the staff, ushering them out, his declarations, meeting the manager, Bianca, alerting the police, his taking the two women? The police, his demanding that his friend be released from jail? Waiting?
5. The reaction of the police, the absurd touch with the photo and the delay, the hurry to the bank, the associates, the associate with the gun and Lars shooting? The demands, the strategies?
6. The two women, their fears, finding the other man and his becoming a hostage? The hostage situation? Lars and his interaction with the hostages, the discussions with Bianca, her reaction, his allowing her to phone her husband, the relationship, her children?
7. The arrival of Gunnar, the background, the friendship, Lars and his disguise, the conversation, Gunnar supposed to be a mediator, his bond with Lars, the plains, the escape, the car? The threat to the hostages?
8. The role of the police, the discussions, strategies, confrontations, the plan with the car, the gun and the shooting of Bianca, the plan for her being shot, the jacket? Continuing the deceit?
9. The dangers, the bonding, the cooperation of the women after the fear, in the vault? Discussions, time passing, playing cards…? Bianca and her reactions, change of attitude, Lars, the bonding, the kiss, more?
10. The attempts to talk with the Prime Minister, his delay, the media outside, the interviews, the police watching the television interviews, Lars and the group listening to the radio?
11. Building up to the deception, the demand for food, medication? The Chief arriving with the bag? The decision to drill through the roof? The microphone? The gas? The group getting out, in the car, the shooting of the tyre? The return to the bank?
12. The chief, thinking that Bianca was alive, the gas, the opening of the vault, the rescue? The video that Bianca was alive? Her husband and children watching?
13. The confrontation between Gunnar and Lars, shooting? Fight?
14. The end, Lars in jail, the visit from Bianca? The voice-over, the teaser at the opening of the film, her comment about her husband, the relationship with Lars?
15. The development of the Stockholm Syndrome, captives identifying with the characters rather than the rescuers?

THE CONFESSIONS OF FELIX KRULL/ Bekenntnisse des Hochstaplers Felix Krull

Germany, 2021, 114 minutes, Colour.

Jannis Niewohner, David Kross, Liv Lisa Fries, Nicholas Ofczarek, Maria Furtwangler, Joachim Krol.

Directed by Detlev Buck.

This is another version of the novel by celebrated author, Thomas Mann. Several times filmed, especially in a version starring Horst Buchholz, the title here emphasises not just the name of Felix Krull but the indication that he is a conman.

The initial setting is Paris, 1900, scenes of the streets, scenes of the restaurants, apartments, a great deal of atmosphere. While the film’s framework is in the present, there are a number of flashbacks, especially to Felix and his childhood, the influence of his father, his ambitions, his relationship with the Zaza, his manipulating of his stepfather for a recommendation to go to work in a Paris restaurant, his presumptions on arrival, being put in his place, domination of the staff taking a percentage of earnings.

The film shows Felix, now named Armand at the hotel, at first somewhat naive, then adapting to the situation, and then learning to exploit it. And Zaza comes to Paris, more complications.

Jannis Niewohner is very effective as Felix. Popular actor, David Kross, plays a wealthy young man who becomes a target of manipulation by Felix and Zaza. Zaza is played by Liv Lisa Fries (contrasting rules as Freud’s daughter in Freud’s Last Session and strongly in the World War II film, From Hilde With Love.)

Ultimately, there are more situations to be faced. The wealthy young man will be disinherited if he marries Zaza. He and Felix were to change roles? And what would be Zaza’s actual decision even with her love for Felix?

Which means that this film is a lavish period piece, a portrait of a conman who is not entirely unsympathetic, the setting up of a moral dilemma and its consequences.

1. Novel, Thomas Mann as author? The different versions over the decades? 21^st-century version?
2. The title, the emphasis on the confessions, the focus on Felix, the title indicating his role as a conman?
3. Paris, the 1900 settings, the visuals, costumes and decor, the boulevards, the hotels, facades, lavish interiors, elevator, rooms, servants’ quarters? The resort sequences? Portugal, the tennis, the audience with the king? The musical score?
4. The structure of the film, the focus on Felix, dressing, the coin for the young begging child, the hotel, his work, his status, the relationship with Zaza, the meeting with Louis, the framework of the conversation at the hotel, waiting for Zaza? The insertion of the range of flashbacks, Felix as a child, his father, lavish lifestyle, poor fInancial management, his wife, the godfather present, the creditors, his killing himself? His advice to his son? The episode at the meal, Felix as Hamlet, revenge, the parallel with his mother and godfather, his blackmailing his godfather, the money, the letter of recommendation to Paris, his leaving?
5. His military service, the rehearsing with Zaza about his possible epilepsy, going to the interview, the man feigning epilepsy, Felix and his different approach, provider, incessant talk, overwhelming the interviewers, his being declared not fit?
6. The conversation with Louis, the further flashbacks, the meeting with the Zaza, her background, available, the use of con tricks, the relationship between the two? Felix going to Paris, her later following him there, the relationship, the affair? Her wanting money? The attachment to Louis? Fostered by Felix? The night for Zaza to meet with Louis, Felix detaining him with the conversation?
7. The flashbacks to Felix at the hotel, letter recommendation, his confidence, at the main desk, relegated to the servants’ quarters, the encounter with Stanko, money issues, the others in subservience, the threats of being fired, the collusion between Stanko and the other managers?
8. Felix becoming Armand, the lift, the encounter with Madame Houpfle, style, arrogance, her husband and the production of toilets, humiliating Armand, carrying the shopping, closing the door, the sexual encounter, the delay, the jewellery, handing over the money, taking the jewellery to the cellar, the handling, Felix asserting himself, stealing the jewellery, the money for Stanko? The continued relationship? Style of the hotel?
9. Felix/Armand and the other guests, the Scottish lord, the offer, to be his heir, his conscience, refusing the offer? Eleanor Twentyman, her chaperone, the attraction, attempted seduction, Felix and his conscience? The denunciation of Stanko and his dismissal?
10. The relationship with Zaza, intensity? Her activity in the hotel, Stanko and his threats?
11. Louis, rich, an effete manner, at the hotel, tone of superiority, the encounter with Zaza, infatuation, wanting to marry her, his father’s forbidding it, wanting her and his money? Felix engaging in conversation, the revelation of his character?
12. The development of the proposal, Felix going in Louis’ stead, Louis and the money, going away with Zaza? The details? In the train, the encounter with his father? The financial arrangements, Felix becoming Louis? The tickets and the travel? Zaza and her hesitation, Louis realising her position, his love for both, her decision to go with Louis?
13. Felix, the encounter with the professor, the professor and his science and metaphysics, the serious tone of the dialogue, Felix and the encounter with the professor on the train, his identity and genealogy, the visit to Lisbon, the tennis, the daughter’s attraction, the invitation from the King, Felix and his bravado about his appearance, the past meetings, the king persuaded?
14. Felix, assuming persona, his skill as a conman, his experiences, his future?

YOU GET ME

US, 2017, 89 minutes, Colour.

Bella Thorne, Halston Sage, Taylor John Smith, Nash Grier.

Directed by Brent Bonacorso.

This is a film about sexual obsessions and madness. It is fair to say that it has been seen many times. So many films with obsession in the title as well as “Fatal…”. Quite clearly this is another Fatal Attraction and a commentator remarking that he was waiting for the “boiled bunny” sequence.

But, this is fatal attraction amongst teenagers. Which means that it may be of interest to younger audiences who have not seen this familiar story so many versions. For older audiences, not recommended.

The familiar conventions are here, the focus on the male, good-looking, competent, pleasant at home with his little sister, his girlfriend. But, while it might have been credible on paper, his behaviour when he discovers that a party that she is not a virgin, it has such an effect on him that he becomes so morose, drinks, teams up with the femme fatale and then spends the night and the next day with her. Given his upright background, this does not make much sense.

He is played by Taylor John Smith who had significant moments in When the Crawdads Sing. The femme fatale is played by Bella Thorne, not unfamiliar with this kind of role. At first she is sympathetic, but only for a moment, then seductive, then possessive, the progress of madness, jealousy, targeting the hero’s girlfriend, making friends with her only to wreak vengeance on her, reactions to her mother even to killing her, the audience finding the truth about her past behaviour and identity, and then her targeting of the hero.

So, familiar material, no surprises, a questioning of the credibility of the central character and her madness, of the young man and his consistency in behaviour or not, and the puzzle about the title of who is you and who is me and who gets whom.

HALSTON

US, 2021, 5 X 45 minutes, 2021, Colour.

Ewan McGregor, Rebecca Dayan, David Pittu, Krysta Rodriguez, Gian Franco Rodriguez, Bill Pullman, Jason Kravitz, Mary Beth Pell, Rory Culkin, Kelly Bishop, Vera Famiga,  Sullivan Jones.

Directed by Daniel Minahan.

In 2019, there was a documentary on Halston, biography, a portrait, his impact in the fashion world, his downfall. Recommendation for those who have not seen either film, the documentary of this television series, is to watch the documentary first, an overall view of Halston, the person, his work, the drama of his life before looking at this dramatic interpretation, gauging the drama against the background of the more factual account.

This drama moves around in time, different emphases on Halston and his personality, his talent, his success, his business failures, the era of his highs, the era of his lows.

Attention is given to his family background, from the midwest, his emerging as a designer. The film does highlight his abilities, with fabric, cutting, the material draping, his designs and the range of his shows. For audiences interested in fashion, a great deal to look at. Particularly significant is the show at Versailles, his being pressurised by Eleanor Lambert, participating in the American show in Paris, snubbed by the French, acclaimed by the audience, the contribution by Halston’s close friend, Liza Minnelli (a strong performance and impersonation from Krysta Rodriguez).

Alston was preoccupied with his work, obsessed, working long hours, making demands on his associates, including a young designer, Joel Schumacher, who was later to become a significant Hollywood director. There were also the business difficulties, the dealings with David Mahoney (Bill Pullman) and Halston, sometimes arrogant, sometimes short-sighted, finding himself in financial positions, takeovers not to his liking. Ultimately, taken over by companies not interested in fashion, controlled by executives who did not understand fashion.

There was also Halston’s lifestyle, not so much emphasised in the documentary, his relationship with Ed who was to become a designer in the company, his prowling for partners and encountering Victor Hugo, would-be artist, a companion for many years, but ultimately tangled in disputes and financial deals. And, the link with Studio 54 and Steve Rubel.

Halston was not a likeable character, talented, obsessed, the series tracing his successful years and his being the victim of his own arrogance, his downfall.

1. Audience knowledge of Halston, his talent, fashion achievement, personal life?
2. The contrast between the documentary, the dramatising, personalities?
3. Ewan McGregor, his portrait of Halston? The supporting cast, being actual characters, especially Liza Minnelli?
4. Characters, drama, Halston and his relationship with his staffs, with the models, friendship with Liza Minnelli, Elsa Peretti and her jewellery, Eleanor Lambert and Versailles, David Mahoney and his wife?
5. Sexual orientation, the meeting with Ed in the bar, the relationship? Ed later working for him? On the prowl, the encounter with Victor Hugo, their time together, the attraction, the falling out, Studio 54, the financial confrontations?
6. His origins, ambitions, talent, his experience with fabrics, his eye, the cut and the draping of the material, Jackie Kennedy and the pillbox hat, women’s clothes and comfort, his working for Bergdorf-Goodman, the contracts, JC Penney?
7. The episode at Versailles, Eleanor Lambert and her insistence, relying on Liza Minnelli, the treatment by the French, the performance, the success and applause? Status of American fashion?
8. His personal life, relationships, tempestuous, his reliability, arrogance, expenses, the layout of his office, the luxury, the flowers, his extravagance? Alcohol and drugs and their toll?
9. The world of Studio 54, Steve Rubel, the guests, the behaviour, club, sexual? The arrest of Rubel? The issue of the design of the party, his being shunned?
10. Halston, business, David Mahoney, decisions, not considered, impetuous, regrets? Failure, the companies and their ignorance, overseers?
11. AIDS, his being silent about his having , AIDS San Francisco, his death?
12. His talent, overreaching himself, success, but also consequences?

LIKE MY BROTHER

Australia, 2024, 89 minutes, Colour.

Juliana Kerinalua, Arthurian Moreen, Freda Puruntatameri..

Directed by Sal Balharrie, Danielle MacLean.

With “Brother” in the title, this is obviously a film about the Sisters.

This is a genial documentary about young women from the Tiwi Islands, their love for Australian rules football, its becoming their passion, the opportunities for training, for playing, time in Melbourne…

The opening scenes remind audiences that Australian Rules football has been significant for indigenous players, families from the Northern Territory, Bathurst and Melville Islands, from Darwin. There are some scenes of play to excite the audiences.

However, we are introduced to 3 young women in 2018, their playing at home, their studies at the Tiwi College at Pickataramoor on Melville Island and the work with the teachers and tutors there. There is quite a deal of footage of them at play, the camera highlighting their skills, running, catching, kicking the ball, quick work with their fingers…

Since the action of the film takes place over five years, 2018-2023, the audience has the opportunity to get to know the young women, their personalities, their education skills, their playing skills, the place in the family (and especially warm interviews with genial grandmothers and the sadness of a funeral), their attachment to their communities, the homesickness during the months in Melbourne for training and playing.

The film serves very much as a promotion of the AFL W, not just in theory of equal opportunities for men and women in the code, but rather knowing and admiring the young women and their skills, hopeful for their future careers.

And, with Brendan Majors, Essendon coach, and the sequences in Essendon and The Hanger, this film will be a great favourite with Essendon supporters and the Essendon club.

While the film is strong in its promotion of the football code, it is also very strong in presenting the Tiwi people, memories of their traditions, their adaptation to 20^th and 21^st-century life and styles, the links to the land and the animals that form their totems, the homesickness when they are away from home. The film also notes the pregnancies of the young women, the care for their children, the older generation looking after the babies when the young women go south for their play, happiness for some who continue, a sadness for those who are not picked.

At the end, with a funeral ceremony, there is a scene of the Pukamani rituals, so strong on the Tiwi Islands, commemorating those who have died, but also a ritual ending of grief and the beginning of a new phase in affirming life.

This is a film definitely affirming life, affirming the role of indigenous women, welcoming the wider Australian audience to the women, their backgrounds, and their place in 21^st-century Australian society.

(The Missionaries of the Sacred Heart lived as missionaries with the Tiwi peoples on Bathurst and Melville Islands since 1911. And the Australian rules connection? The late Brother John Pye, MSC, OAM was an extraordinary man. Famed for bringing the game of football to the outlying parts of the Territory, he has a special place in the hearts of all football loving Territorians.

It was not long after arriving at the Bathurst Island Mission in 1942 that Brother Pye introduced Australian Rules Football to the Islanders. He used football as a means of promoting relations on the islands and regularly organised inter-community matches. Tiwi quickly took to the game and the first dedicated ground was built in Wurrumiyanga.

In 1951 Brother Pye was involved in the formation of St Mary’s Football Club and was the driving force behind the formation of the Tiwi Island Football League (TIFL) in 1969/70.

Affectionately described as ‘Mr Football’ Brother Pye’s vision, wisdom and leadership resonates today. It is impossible to say how many thousand of lives Brother John Pye touched by introducing football to the Tiwi Islands and other remote parts of the NT but by enshrining this wonderful man into the AFLNT Hall of Fame thousands more will know of this great man and his contribution to football in the Northern Territory.)

A CINDERELLA STORY

US, 2004, 95 minutes, Colour.

Hillary Duff, Chad Michael Murray, Jennifer Coolidge, Dan Byrd, Regina King, Lin Shaye, Mary Pat Gleason, Paul Rodriguez, Whip Hubley, Kevin Kilner, Simon Halberg.

Directed by Mark Rosman.

The Cinderella fairytale is about young adults, popular, well-known, so why not a transferr to the US, 21^st-century, families, schools, dances, Prom King’s and Queens?

This is also a star vehicle for Hillary Duff who had made an impression in the Lizzie Maguire Film, later to be a successful television series, her music videos, Disney appearances, further films… She won awards in 2004 (but also was awarded the Razzie acting).

2004 was actually the year of the release of the very successful Mean Girls. Here is another variation on the theme. Plenty of mean girls in this high school and quite a number of arrogant Jocks.

The film opens in fairytale land but it is the story that Sam is being read by her father (Whip Hubley). He encounters Fiona who has two daughters and marries her. But, an earthquake, Sam’s father dead, then being dominated as we expect, by her wicked stepmother and her obnoxious daughters. Part of the enjoyment of the film is the fact that the stepmother is being played by Jennifer Coolidge who had already established something of a reputation as Stifler’s Mom in the American Pie films. (20 years later she was still making an impression especially in the television series The White Lotus.) Jennifer Coolidge is able to play obnoxious characters and send herself up, plenty of opportunity to be the wicked stepmother.

Sam’s father left a diner which Fiona now manages where with Sam works. On the lookout for the fairy godmother, she is played by Regina King (later to win an Oscar for If Beale Street Could Talk). And there are some veterans like Paul Rodriguez and Mary Pat Gleason also on the staff there.

And Prince Charming? The local football star, Austin, played by Chad Michael Murray, being pressurised by his ambitious father for him to stay as a football star and work for his company.

Social media, Sam and Austin communicate anonymously through a chat room – which leads them to the dance, the possible revelation of identities, a lost mobile phone instead of a shoe, Austin seeking Cinderella, and the humiliation of her being exposed through the evil Mac nations of her stepsisters.

But, romance will out, Fiona concealing Sam’s entry to Princeton, but the true will found in the old fairy tale book and comeuppance for Fiona and her daughters.

Lots of references to contemporary culture, the Fast and the Furious…  enjoyable supporting eccentricity from Dan Byrd as Sam’s close friend and a young Simon Helberg as a very odd space preoccupied student.

1. The popularity of the Cinderella story, transferred to the American high school, 21^st-century?
2. The popularity Hillary Duff, Lizzie McGuire on screen and television?
3. The opening, the suggestions of the fairytale, the book, the transition to the US, the American town, the family, happy father and daughter, the earthquake, his death, the marriage to Fiona, her two daughters? Her inheriting everything? The later discovering of the wheel in the fairytale book? And her comeuppance?
4. Fiona, vanity, the daughters, Sam, growing up in servitude to Fiona and the sisters, their demands, Fiona and her vanity, the salmon diet, the girls in the pool, their behaviour? Time passing?
5. Sam, her age, at school, her friendship with Carter, his eccentricities, Shelby and the mean girls, Austen and his friends on the jocks? Their behaviour? Sam working at the diner, Rhonda and her friendship and support? The other members of the staff? The customers? Shelby and Austin and the rest is customers, their behaviour?
6. Sam, online, texting, the anonymity, the sharing of ideas and ideals?
7. Austin, his demanding father, expectations, football, Austen wanting his life? The domination of his father, at work?
8. The invitation to the dance, the preparations, stepdaughters preparing, Fiona making Sam work? Rhonda, like a fairy godmother, the dress, the mask, Carter as Zorro, at the dance, the infatuation? Her going to the spot at 11 o’clock? The eccentric student and his space preoccupation? Austin, the conversation, the walk, not revealing, the time, dropping the phone, the drive with Carter, Fiona and the daughters, the chase, the erratic driving? Sam behind the counter?
9. Austin, the notices, the search for Cinderella? Shelby, her attitude towards Austin, drinking, the episode with Carter, the next day…? Sam at school, Austen not recognising her?
10. His coming into the diner, Sam not telling him, Fiona intervening?
11. The sisters, spying on the computer, telling the disc jockey, the news around the school? The football match, her going with Carter? Her leaving? The football match, important for Austen, his father’s pressure, his leaving and following Sam? Everybody mocking her at the match?
12. The meeting, the reconciliation? The future? His father coming around?
13. Fiona concealing the letter of acceptance to Princeton? Dominating Sam? The discovery of the will, everybody walking out on Fiona? She and the daughters having to work?
14. 21^st-century happy ever after?

SALEM'S LOT

US, 2024, 170 minutes, Colour.

Lewis Pullman, Mackenzie Leigh, Jordan Preston Carter, Alfre Woodard, Bill Camp, John Benjamin Hickey, Spencer Treat Clark, Plou Asbaek, Alexander Ward, William Sadler.

Directed by Gary Dauberman.

Salem’s Lot is one of Stephen King’s earliest works. It has been filmed several times, most successfully for television.

Here is a 21^st-century version – which has not received the hoped-for acclaim.

It is a story of a town in Maine, Stephen King territory. There has been atmosphere, disturbing, in the town, and a writer returns to investigate his past. His played by Lewis Pullman. At the same time, a wealthy man buys a property and imports a large box – revealed to be the container for a vampire.

So, this is a vampire film, strikingly visual as regards the vampires but their behaviour resembling that of many zombie films.

The writer is attracted to a young woman in the estate agency, dominated by her mother who eventually turns out to be the servant of the vampire owner. There are sympathetic characters in the town, especially the school principal. The most sympathetic character is a young boy, Jordan Preston Carter being a strong screen presence. He is bullied, discovers, to his horror, that some of his young close friends who supported him have become vampires.

There are not so many surprises in the vampires taking over except the death of the young woman, so no ultimate romance. But the school principal is taken over – played by Bill Camp. On hand is the local doctor, very tough, played by Alfre Woodard.

One of the most interesting features is that the town streets are deserted, no cars, discovering them all at the drive-in, the zombies in the boot of the car, ready to emerge as soon as darkness falls. One of the best features is the young boy driving a car, knocking down the drive-in screen so that the sun burns up the emerging vampires.

However, there are some ultimate confrontation is very little of a happy ending.

1. A Stephen King novel? Previous film and television versions? 21^st-century interpretation?
2. Atmospheric horror, the mysterious removal at the opening, ominous sense, the box, is one, the dirt…? Setting the tone?
3. Salem’s Lot as a Maine town, atmosphere, small, homes, diner, schools…? The musical score?
4. The arrival of the visitor, renting the old house, the storing of the coffin? Mysterious?
5. The school, the boys, the bully, Mark, Danny and his friends, the second attack, Mark tripping him, the fight, the principal, breaking the fight, supportive of Mark? Mark and his family?
6. Ben, driving into town, his past story, growing up, parents killed in the crash? His career as a novelist? Looking for accommodation, Susan and the book, realisation of who he was? Later visiting him, the attraction, discussions, the scene at the drive-in? The sexual relationship? Her back story, her possessive mother?
7. Barlow and his background and dominance? Straker and his role in the town? The young boys, families? the range of town characters – and the preparation for them to be vampirised?
8. Ben, his presence in the town, interactions with people, memories of the past, Susan’s mother warning him off? His research?
9. The time, the dark, the manifestations of the vampires, their appearance, zombielike behaviour?
10. The taking of the town, the various confrontations, including Susan? The school principal, the caretaker, his intervention, his becoming a victim?
11. The doctor, her role in the town, tough, sceptical, becoming involved? Susan’s mother and antagonism?
12. The buildup to the climax, Mark and his interventions, his family? The other boys – and the scenes of their being pursued in the forest, taken over by the vampires? Vampires themselves, their appearances, confrontations?
13. The means of warding off the vampires, the crosses and the light, on the vampires’ faces, and the personal interventions, especially Mark and his young friend? The attempts to resuscitate Susan, her turning on them?
14. Mark, using his wits, into the house, locked in, escaping, the drive-in? The absence of cars on the streets, all at the drive-in? The huge screen? Looking in the boot of the car, the vampires all hidden? The setting sun, the coming of the darkness, trying to open Barlow’s coffin? The dark and the vampires emerging at the drive-in, Mark and his driving, knocking down the screen, prolonging the light, and the light consuming the vampires? The buildup to the final confrontations, Susan’s mother shooting the doctor? Mark arriving and knocking her down?
15. Surviving, Mark and Ben, and driving out of Salem’s lot?

  THE CROSSING/ Flukten over grensen

Norway, 2020, 96 minutes, Colour.

Anna Sofie Skarholt, Bo Lindquist-Ellingson, Samson Steine, Bianca Ghilardi-Hellsten.

Directed by Johanne Helgeland.

The Crossing is a World War II film, different from what we normally experience, well worth seeing.

This is a Norwegian story, focusing on the Nazi occupation of that country and the Quisling government. But, it is a story about children.

The film introduces its theme with footage from the time, especially in the German occupation, the role of the police, the rounding up of the Jews…

But, in a small town, a couple with their son and daughter are involved in helping the Jews. In fact, two children have been hidden in their house. Their daughter, Gerda, younger, is very forthright and determined. The boy, Otto, older, sneaks off to meetings and is enthusiastic about the campaigns against the Jews.

When the authorities take the parents, the children discover the hidden Jewish brother and sister, the enterprising young daughter organising some kind of escape so that they can reach the Swedish border and safety, forcing her brother to participate in the rescue. There are dangers, harsh German soldiers, local sympathetic police with hints for safety, a train ride, meeting up with family connections, a young man with a vehicle, a drive, being held up by the authorities, pursuit in the forests.

The Jewish children, the boy suspicious and hostile, the little girl happy to have company. The film does not underestimate the dangers for the children as well is for the adults and there are some scenes of danger in the forests.

The final postscript is welcome, reunion after the end of the war.

1. World War II film with a difference? Norway? Neutral Sweden? Children? Occupying Germans? Local police?
2. The recreation of the setting, costumes and decor, 1942, the winter, homes, German occupation, ordinary activities, farms, children hiding, the journey, the vehicle, the border, the forests? The musical score?
3. The opening, setting the scene, World War II, Hitler, occupation of Norway, the Norwegian government and loyalty, the police, the children, the taking of the parents?
4. The focus on the family, the parents, characters, activities, sheltering the children? Their being arrested? Otto, his age, going to the rally, the fascist anti-Semitic speakers, his being caught up, returning home? The contrast with Gerda, her age, strong personality, clashes with Otto? The bonds between them, the difficulties? Meals, at home, the arrest of the parents?
5. The discovery of Daniel and Sarah, their ages, concealed, Otto and his reaction, Gerda and her reaction? The decision to save him, Otto hesitant, supporting his sister?
6. The film as their journey, the various steps, to get to the border, the visit of their mother’s friend, promising help? The train journey? Hiding, the German guards, the local police, the sympathetic policeman and his advice? There hiding? Through the forest, hunger, food? Get into the farm, the young man, his vehicle, travelling with them? The border, their being held up, help, escape?
7. In the forest, the difficulties, food and hunger, hiding, the pursuit, Otto and his disappearance? Gerda, taking charge, strength of character? Daniel, his wariness and suspicions, Sarah and her bonding with the other children?
8. The dangers, the crossing, the young man and the vehicle, his escape? The children, safety, finding Otto again? The bonding – and the focal sequences, after the war, and the reuniting?