Displaying items by tag: Peter Malone's Movie Reviews

THE WILD ROBOT

US, 2024, 101 minutes, Colour.

Voices of: Lupita Nyong’o, Pedro Pascal, Kit Connor, Bill Nighy, Stephanie Hsu, Matt Berry, Ving Rhames, Mark Hamill, Catherine O'Hara.

Directed by Chris Sanders.

Fans of Peter Brown’s 2016 illustrated novel, The Wild Robot, will be delighted to see this film version. In fact, delight has been the response of audiences – and also of many critics.

We are definitely in the 21^st-century with an animated family film focusing on a robot – although, Peter Brown in his detailed blog on the Internet about his writing his book over a period of eight years, has many interesting observations about origins of writing about robots as far back as the 1920s. But, to have a children’s film focusing on a robot, very much of our times. (And these years there are many films for adults with dramatic stories about androids and humans being served and protected by them as well as stories of betrayals.)

In trying to describe the perspectives of The Wild Robot, it could be said on the one hand that the picture of nature, animals in the forests, their personalities, is in the Disney tradition, especially of Bambi. And, on the other hand, the picture of robots, technology, artificial intelligence, is very much a contemporary perspective.

And, a robot in the wild, a robot whose name comes from her code initials, abbreviated to Roz, and the machine a female voice by Lupita Nyong’o. A shipwreck, Roz stranded, re-booted, the strong sense of mission (and her repeating her promotion instructions aloud). Needless to say, the wide range of animals, all enjoyably portrayed, do not respond well, fearful.

But, that is just the beginning. Two engaging characters emerge, a little Gosling bereft of family who gets the nickname Brightbird (Kit Connor) and an engaging fox, Fink (Pedro Pascal enjoying himself) whom nobody likes but who becomes a great favourite with the audience.

In fact, there is plenty of plot, Roz teaching the Gosling how to lie while looked down on by the rest of the geese; the bird migration led by the wise Longneck (Bill Nigh); some misunderstandings, some reconciliations, and Roz finally affirmed by the animals as she is able to help them in a very cold hibernation.

And, there is more with the robots, contact with the company, some ruthless executives, wanting to control Roz. While robots have no emotions, Roz learns more and more from her animal friends, standing up for herself and for them.

The film has been written and directed by Chris Sanders, best known for The Crudes series and, especially, charming action story, How to Train Your Dragon. Here he has been able to appeal to younger audiences with a great deal to interest and entertain an adult audience.

1. Family-friendly animation, style, story, characters? Musical score?
2. 21^st-century, robots, artificial intelligence, techno developments? And memories of past animation, animals, the forests? The combination?
3. The situation, the future, robots, the storm, the destruction, Roz stranded, programmed, promoting her services? The female voice? The encounter with the bear, the crushing of the geese, the survival of the Gosling, befriending it, training it, calling it Brightbill? The Fox, Fink, on the outer, yet bonding, helping with Brightbill? The possum, guides of how to mother they Gosling? But fear from the other geese?
4. The range of animals in the forest, memories of Disney animals and Bambi? The fear of Roz? The importance of Brockville learning to fly, to swim, the training, eventual success?
5. Brightbill, personality, growing, succeeding, information about Roz and the loss of his family? Hostility? The preparation for the migration, the role of Longneck? Brightbill and his agitation? The geese flying, the storm, taking refuge in the robot headquarters, the clashes and persecution, Brightbill not afraid, leading them to safety? Longneck sacrificing himself?
6. The hibernation, the animals going into hibernation, Roz helping, their bonding with Roz? The squabbling, fights, traditions, Fink and his mediating? The episode with the bear?
7. Roz, trying to reactivate, the links with the headquarters, the response at headquarters, the head, sending robots, locating Roz, the attack on the animals, the fight back, the fire?
8. The geese returning, Brightbill, reconciliation with Roz?
9. Roz, agreeing to leave, going back to the headquarters, working in the greenhouse, Brightbill and his visit, but her still having her emotional responses?
10. The family friendly story about technology, operation by exploiters, but possibilities for harmony and peace?

C’E ANCORA DOMANI/  THERE’S STILL TOMORROW

Italy, 2023, 117 minutes, Colour.

Paola Cortellesi, Valerio Mastandrea, Ramona Maggiora Vergano, Emanuela Fanelli, Giorgio, Colangeli, fVinico Marchioni, Francesco Centorame.

Directed by Paola Cortellesi.

This is quite a striking film in its own right. However, it was the most successful Italian film commercially in Italy in 2023, and one of the most all-time seen Italian films. It is the work of popular singer and actress, Paola Cortellesi, who collaborated with the screenplay, directed her first feature film and plays the central character.

The setting is Rome, 1945-1946, the aftermath of Italy’s defeat in World War II, the presence of American GIs still in the city. The setting was the subject of a number of Italian films of the period, particularly Roberto Rossellini’s Roma, Citta Aperta (Rome, Open City) and of Vittorio De Sica’s Bicycle Thieves. The visual style, black-and-white photography, highlighted realism and had the title Neo-realism.

Now, almost 80 years later, Paola Cortellesi has decided to make her film in this style, once again striking black-and-white photography, a great sense of realism, a focus on ordinary people, their lives, their interactions, their fears and hopes.

One of the main reasons for the impact of this film is its portrait of a housewife and mother, Delia, in an Italian patriarchal society and family. In fact, the startling opening of the film, the wife awakening, her husband in bed turning and slapping her. And, throughout the film, there is repetition of this kind of domestic violence and abuse, subjugation of the wife, patriarchal presuppositions about the role of women, but also the effect on the new generation, especially the couple’s teenage daughter who is to be engaged, and has this model of marriage hovering over her.

While the initial impression of Delia is that she is completely downtrodden, her husband’s doormat, the screenplay soon indicates that she has a larger life of her own, is involved with work around the city, injections for the homebound, sewing and mending, close women friends, especially at the market. And, she has great care for her daughter and the prospective engagement which excites her.

But, the family is poor and the daughters the fiance comes from a self-made wealthy family (indications of wartime black market exploitation) and a key scene in the film as the in-laws to a meal, waited on by Delia, dominated by her husband, the wealthy family condescendingly sneering. The meal is a calamity.

Delia has encountered an African-American GI, friendly, even though they cannot communicate by language – he will have a significant role, offscreen, in the future of her daughter and the prospects of her marriage with the wealthy young man.

Delia also encounters a mechanic, who has loved her in the past, she still having emotions for him.

The climax, for those who don’t know their Italian history and politics of the time, is something of a surprise, not quite expected, but a strong moment when Delia asserts herself, supported by her daughter, to her husband’s dismay.

Well worth seeing.

1. The title, hopes? Delia’s life, the past and present – and hopes for the future?
2. The film with Italian sensibilities, the people in Rome, the impact of World War II, the defeat, the American presence? The transition from the King to an independent nation? The patriarchal society?
3. The recreation of the settings, the suburbs of Rome, homes, shops, streets, the aftermath of the war? American GIs in the streets? Use of black-and-white photography, echoes of the films of Rossellini and De Sica?
4. The shock of the opening, Delia, waking, Ivano, his slapping her? Immediately the impact of the patriarchy? The role of women, subservient? Life in the house, Marcella and the other children, attitude towards the father, towards the mother? Her seeming helpless, the housework, the children to school…?
5. Husband leaving for work, Delia coming alive, a different person, her qualities, intelligence, seeing her at work, the injections, meeting people, that gratitude, her sewing, the woman at the store giving her work, payment? Her friend at the market, conversations, shopping? A different person?
6. Delia trapped in the traditions of the past, the outbursts of her husband violence, her reactions, submission, the strange experiences of his wanting to dance with his wife, her succumbing? Making excuses?
7. Delia and her friend from the past, the mechanic, the conversations, pausing, the angry car owner wanting the mechanic back? Audiences anticipating that she might move away with him? Her friend from the market encouraging her? The other women in the street, sitting, working, gossiping, criticisms of Delia? Their own lives, the experiences of the war? The fights and clashes?
8. Marcella, the young man, together, the observations of family, the gossips? The scenes together, young love? Her age? The issue of the engagement? The preparation for the dinner, the prospective in-laws, Marcella anxious? The background of the in-laws, black market, financed during the war, their ice cream parlour and success, this snobbery? The meal, awkward, the food, Delia subservient, serving, Marcella embarrassed, the food, the reaction of the wife, their daughter, the son and his love for Marcella? The speeches, the talk, the drink? Delia and her fall? Their leaving and going to the ice cream parlour?
9. Delia, her listening to the young man, his talking with Marcella, echoing the sentiments and behaviour of her husband? Her previous encounter with the sympathetic GI, language barriers, friendliness? Offscreen and her collaboration with him, the fire and the ice cream parlour? The ruin of the family, their having to withdraw, the breaking of the engagement?
10. The mysterious letter, Delia and her pondering it, throwing it away, getting it again? The continued pressure from her husband and his behaviour?
11. The fact of the grandfather living in the house, ailments, his patriarchal attitudes, dependence on Delia, the conversations with his son, urging him to be better? The family going to Mass, Delia checking on her father-in-law, finding him dead, leaving him but not saying anything? Her planning and packing, audience anticipation, her alibi with her friend from the market, everybody coming to the house?
12. The decision to leave, the revelation that she was going to vote, the role of women, audience surprise that this was her intention, the confrontation with her husband, dropping the document, her husband’s reaction? Her hurrying to vote, the crowds of women, the lineup, discovering she did not have the document? Frustration, sadness? Looking down on the crowd, her husband looking at her? Marcella having retrieve the document and giving it to her mother? Her voting, her sense of achievement?
13. This vote, for the future government of post-war Italy, the role of women, the challenge to patriarchal society?

THE HOPEFUL

US, 2024, 90 minutes, Colour.

Tommie-Amber Pirie, Gregory Wilson, Maddy Martin, Bill Lake, Michael Mancini.

Directed by Kyle Portbury.

The Hopeful is a religious film, a film tracing the origins of the Seventh Day Adventist Church. While the film has its own audience, the directors, Kyle Portbury, with many Australian connections, pointing out that there are 22 million Adventistss around the world, in many countries, he hopes that the film will tell a story to a wider audience. He characterises this story as one failure but one of hope and belief.

For Christians, watching the film and discussing it, can be an exercise in ecumenism, discussing faith, discussing beliefs, interpreting the Bible… Since The Hopeful is getting a wide release in Australian Cinemas, this discussion is relevant. And many will remember the Adventist connections in Australian cinema, Bob Ellis, a prolific writer and commentator, remembering his upbringing in The Nostradamus Kid as well as the story of the Chamberlains and the film version, Evil Angels.

Because this is a straightforward telling of the story, enthusiastically made by the writers and the director and an earnest cast, it is the kind of film that can be easily dismissed by secular audiences who see no relevance in it. However, considering the ranges of churches and their large numbers of members, it has its historical relevance.

The framework of the film is an Adventist missionary on a paddle steamer recounting the story of the movement to his two children. As he tells the story, the narrative goes into flashbacks, beginning with a focus on William Miller, wounded in the war of 1812, religious, supported by very strong-minded wife, studying the Scriptures, from a very literal standpoint, working from numbers in various books, including the book of Daniel, deciding that the second coming of Christ was to be in 1844. He preached vigorously, found some followers and boaters, many walking away. When the physical second coming of Christ did not eventuate, he retired, and there were differing interpretations of how Christ would be coming into the world.

But, he had his supporters. He had a strong following in 1843 and some of them continued his mission, most especially Ellen Smith, 16, frail health, but something of a visionary over the decades, not dying until 1915, she was a promoter of Adventist faith, along with her husband. While the drama of the initial flashbacks focus on William Miller, more attention is given to Ellen Smith, movement against her by sceptics, her being accepted as a spokesperson, her marriage, her husband’s illness, her children, personal grief but continued commitment.

The sequences are filmed with a sense of authenticity, costumes, décor, manners, New England atmosphere, well-mannered, devout – reminiscent one might say of the atmosphere of Little Women.

Particularly striking is the sequence of the meeting where discussion focuses on the name of the group, their interpretation of Saturday as the seventh day of rest, and their eagerness for the coming of Christ, and the agreement on Adventist in their name.

The film is a morale boost for Adventist audiences. An opportunity for other Christians to learn something about the church, it is emerging in 19^th-century America, reflect on its beliefs and discuss its very literal interpretations of the Bible, especially in light of scholarship over the last 200 years.

THE KILLER

France, 2024, 126 minutes, colour.

Nathalie Emmanuel, Omar Sy, Sam Worthington, Diana Silvers, Said tTaghmaoui, Eric Cantona, Tcheky Karyo.

Directed by John Woo.

In the 1970s and 1980s, John Woo was one of the key directors of action filmmaking in Hong Kong, with a distinctive style, arresting moments, framing and editing, elaborate action sequences.

The Killer was one of his most acclaimed films, a star vehicle for Chow Yun-Fat. Woo then moved to filmmaking in the United States, most strikingly in Face/Off with John Travolta and Nicolas Cage. While he continued to make some films in the United States, he also went back to China, a number of striking historical films.

In his mid-70s, he made this film, a remake of his 1989 film, this time focusing on action in Paris, and the killer being a young woman, Zee with a very troubled background, skilled in assassinations and escapes, disguises, under the control of a Rogue Irishman played by Sam Worthington who works for a crime boss Eric can turn. He is played by British actress, Nathalie Emmanuel, noted for being one of the stars of Francis Ford Coppola’s.Megalopolisa

There are very exciting set pieces in the John Woo manner. There are car chases, confrontations with criminals, quite an episode in a nightclub where a young American singer is wounded, hospitalised, but ordered for elimination. Zee takes compassion on her, pretends to be an American official just as the police come to interrogate. And the policeman is played by Omar Sy with his customary charm. He plays an officer with a chequered career record.

Quite some further complications, orders for assassinations, threats to Zee herself, money deals, a suspicious Arab prince, Zee wanting to protect the singer, threats to her own safety, ultimate confrontations.

While a world of hired assassins is amoral/immoral, the screenplay weaves human themes and conscience issues throughout.

21^st-century audiences will enjoy the film, characters, drama, action –   but many old-timers and critics, probably expectedly, wrote it off as not to be compared with the original.

1. The films of John Woo, in Hong Kong, in the US, in the 20^th century, later films, this remake, 2024?
2. The Paris settings, the views of the city, landmarks, the streets, buildings, car chases, bikes, stunt work and special effects? The musical score?
3. The title, the focus on Zee, her story, family, exploited, criminal, the revenge on her pimp shooting him, her skills, becoming a hired killer, Finn as her controller, her lonely life, her friendship with the tailor, his making the suit for her, her commission to go to the club, the disguise, suit and hat, searched, Jen singing and her fascination, the confrontation with the criminals, her weapons concealed, the violence of the deaths? Jen hitting her head, going blind? Her escape?
4. The de-consecrated church, the candles and her lighting them for her victims, the images of the crucifix, the way it was filmed, commenting on the action, the Christian symbolism? The empty church, the birds, her going to pray and reflect, the meetings with Finn?
5. The criminal background in Paris, the boss, dealings, ruthless, international connections, his control, known to the police, his moods? His working with Finn? The Prince? The plane, the robbery of the drugs, Finn concealing them?
6. The police, the drug situation, the criminal world, their knowledge, political pressures? The role of the Prince and their shielding him?
7. Sey, his integrity as a police officer, his career, memories of being shot and the revelation that it was Zee who shot him? His partner, the shootouts and chases, his partner wounded, his wife pregnant? The bond between them? The disillusionment of his final betrayal, setting up Sey, snipers, his standing on the spot as target, Zee saving him, shooting the assassin?
8. Sey and his investigations, his relationship with the authorities, his skill with the gun, pursuit, in the car, crashing into the drug dealer, the confrontation, shooting, pursuing him, the confrontation at the water’s edge, his being shot? The further revelations of his drug deals, the stealing of the drugs, the friendship with Jen, listening to her song, her having the information?
9. Sey, the orders to kill Jen, her compassion because of the blindness, the story, pretending to be the American Embassy official, changing her mind about the lethal injection, present at the interview with Sey? His realisation of who she was, her disappearing? Finn and his continued demands that she kill Jen? The hospital, the return, the assassins, corrupt police, on the bike, edging them off, rescuing Jen, the shootout in the hospital? Taking her to a safe place? The discussions about her background, the information, in the church?
10. Finn, with the boss, the boss challenging him, his death? Finn, the other assassins, the women assassins?
11. The buildup to the confrontation with Zee, the abduction of Jen, the bargaining, the information about the drugs? The pursuit, the confrontations, the exploding of the drugs?
12. The fights, choreography, in the church, the female assassin, overcoming her, the rescue of Jen?
13. The finale, the setup, to shoot Sey, the revelation of his friend’s treachery, Zee and her shooting the assassin?
14. Sey and the authorities, his taking a stand, refusing the award, wanting integrity? The meeting with Zee, the possibility of her change and a respectable future?
15. The issue of crime, hired killers, ethics and morality, the lack of morality, but the possibility for human compassion?

THE ART OF THE STEAL

US, 2014, 90 minutes, Colour.

Kurt Russell, Matt Dillon, Jay Barash L, Kenneth Welsh, Terence Stamp, Kathryn Winnick, Chris Diamantopoulos Jason Jones, Devon Bostick, Stephen McHattie.

Directed by Jonathan Sobol.

This is the kind of iced film that could be recommended as an enjoyable night out – or enjoyable night streaming!

As the title suggests, there is a focus on art, literal art, a group of forgers, classic paintings, an expert forger from France who is able to copy any work of art. At the centre there is the real painting by Seurat and a scheme, borrowed from the stealing of the Mona Lisa, the making of many copies to be sold as authentic, making money with the forgeries.

But, this is also very much a comedy, with some very funny moments.

Kurt Russell is at the centre, released from a Polish prison after years, betrayed by his brother, Matt Dillon, who comes up with a new reconciling proposal. Kurt Russell is Crunch Calhoun, part art connoisseur, part Evil Knievel. He wants revenge on his brother. However, the brother comes up with quite a scheme for Crunch and his cronies to share in. The cronies include Kenneth Welsh as an old Irish roue, and a new apprentice, Jay Baruchel, who has many of the comic moments, especially trying to smuggle two characters across the Canadian/US border at Niagara.

Rather different in tone is the presence of Terence Stamp as a British authentication expert and thief, very British, pausing the action as he makes a speech about his memories of first discovering art as a child.

And, by the end, doublecrossings, tricks, there are very satisfying twist results illustrating the steal and the art of stealing.

1. The title, theft, content, elaborate heists? The serious turn, the pervading comic tone and irony, characters, throwaway lines, oddball situations?
2. Audience interest in heist stories, elaborate plans and their execution? The characters? Doublecross?
3. The tone, Crunch and his story, the years and the Polish prison, day in, the day out, the flashback to the heist, the group, the wealthy Polish criminal, the Gauguin painting, Nick and his smooth talk, Paddy impersonating the authenticator of paintings, Crunch and the Switch, the delay in the restoration, the chase through the streets, through the train, the last moment? The irony of the gangster with the paint on his finger, the pursuit, the crash, Nick’s arrest, giving up Crunch, his half brother?
4. Crunch out of prison, with his bike, popularity because of his crashes, his medical history, marrying Lola, the negotiations for $800 for another crash? Francie, friend, apprentice, classical history and literature discussions?
5. Nick and his return, the Seurat painting, at the airport, different cases, the interrogation by Interpol, Bick, his manner, with Samuel Winter, sardonic responses, and Winter and his possible release, authenticating the painting? Memories of Nick, of Crunch, his speech explaining his childhood love of beauty, the Jade cup, but, authenticating, stealing? Deadpan responses to Bick and his awkward behaviour?
6. The return of Nick, the animosity, Paddy, Irish character and womanising, contacts? The story of the Reverend, the second Guttenberg book (and the flashback to Gutenburg), the plan to steal the book, hide it, Crunch and contact with Guy, forging, the phone call, coming to the US? The story of the stolen Mona Lisa, hidden while 10 reproductions were sold, the plan for the book?
7. The stealing of the book, the warehouse centre for the Reverend, Niagara, the book in protection, the giant vagina, the false book? The details of the plan, Paddy and Olga and the documents for authentication? Nick and the raising of the money? His flirting with the Lola and her support? Francie, the beard, driving the car, Guy and Crunch in the boot, the fiasco at the border, Francie as an actor, getting through?
8. Nick, the plan, Guy and reproducing the number of books? The distribution? Nick, doubledealing, connection with Ernie, more false books?
9. The revelation of the plot against Nick, the empty warehouse room, Lola with the money and Crunch and Lola deceiving Nick about the relationship, Paddy watching with Ernie, the expose?
10. The Seurat painting, Crunch getting it, the initial intention, the heist of the century, the deal with Samuel Winter, in prison, the authentication, able to receive the painting before his release?
11. An enjoyable blend of action and comedy and doubledealing?

COMANDANTE

Italy, 2023, 121 minutes, Colour.

Perfrancisco Favini, Johan Heldenbergh, Massimiliano Rossi, Silvia D'Smico, Johannes Wirix.

Directed by Eduardo De Angelis.

We don’t see many films about Italian involvement in World War II, especially naval warfare, and, more especially, submarine warfare.

The story is based on actual characters and events, over a couple of weeks in the autumn of 1940. The focus, as the title indicates, is on the submarine, Comandante, Salvatore Todaro, a dedicated man, injured in a training accident and wearing a back brace, devoted to his pregnant wife, a tough but sympathetic commander of his men.

Ultimately, again as the title suggests, the focus of this drama is on the man himself rather than on the details of war although these are important and significant. For this reviewer, the film is the portrait of a humane man, in situations of war, challenge to act in a humane way. Sequences are context for his humanity. However, quite a number of critics and bloggers have complained that there is not enough action in the film, some even suggesting that the focus on the humanity, sentiment, breaks the film down.

For this reviewer, with the focus on the humanity, the portrait is very moving, especially at the end and the final information about the fate of the Comandante.

But, there is quite some action, especially as the submarine tries to get through the straits of Gibraltar, tangles in steel, self-sacrifice to cut the submarine free. There is camaraderie amongst the troops, especially with the Neapolitan cook and his specials and his singing.

The key drama is the submarine’s encounter with a Belgian cargo ship, allegedly neutral, carrying British arms. The Belgian crew are stranded, an appeal to the Comandante, his ethic of doing the right thing means that the Belgians come on board, crowded, two trying to sabotage the submarine, but a greater bonding between the Italians and the Belgians – especially with the offer to make a special Belgian dish and the answer is Fries, something the Italians are wary of, but ultimately enjoy.

The Comandante is played by veteran Italian actor, Pierre Francesco Favini, always  convincing  t inhe wide range of roles he performs.

There is a mention or two of Mussolini and the film offers a reminder of Italy in World War II but also a reminder of humanity and integrity in leadership.

1. World War II story, Italian involvement, submarine warfare in the Atlantic?
2. Based on a true story, Salvatore Todaro, in the Italian Navy, his personality, command of men, leadership in the submarine, decisions, strategies, his relationship with his wife, voice-over messages to her, her pregnancy? His humanity, treatment of prisoners of war? His subsequent history, reputation, premonitions of dying in his sleep, his death, the Belgian sailors visiting his wife and daughter after the war? The credits and thanks to his daughter?
3. The atmosphere of the opening, his ejection into the sea, the drowning experience, rescue, rehabilitation, having to wear the brace, medical advice, the old man and his writing the quote in Greek (its later message and the Belgian translating it)? The scenes with his wife, her pregnancy?
4. Taking command of the submarine, the marching of the men, his premonition about the sailor and the later operation, his relationship with the men, morale speeches to the men, Marcon and the experience sailor, friendship, advice? The younger members, his interactions with them, with the cook, the menus, the reward of the gnocchi, his singing the Neapolitan song?
5. The visualising of the submarine, the exteriors and reconstruction, long tracking shot, the interiors, the cabin, the accommodation, the conning tower, the surface? In comparison with the merchant ship, the British ship?
6. The management of the submarine, in war combat? Comparisons with the Germans? Mentions of Mussolini and fascists? Salvatore and his humanity?
7. The strategies for passing through Gibraltar, going low, the dangers, reverberations? The tangling in the nets? The young sailor, volunteering, going out, the drama of severing the cables, his death, the requiem and the tributes?
8. Out in the Atlantic, the encounter with the Belgian cargo ship, Belgian neutrality, carrying British arms? The attacks on the planes flying over? The attack on the ship? Destroying the ship, the men in the water, the boat?
9. Rules of war, Salvatore and his decisions, Marcon and his opposition, the young Belgian coming on board, able to speak Italian, translate, the discussions? The prospects? The decision not to drown the sailors? Towing the boat? Taking them on board, the squashed accommodation, food, the humane sequence of the Belgian’s explaining how to make fries and the Italians amazed, eating them? The cook? The singing?
10. The two rebels, pulling out the cables, the effect of the Belgians, Ion Salvatore, hitting them? Putting them in the conning tower? The dangers of flooding and death?
11. The British ship, the appeal, the hesitation of the British captain, his deciding to let them go to safety?
12. The progress of the submarine, to the Azores, safety?
13. The final discussions with the Belgian captain, his gratitude, saying he would have all the men if the situation were reversed? The young Belgian, the story, his background, on the submarine, translations, friendship?
14. The aftermath and the sailors visit to the wife and daughter?
15. Some complaints that there was not enough action – but the film more of humanity?

FIGURANT/ STRAWMAN

Poland, 2023, 103 minutes, Black-and-white.

Mateusz Widclawek, Mariana Zydek, Adrian Brzakala, Zbigniew Stryj, Maciej Mikolajczyk.

Directed by Robert Glinkski.

Unexpected and arresting.

At the centre of this film is the Polish bishop, Karol Wojtyla, in the 1950s and the 1960s, years before he was elected Pope John Paul II. However, he is not the central character – which makes this drama more intriguing. The title indicates the intrigue. Figurant means a supporting character, even one who does not speak. The English translation is strawman. And the question is whether the future Pope in this drama is the figurant or it is the official who pursues him in secret surveillance over the years.

One of the striking features of this film is that it is in black-and-white (a glimpse of colour towards the end, stained-glass windows, light, moment of grace). Life in Communist Poland in those years was very much black-and-white, a socialist government was anti-Catholic Church, ideologically atheist, determined to undermine the Church, practising Catholics, and, especially, the clergy. Close observation, secret photos and recordings, arrests and interrogations, torture, and, when no indications of guilt, the fabrication of scenarios to destroy clerics. And fostering dissent between Bishop Wojtyla and Cardinal Wyszynski of Warsaw.

So, indeed, the central character is Bronek Bundy (Mateusz Wieclawek), a talented photographer, war orphan and brought up by nuns whom he resents, approaching government officials for a job – and his appointment for surveillance of Father Wojtyla, newly made a bishop, looking for suspicious contacts, observing him and photographing him as he comes out of his Presbytery over the years. Bronek also ingratiates himself with  a young priest who is doing his PhD under Wojtyla’s supervision.

The actor portraying Karol Wojtyla looks sufficiently like him from the past but at various times there are inserts, newsreel footage of the man himself, episodes like raising the cross in the new city of Nova Huta, and protests by Catholics put down by armed police.

Throughout the film, there is also the personal drama of Bronek, his relationship with Marta, marriage, pregnancy, miscarriage, depression, and growing suspicions about her husband’s behaviour and secrecy. The other drama for Bronek is his ingratiating himself with the young PhD student priest, discussing philosophical issues of love (with reference to Archbishop Wojtyla’s own writings of the time), the developing of friendship but which is based on deceit, leading to a terrible conclusion with the priest who has been set up, drugged in a compromising situation.

The film is very interesting in itself but will be of greater interest to Catholic audiences, especially older Catholic audiences who are more familiar with the life of John Paul II and will be intrigued by this picture of his experiences in his Poland, years before Solidarity and his years as Pope.

1. The title, the supporting role, the silent role? The English translation as strawman? Bronek as the strawman? Archbishop Wojtyla as the strawman?
2. The relationship between this story and actual characters? Spying in the 1950s and 1960s Poland? Targeting church officials? Targeting Wojtyla? Interrogations, secret photography, surveillance, reports, and the fabrication of stories, especially with father Michal?
3. The use of black-and-white photography, sense of the past, sense of realism? The integration of newsreel footage, of events like the raising of the cross, the riots, actual sequences of Archbishop Wojtyla? And the significance of the moment it colour at the end, stained-glass window, indication of God’s grace?
4. A film of the 2020s, decades after the fall of the Soviet Union, decades after these events in Poland, and memories of the solidarity movement in the 1980s? Communist Ideology, socialism, atheism, the Catholic Church as enemy, the surveillance of Cardinal Wyszynski, the surveillance of bishops and clergy? The stances taken by Catholics, riots, protests, the police with guns and bullets?
5. Audience knowledge of the life of Karol Wojtyla, in Poland, work, seminary, ordination, Roman studies, his thesis, love and responsibility, publications, the authorities reading his book, stating his ideas? Parish priest and ministry, reputation? Becoming auxiliary Bishop, the issue of the Archbishop, the role of Cardinal Wyszynski, the authorities setting up hostilities, Wojtyla becoming Archbishop of Kraków, the raising of the cross, the new church at Nova Huta, his supervising Father Michal’s PhD, philosophy, theology, ethics?
6. The introduction to Bronek, his age, with the camera, the initial photos, in black and white, his skills, walking around the city, at public events? Going to the Cathedral, listening to the sermon? The ideas of Wojtyla? His seeing Marta, her chatting and friend, following her, the conversation, photography, at his place, nudity, photography, the sexual encounter, sharing with her, the outings, the proposal, the ring and her acceptance? His seeking permission from the officials, her parents’ Catholic attitude, the wedding, her pregnancy?
7. Bronek and his studies, presenting himself to the officials, the good impression, the interview, the chocolate, his status, secrecy from Marta, his mission, surveillance of Wojtyla as a priest, the sequences at the door, the range of people, talking, his touch, the kisses, the interrogations, the dying woman and her child and the ransacking of her house, secretary, her infatuation, her son, the polio injections to try to check whether the boy was the priest’s son, the officials and their responses, praise, medals and decorations, planning scandals and lies?
8. Bronek’s absence, Marta suspicions, his boasting of promotion, the new apartment, her fall, his absences, the miscarriage, her depression, not communicating, in the institution, coming back home, reconciliation, the new pregnancy? The discussions with her friend, Bronek and his spy hole against his wife?
9. Father Michal, as a person, as a priest, his ministry, his studies, supervision, the confrontation with the officials, the bad cop, good cop routine? Bronek as the good cop, persuasive, quoting his poetry, the gift of Wojtyla’s books, signing the document? The discussions, the seeming friendship, the hike on the mountain, the revelation that Bronek knew the priests subject for his thesis? The disillusionment? The priest becoming the victim, the request for the anointing, the girl in the setup, drugging him, the compromising situation, the photos, on the mountain, the seemingly chance encounter, Bronek and the photos, wanting him to sign the document, to bump boy Tiller’s apartment? The priest throwing himself from the cliff with such a moral dilemma?
10. The consequences for Bronek, the surveillance over the years, his having to report, his estimation of Wojtyla, seeming admiration?
11. Going home, the confrontation with his wife, her friend, her leaving, the empty house?
12. The impact of all this work and secrecy over the years, the relationship with his wife, her walking out with the baby, the death of the priest, his going to the confessional, Wojtyla, the questioning about the parable of the prodigal son and its ending, his confessing about his marriage and his fault. The killing of the priest, but his leaving the church, and the glimpse of stained-glass, colour, grace?
13. The years passing, older, photographing, seeing his wife, the boy throwing the paper plane, his response, looking at the boy, looking if his wife – and the end of the film at that moment? The audience supplying possible scenarios for the future?

THE TWELVE 2

Australia, 2024, 8X 45 minutes, Colour.

Amy Matthews, Errol Shand, Kris McQuade, Tasman Walton, Josh McKenzie, Anthony Brandon Wong, Stefanie Cacama, Luke Pegler, Feysall Bazzi, Sam Neill, Frances O'Connor, Anthony Hayes, Gerard Lebowski.

Directed by Stevie Cruz Smith, Jocelyn Moorhouse, Ben Young.

The television series, The Twelve, made quite an impact on television audiences, a focus on a trial, some quite significant members of the jury, others on the periphery. And, the trial lawyers, played by Sam Neill and Marta Dusseldorp, as well is the accused, played by Kate Mulvaney, were well written roles. And, there was always the mystery of the guilt or innocence of the accused.

This is the second series. The only continuing character is that played by Sam Neill as a defence lawyer, always self assured, charming, the touch of the ruthless. In this version he has a co-worker, played by Frances O’Connor. There are two accused, Amy Matthews and Errol Shand, the lawyers defending one each. Prosecutor is portrayed by Fayssal Bazzi.

The setting is Western Australia, a country town, the death of an elderly woman farmer, rather a harridan, played effectively by Kris McQuade. Her daughter and her lover are accused of her murder.

The screenplay this time, after a prologue indicating the setting and the characters, focuses on the trial, meetings outside the courtroom, but mainly flashbacks indicating the different perspectives on the situation, the death, possible scenarios, and unexpected aspects in the final solution.

And, as with the original series, there is strong focus on several of the jurors, a young woman caring for her sister who, in fact, is her daughter, a young man, on drugs, involved in money deals, an ageing and dying Asian character clashing with his children, a woman caring for her elderly mother discovering aboriginal connections…

The court scenes and cross examinations are always very interesting, there are twists and turns on the prosecution and the defence, some tense human relationships.

The series has several directors especially Jocelyn Moorhouse.

1. The popularity of the first series? The series based on an original Dutch program?
2. The adaptation to Western Australia, the country town, the streets and buildings, the courthouse, hotels and motels, the countryside and the farms, homesteads? The musical score?
3. The structure of the series, the introduction to the crime situation, the investigators, the arrests, the lawyers and visits to the accused, the selection of the jury and the discussions about who should be on the jury? The judge? The flashbacks to Bernice, Sasha and Patrick? The cumulative effect of the flashbacks, and the development of the story of particular genres? The dramatic effect? The twist at the end, Thelma and her intervention?
4. The dramatic impact of the court proceedings, the prosecutor and his stances, less experience than Colby and Meredith, their skills, interrogations? The wide range of witnesses and testimonies? Dramatic interactions? The focus on the jurors and their responses? The assistance to the prosecutor and offenders?
5. The core of the plot, Bernice, age, hard work, harsh personality, mean minded, the response of the town, hostility? Sasha, her age, working with her mother, her mother’s control over her? Yet her daughter’s love? Patrick, the breakdown, getting the lift, the relationship with Sasha, Kelly and the children and his visits to them, the relationship with Sasha, passionate on her side, his response to her? Bernice’s disapproval, criticisms of Patrick, criticising her daughter, observing, getting Sasha to withdraw the money, the $50,000, visiting Patrick at the motel, giving him the money, his taking it? His giving it to Kelly?
6. Audience response to the personalities of Sasha and Patrick, during the affair, side-by-side in the prison, the advice to look straight ahead in the court? The reality of the pregnancy, the birth of the baby, Sasha wanting to visit, the visit to the prison?
7. The death of Bernice, in the well, the possibilities, the issue of the well and it repairs, the company manager, his presence, confronting in the court, hostility towards Bernice, Colby surveying his back entry, his admission of changing the lights?
8. The neighbours, farming, lesbians and attacks, the death of the dog, the visit, the visit, questioning in court?
9. The focus on the genres, in court, the discussions, Winston as foreman, the range of men, the range of women in, behaviour, friendships, out-of-court meetings?
10. Winston, his wealth, the mill, terminal cancer, the nurse, weary, friendship, the marijuana, the visit of his son and daughter, their neglect, his severity, his daughter reporting the nurse, the substitute nurse? The visit to the club? The friendship? His reaction to criticisms about parents and their treatment of children, wills? His final decision, selling the company, dividing the money, the final scene with his son?
11. Joey, young, his father, friendship with Pete, his girlfriend, the drugs, money needs, the drive, the crashing of the sign, the repairs, the payout to the mechanic, borrowing from the bank, Peter and his drinking, giving him the drugs, people dying, the interrogations, his lying, his girlfriend and her finally walking out? Pete’s father, asking him to be the football coach? His behaviour with the other jurors? The owner of the pub, genial, on the jury, the night of celebration at the pub? His father and the money for buying the ring, for reconciliation? Continuing the drugs, in the bar, the bartender, his being overcome, going to the police, his confession, driving with his father, not participating in the jury?
12. Thelma, looking after her mother, dementia, the neighbours, killing the hens, throwing the eggs, the punctured football, Thelma and her friend, the confrontation with the neighbours, challenge about her mob, issues of racism, questioning her mother, the mention of Bernice, going to the former home, getting the documents, photocopying them, her reaction? Her outbursts against her mother, her partner coming him down, her feeling of her to discovering the truth about her origins, racial prejudice?
13. Claudia, at home, with her sister, working at the bar, severe father, severe mother, the issue of the rollerblades and the little girl envious, Claudia and her age, with the jury, serious, going out with the gay couple, drinking, admitting the truth about her daughter? Later at the party? Her mother forbidding her to go to the holy communion ceremony? The little girl leaving? Claudia confronting her parents? The continued anxiety, the confrontation with her mother, her daughter overhearing the truth, running out, hit by the car, hospital, the visits, Claudia inviting her to go rollerskating?
14. The Muslim nurse, at work, comments, the invitation to her home, her concern about Winston and his harsh reaction to her?
15. The young woman, her ex-husband, the interactions?
16. The smug character, knowing all about the town, the money deals, presumption of guilt, reactions to his assertions?
17. The range of people interviewed, their comments, their opinions, Sasha is close friend and her outburst against Patrick? The doctors and their opinions, the detective from Perth, the manager of the motel and his playing computer games and accuracy of memory?
18. The revelation about Bernice, the affair, the family reaction, going to the Centre, giving birth, giving up the child? Her knowing that Patrick was the child? The flashbacks to the confrontation, the revelation of the truth, the reason for Bernice giving Patrick the money, wanting the child destroyed, Bernice and the gun, Sasha and her defiance, Patrick hitting her, going for the ambulance, Sasha, the body, her ability to carry a heifer, carrying her mother’s body, putting her down the well, her motivations, anger, love for Patrick, the baby?
19. Meredith, Colby and further information, the estrangement, her visiting Sasha, the cross-examination the court, Colby and the revelation about the relationship, defensive Patrick? Sasha and her anger at Meredith? Meredith and the phone call to Chris and the children, his filing separation papers? Her defeat?
20. The prosecutor, the attack on Sasha, her breaking down, the adjournment?
21. Colby, reconstructing the situation, exonerating Patrick?
22. The audience, the added accumulation of flashbacks, what might have happened, what did happen, changing loyalties, jewellery, the details of the discussions, orderly, good arguments? The decisions?
23. The audience seeing the truth, Patrick being freed, his attempts to save his mother’s life? Sasha, sympathy for her, but her decision against her mother? Her going to prison, the prospect of her child? And the revelation that she was guilty? But the final irony of Patrick saying he had given the money to Kelly, his digging it up and disappearing?
24. A satisfying mystery, life in Western Australia and community, relationships, violence, the crime, the evidence, the flashbacks, the jury’s decision?

NO MAN OF GOD

US, 2021, 100 minutes, Colour.

Elijah Wood, Luke Kirby, Aleksa Palladino, Robert Patrick, W. Earl Brown, Christian Clementson.

Directed by Amber Searley.

This is one of the many films about serial killer, Ted Bundy. There were documentaries before his execution in 1989. There were documentary investigations by writer-director, Joe Bellinger (who then made the feature film Extremely Wicked,  Shockingly Evil and Vile).. In the 2000s there seemed to be an appetite in the television watching public for dramas about serial killers including Bundy.

This film is based on records of interviews with Bundy. It opens with an outline of his life, the crimes, his being in prison, his attitude towards the media… italso indicates his execution in 1989.

In the mid-80s, the FBI was developing profiling. Bill Hagmaier was one of the young experts and took on the interrogation and profiling of Bundy. The film is mainly a sequence of the interviews, initial suspicions, Bundy manipulating, Hagmaier’s responses, increasing openness and discussion, Bundy’s self-defence, self-promotion, something of a friendship, but Hagmaier’s constant belief in Bundy’s guilt.

Elijah Wood is the surprising casting as Bill Hagmaier. However, the performance by Luke Kirby as Bundy is extraordinary, smooth and narcissistic, often erratic and overpowering.

The film ends with Bundy’s execution, the final discussions between the two, Bundy’s admissions, head shaved, preparing for execution – and, with various political complications, Hagmaier not permitted to attend the execution.

Those interested in Bundy, Bellinger’s documentaries and his feature film are well worth seeing in connection with this film.

1. The title? The focus on serial killer, Theodore “Ted” Bundy?
2. The film reminding audiences of Bundy, the television news prologue announcing his execution after eight years in prison, memories of his crimes, his public personality, media?
3. The focus of the FBI, investigations of crimes are across states, the interest in Bundy, the 1980s, the Reagan era, the interest in profiling? The headquarters, the five men chosen, the briefing with the head, the issue of Bundy, Bill Hagmeier accepting the challenge?
4. Bill Hagmeier, Elijah Wood’s presence and performance? His family background? As training, psychology interest?
5. The bulk of the film as conversations between Bundy and Hagmeier, the transcripts, extensive, over five years, their being organised for dramatic purposes? The effect of watching Bundy and Hagmeier and their interactions, psychological interactions, game players, bonding, admissions, friendship? All
6. Luke Kirby, his performance as Ted Bundy, intense, the surface charm, the inner drives, manipulation, narcissistic, psychopathic attitudes, his past in controlling interviews, his interest in profiling, especially The Green River murders, the initial response to Hagmeier, his writing Bundy letters, Bundy setting out his limits, but relenting? Tape on, tape off? The intensity of the discussions, the revelations about Bundy’s psyche, his behaviour, family relationships, attitude towards the women killed, his brutality? The cumulative effect of the discussions, Hagmeier finally telling Bundy that his motivation for killing is because he wanted to?
7. The encounter with the warden, over the years, sympathy, lack of sympathy, the message about not attending the execution?
8. The passing of the years, the effective selection of the conversations and the cumulative effect? On Bundy and his admissions, secrecy, confiding in Hagmeier, taunting him that he could be, in other circumstances, the same as Bundy (and the glimpses of Hagmeier driving his car and looking at the woman…)? The effect on Hagmeier, understanding Bundy? Reporting to his head?
9. 1989, on death row, the governor’s suddenly signing the death warrant, the short time for appeal? His lawyer, her hostility towards Hagmeier, her tactics? The introduction of the church minister, the discussions, Bundy confiding in him, then the revelation that the governor had no intention of changing?
10. The pressure on Hagmeier, knowing that Bundy was guilty, observing the tactics of the lawyer, the religious interview, the appeals, knowing that the decision came down to him because of his knowledge of Bundy? His decision?
11. Bundy at the end, head shaved, the Bible, the talking with Hagmeier, the admissions, Hagmeier wanting families to have some satisfaction of knowing that he admitted his guilt? Some of the stories and the details? Then his being refused a seat at the execution?
12. The consequent information about Hagmeier and his talent and skills and reputation for profiling?

WE MIGHT AS WELL BE DEAD/  Wir könnten genauso gut tot sein

Germany/Romania, 2022, 93 minutes, Colour.

Ioana Iakob, Pola Geiger, Jorg Schuttauf.

Directed by Natalia Sinelnikova.

This is a German-Romanian coproduction, and drama, some comedy, satire with serious intent.

The setting is a gated community, the audience seeing a family trying to enter but rejected. In charge of the community is Anna, obeying regulations, supervising, but with difficulties with her teenage daughter, Iris, who locks herself in her room, thinking she has the evil eye.

At first, the gated community seems ideal, the range of people there, the comfortable home units, self-sufficiency, interactions. But, the disappearance of a dog sets up a chain of events which leads to some disaster.

Ann ais under some suspicion, she goes looking for the dog, is seen by a couple who think there is a prowler, they report to her. Further complications with her daughter, her setting up evidence to blame a poet who runs the elevator and who is targeted by the community. The community then unites, in fear, self-assertion, also scapegoating – and, eventually, ousting Anna and her daughter.

The film is made with a European sensibility, European audience – and so appreciating it, many will find it difficult to identify with.

1. The tone of the title? Realistic? Ironic?
2. The setting, the gated community, the grounds, the building, the interiors, lavish vestibule and style, corridors and rooms? The surrounding countryside? The musical score?
3. The opening, the music of the Carol, the family hurrying through the forest, to the compound, entry, interview, difficulties, not accepted? And the ending, Anna and Iris hurrying away from the building, encountering the family in the forest, the music of the Carol?
4. Anna, six years of the compound, her role, supervision, the public announcements, creating the mood of the residents? The surveillance, touring the grounds? The interrogations and the formula for acceptance? Announcing the festivities, participation? Her own problems with her daughter, locked in the room, the opening for the dog, her communicating with Iris through this? Her interactions with the other residents?
5. Iris, the issue of the evil eye, her friend wanting to get the evil eye, Iris to nightmares, the various fates of the residents, her prophecies? Her age, relationship with her mother, refusing to come out? The reaction of the residents?
6. Anna, out looking for the dog, observing the husband and wife, their emerging, thinking that there was a prowler? And are not telling the truth?
7. The older ringleader of the residents, the issue of the dog disappearing, his continued reactions, at the party, drinking, his denunciations, rallying the residents, complaints, accusations, criticisms of Anna, the golf clubs as weapons, developing the mindset of the residents? Bringing the dead animal, stating that it was the missing dog? The buildup of the atmosphere, the range of residents supporting him, the issue of the couple, the injury, making demands? And at her good friend, turning against her?
8. Anna, trying to cope, to continue her work, to control the residents? Her scapegoating the poet, his selling his poems in the elevator, working in the basement? The residents turning on him, his expulsion?
9. Iris emerging, the group turning on Anna and her daughter, the denunciations, the expulsion?
10. The community offering an allegory of enclosed community, leadership, rebellion, influence, scapegoating, truth and fantasy, cruelty?