Displaying items by tag: Peter Malone's Movie Reviews

THE GOYA MURDERS/ EL ASESINO DE LOS CAPRICHOS

Spain, 2019, 95 minutes, Colour.

Maribel Verdu, Aura Garrido, Roberto Alamo, Gines Garcia Millan, Daniel Grao.

Directed by Gerardo Herrera.

The tone of the title suggests a murder mystery. And, it is, a Spanish murder mystery and investigation – which could be remade in any culture, the chosen artist being different.

There are several murders in the film, the victims made to pose in the manner of paintings by Goya. Which leads to suspects in the art world, collectors, restorers, experts on the history of art.

The central characters are the police, a tough investigator played by veteran Maribel Verdu, single-minded, harsh, a past, completely dedicated to work, looking down on the assistant who has been appointed to her, finding fault, limitations, but also relying on her for the investigation. In the background there is a police Commissioner, secret relationships, and also a journalist investigating the case, betraying the investigator, becoming a victim.

The enjoyment is in the mystery, the investigation, the backgrounds of the victims, the connections to Goya, the betrayal by the journalist and giving out information, the secret life of the central character, the ordinary life of her assistant and her family, the final revelation of the murderer and the motivations.

1. Popular murder mystery and investigation, in the context of the art world, and prints by Goya?
2. The Madrid setting, the crime settings, the world of art and auctions, collectors, police investigations? The musical score?
3. The focus on Carmen, her personality, her past, relationships, pregnancy and termination, complete commitment to her work, her relationship with the Commissioner, her relationship with the journalist, working with Eva, looking down on her, treatment, ignoring her, travelling the car, Eva wanting respect? The work, detection, personal life, her drinking?
4. The murders, the posing of the victims like Goya Prints, investigating the victims and their lives, the art connections, the parents of the murdered woman? The further murders and posing is? The consultation with the art expert, his explanations, willing to assist?
5. The police methods, keeping the information from the press, the Commissioner, his private life, family, the relationship with Carmen? Men and her relationship with the journalist, giving him leads? Her sense of betrayal and his television interview, the need to change police tactics, victims, context, the Goya connections?
6. The journalist, his own investigations, the relationship with Carmen, the TV interview, tracking down the potential murderer, his own death?
7. Eva, the contrast with Carmen, enjoying the night out, but asking for respect from Carmen, her relationship with her husband, the children, Carmen’s impatience with them? The lead, the art expert, the stealing of a Goya painting, the auction, his presence, the bids, his arrest?
8. Murder mystery, investigation, differences?

OUT IN THE OPEN

Spain, 2019, 103 minutes, Colour.

Luis Tosar, Luis Callejo, Jaime Lopez.

Directed by Benito Zambrano,

For audiences interested in a different kind of drama, Out in the Open is well worth seeing.

The setting is Spain, 1946, a decade after the Civil War, but oppression of some of the citizens, commandeered to live in dismal circumstances, building developments. With the desert setting, and the action moving out from the village, many have noted the look and atmosphere of an American Western. And, in some ways, the action fits into the traditions of the Western.

The focus is on a young boy who runs away from the village, leaving his family behind, hoping to go to the city, prosper, return and redeem his family. The foreman in charge of the village sets off in pursuit with tough henchman, trying to track down the boy.

There is a complication when it is gradually revealed that the foreman was sexually abusing the boy, another motivation for his attempt to escape.

A Shepherd, played by veteran actor Luis Tosar, encounters the boy, the boy suspicious, the Shepherd helping him with food and drink, their travelling together, eventually encountering the foreman and his thugs, fights, shootouts, complicated by the fact that the Shepherd as with some of the thugs, served with Franco in Morocco.

So, the issue of sexual abuse, the escape of the boy, the merciless pursuit, the role of the Shepherd, defending and saving the boy, self-sacrifice.

1. The title, literal, the deserts of Spain, the open plains, the mountains, towns and villages, ruins, buildings and wills? The musical score?
2. 1946 setting, 10 years after the Civil War, poverty, bosses and foremen, miners, the families in subjugation, slavery, living in caves, work, loss of rights?
3. The comparison of this film with American westerns, the visuals, the characters, the action, the search in pursuit, the violence?
4. The situation, the boy, seeing him out in the countryside, with his sister, the plan to escape, the money, stealing the watch and the compass, leaving his jacket on the road? His intention to go to the city?
5. The situation, the foreman, the relationship with the boy, predator and abuse? His role in the village, dominance, treatment of the boy’s parents, interrogation of the girl? Rounding up his posse, brutal personalities, former soldiers in Morocco? His wanting no harm to the boy?
6. The boy, eluding pursuit, hiding, falling down the cliff? The encounter with the Shepherd, his fears, hungry and thirsty, wary? His response to the Shepherd?
7. The Shepherd, the small number of sheep, on the move, intending to travel to the Highlands, to his sister, revelation of his past as a soldier in Morocco, the atmosphere in Morocco, fighting and deaths, his reputation?
8. The bonding between the boy and the Shepherd, protection, nourishment, gradual breaking down barriers, talking, the boy reluctant with his story?, The wells? The boy and the two-hour journey with the donkey, to get the water?
9. The foreman, ruthless, rounding up his posse, his commands, the pursuit? The posse, their encounter with the Shepherd and the boy, the confrontation, overcoming the Shepherd, cruelty, setting the sheep throats, the dog, throwing them down the well, dragging him along the ground? The boy hiding in the well, his emerging, the guns, shooting the old man, wounding the brutal soldier, his escape, reporting to the foreman?
10. The boy, the encounter with the crippled man, the to-ing and fro-ing, promise of food, the cripple wanting to escape? Imprisoning the boy, his getting out, the water and the donkey, returning?
11. The foreman and the others arriving, the crippled man, his story, the foreman shooting him?
12. The buildup to the climax, the ruins, the old building, ground floor, first floor, the boy, his tactics, hiding? The Shepherd, the shooting, especially of the man who dragged him, his being wounded, the shooting skills? The final confrontation with the foreman?
13. The boy, with the Shepherd, the final talk, his death? And a future for the boy?

THE PASSENGER

US, 2023, 93 minutes, Colour.

Johnny Berchtold, Kyle Gallner, Liza Weil.

Directed by Carter Smith.

The Passenger is basically a two-hander road movie. However, it is an intriguing journey, destination unknown.

One character, young, timid, played by Johnny Berchtold effectively, wakes up, goes to work in a diner, is humiliated, but suddenly becomes a witness to a massacre of the staff. And this is perpetrated by one of the staff, mysterious, growing more sinister, erratic, violent, played by Kyle Gallner.

Other characters in the film include the young man’s mother, a visit to her, his dependence on her. And, there are unusual characters along the way.

While there is the local scenery to look at, there is a great deal of conversation throughout the film, the young man continually intimidated, eventually making a decision that precipitates a graphic climax. The erratic, violent man also gets the opportunity to make speeches – especially in connection with people along the way, a waitress in a diner whom he insults and later harrasses, a former teacher whom he brutalises …

But, the ultimate goal of the journey is to find a former teacher, the young man having accidentally blinded her in one eye in an incident at the school, her being persecuted and hounded out – and, now, 10 years later, with a daughter, confronting the two.

This is one of those films, because of the uncertainty of the destination, demands attention – and, would probably be even more interesting on a second viewing.

1. Title, Randy Bradley, life and background, problems, the encounter with Benson, the journey, his decisions?
2. The small town setting, the diner, homes, the streets, travelling the countryside, the school office and corridors, the scenes in the diner…? The musical score?
3. The story of Randy Bradley, unprepossessing, getting up, the dominance of his mother, going to work, observing, Chris and his bullying, making Bradley chew the old hamburger, his submission to Chris, shock, Benson and the killings, Benson not shooting him, helping stow the bodies in the freezer? The conversations with Benson, Benson taking him in the car? People calling him Bradley, his slowness in giving his actual name?
4. Benson, cleaning in the diner, observing, the confrontation with Chris, intervening, killing Chris, the girl, shooting the manager in his office? The bodies? His psychopathic behaviour?
5. The journey, Benson driving, Randy as passenger, quiet, Benson and his moods, the visit to the diner, Randy reluctant, the waitress, Benson turning on her, abusive, the later return to the diner, the waitress wanting him out, Benson defiant, shooting and wounding her?
6. Randy and the visit to his mother, dominating, the later phone calls?
7. The discussion with Benson about girlfriends, confessing to having the girlfriend, going to visit her, her work, the stuffed toys, awkwardness, the two men working, the blue crocodile, Randy and the conversation, her reasons for breaking the friendship?
8. The long conversation between the two about Randy and his memories, seven years old, Miss Beards, the behaviour, the slingshot, his anger, singled out, Miss Beards and the eye wound, losing her eye, the patch, the ridicule by the children, by the other teachers, a leave of absence? Years passing? Teaching again?
9. The visit to the school, Benson persuasive to get the address from the receptionist? The teacher, Benson identifying him, following him out, the brutal bashing and shooting? Randy and his non-involvement?
10. Miss Beards, the eyepatch, welcoming Randy, the joy of her daughter, her story, the divorce, accepting the situation, returning to teach? Welcoming the visitors, cup of tea, the conversation? Benson and his sense of menace? Randy taking the phone? The threats to is one Beards, the abduction, Benson silencing her?
11. The visit to the diner again, Randy saying he want to go to the toilet, making the phone call to the police, the shooting, the siren, Randy looking at Benson, telling him that he called the police? Benson and his pause, thinking, going out, the police, shooting him?
12. Randy later, the phone call from his mother, visiting Miss Beards, playing with her daughter, changing him, the assertion in calling the police, defying Benson?

RIDING ALONE FOR THOUSANDS OF MILES

China, 2005, 107 minutes, Colour.

Ken Takakura, Shinobu Terajima, Jimain Li, Jiang Wen, Lin Qui.

Directed by Zhang Yimou.

Director, Zhang Yimou, emerged in the late 1980s, a number of very striking dramas, sense of history, in the 1990s, before moving to smaller, quieter, domestic dramas. Then an unexpected transition to martial arts fantasies. He also directed the opening of the major the Olympic Games in 2008. Since then, a variety of films, some spectaculars, some quiet dramas and now this story which has its grounding in Chinese opera.

In fact, the central character is Japanese and alienated from his son but invited by his son’s wife to come to visit him before he dies. He discovers his son’s journeys to China and investigations of Chinese opera and performances. He decides then to go to China, retraces some steps, discovers that the main Opera star is in prison, persuade his guide to organise a visit to the prison for a performance of the Opera. The Opera is called Riding Alone for Thousands of Miles – which, of course, is what the father does for his son.

Which means that the film offers interesting characterisations, especially the father, his assessment of his relationship with his son, meetings with his daughter-in-law, the nature of the journey, interactions with the guide, the local authorities, the prison authorities and the singer himself.

A great deal to commend in this film, especially the work of the director himself, the perspectives of a Japanese traveller in China, the Chinese and their assessment of themselves, and the role of Chinese opera.

1. The place of this film in the work of the director? His initial historical films, his personal compassionate films, his martial arts and heroics films?
2. The Japanese setting, Japanese in China? China-Japanese history, relationships? Chinese opera and music?
3. The situation, Takata, past history, the death of his wife, his withdrawal to the fishing village, the clash with his son, not speaking for 10 years, the call from his daughter-in-law, his son’s illness, urging him to come? His hesitations, to the hospital, meeting Rie, listening to the conversation, his son denouncing him, his leaving? Rie and her giving him the cassette, the interview with the Opera singer, the son wanting to film the Opera? The singer not ready, the promise to return?
4. The importance of Chinese opera, masked Opera, singers, costumes, gestures, the band, the music style? The initial performance, the title, the story of the Lord, generosity towards humans, helping? The final performance and its impact?
5. The father, listening to the son, belonged to China, the intention of filming the Opera for his son, the arrangements, Jasmine as translator, the time limits, her moving on, the introduction to Lingo, his store and the costumes and the banners? The decision to film the Opera, the gift for his son, the discovery that the singer was in jail, the father’s determination, Jasmine and the difficulties? With Lingo, the interview with the authorities, the explanation of the story, the refusal?
6. The father, Lingo filming him, with the banners, his plea to the authorities, their watching, listening, discussing, allowing him to film?
7. Going to the prison, the interrogation by the officer, the welcome by the warden, the situation, singer in prison, ready for the performance, the mask, the singer bursting into tears, unable to go on, the story of his unseen son?
8. The father, determination to visit the village, to see the son, to bring him to his father? The symbolism of the Lord of the Opera, the father and his journey, to do good? With Lingo, the difficulties of translation, the phone calls to Jasmine? The committee in the town, the discussions, arguments about the singer and the responsibility for his son? Wanting the father to know this? The squabbles with Lingo? The agreement, bringing the son, his age, the lavish village banquet?
9. Travelling with the boy, the boy going off, the father seeking him, the getting lost, the communication despite the language, the whistle, the toilet sequence? The search, their being found?
10. The boy not wanting to see his father, not ready? The impact on the father, his making the decision, the thanks to the village, the farewell, the boy with the whistle?
11. The phone call, the death of his son? Rie and her writing down his final message, the son’s gratitude towards his father?
12. The father determining to hear the Opera, but not film it, the singer, the news of his son, moved, the father showing the father and the prisoners the photos of the boy? The singer wanting to sing, urging the father to film it?
13. The final achievement, reconciliations, fathers and sons and the symbolism of the Opera?

ANOTHER WOMAN'S SON

UK, 2017, 103 minutes, Colour.

Jenny Seagrove, John Hannah, Julian Kostov, Susan Hampshire, Nicholas Farrell, Amanda Abbington, Joanna David, Ronan Keating, Peter Wight.

Directed by Christopher Menaul.

The Channel Islands have appeared in a number of British war films. Jersey and Guernsey occupied by the Germans, the British nationals trying to survive in the atmosphere of war, the presence of the German military, refugees.

This film is set in Jersey, a 21^st-century perspective on the war. The central character is Luke, played by Jenny Seagrove, who son is at war. She has a shop, is well respected on the island. The supporting cast has a number of British acting veterans including John Hannah, Nicholas Farrell as well as Susan Hampshire.

There are also captured Russian soldiers working on the island, strict supervision, harsh conditions. At the core of this story is an escaped Russian soldier, young, welcomed by Lou and other members of the community, concealed. There is the language issue, ideology issues, an older woman lamenting the loss of her son and finding a substitute son along with tensions with the occupying German soldiers.

The film captures the atmosphere of the 1940s on the island, the atmosphere of the war, the harshness of the German occupation – and the humane story of care for the British mother and the Russian soldier.

1. A World War II film, 1940s memories, a 21^st-century perspective?
2. Jersey, the setting, the island, the landscapes, the sea, the quarries, homes, shops? And the transition to the trains in the concentration camps? The musical score? The islanders’ parody of Lily Marlene against the Germans?
3. Establishing the atmosphere, the German occupation, British under occupation, the prisoners from Russia, the work in the quarries, the cruelty and brutality? The ordinary citizens, their way of life, the privations, organisation under the Germans, post?
4. Lou, strong character, her son fighting, the post and the news of his death? Her grief, the ceremony in the church, faith? Running the store, bond with Ivy, with Harold? Arthur and his fussiness? The other friends? The gossiping bonneted ladies across the street – and suspicions that they were reporting people to the authorities?
5. Bill, Russian soldier, the brutality of the quarries, his escape, the encounter with Lou, her accepting him, bathing, shaving, his age, memories of home? Lou allowing him to stay, teaching English? A substitute for her son? The others knowing about him, the secrecy? The support from Harold? Arthur and his being fidgety?
6. The three women on the coast, seeing the young girl and a German soldier, Lou and her reaction, ousting her, the later encounters? The stating to the authorities she had never been in the shop?
7. The bond between Bill and Lou, teaching English, the reading, going to the store, buying the art book, his sketching? The discussions about God, his angry outburst? Lou’s reaction? His going out of the house, her bringing him back? The excursion, the roadblock and their escaping? The forged document? His becoming part of the community, the Christmas celebration, singing the Russian song, the authorities coming to the door, Harold and his singing the song?
8. De La Haye and his role in the island, authority, concessions, the post, Arthur and his steaming open the letters, not delivering the reports, missing out on the report against Lou? The consequences, the arrival of the Germans, the search in the house, clear except for the book, the Russian bookmark, her arrest? The other women, in the cells?
9. The trials, the sentences, the hopes with the Allies planes flying overhead? Their being transported to the concentration camps? The glimpse of Harold, Lou and the women, throwing him the tobacco? Their deaths? His survival?
10. Bill, his survival, the aftermath of the war?
11. The final tributes to Lou and the others, the self-sacrifice in war?

EILEEN

US/UK, 2023, 97 minutes, Colour.

Thomasin McKenzie, Anne Hathaway, Shea Whigham, Sam Nivola, Owen Teague, Siobhan Fallon Hogan.

Directed by William Oldroyd.

A young woman, Eileen (New Zealand’s Thomasin McKenzie) lives in a drab music Massachusetts town in the 1960s, alone with her ex-policeman father (Shea Whigham), alcoholic, menacing with his gun, always putting her down. She works in reception at the local prison.

Into her life comes a new expert, Rebecca, Harvard trained, blonde Marilyn Monroe look, a striking performance from Anne Hathaway. Anne Hathaway takes a liking to Eileen, affirms her, goes out for a drink with her, Eileen flattered by the attention.

While the film spends a lot of time focusing on Eileen, her ugly life at home, getting her father to surrender the gun to her, keeping him under control, despising him yet caring for him, and some of the personal squalor of her own life, clothes, cleanliness, as well as her voyeurism at night a local meeting place, early in the film, the film then moves to the complexity of her response to Rebecca. And the audience wonders whether there is a real liking there or Rebecca is using Eileen.

The complexity of the plot focuses on a young man whom Eileen continually observes and imagines, accused of killing his policeman father. His mother is interviewed by Rebecca, leading to a striking confrontation – and a later twist in the plot, violence, Eileen having to check her relationship with Rebecca, making final decisions, freeing herself from her father and from the town.

Continually intriguing.

1. The title, the focus on Eileen? Based on an award-winning novel, screenplay by the author and her husband?
2. The setting, Massachusetts, the 1960s, the small town, the weather, dismal, the streets, the prison and offices, homes, the bar? The surrounding countryside, bleak?
3. The range of songs, accompanying the action, the lyrics commenting on characters and action?
4. The portrait of Eileen, age 24, the introduction, in her car, voyeurism, sexual experience, at home with her father, his drinking and violence, his gun with people in the street, the police protesting, giving up his gun to Eileen, her narrow life, stopping studies, at the prison, letting visitors in and searching them, the reactions of the two women in the office, a humdrum existence? Use of health, cleanliness, uncleanliness?
5. Life in the prison, her looking out the window at Lee Polk, watching the guard, her fantasy about him, the physical reactions? Sitting in public? The work in the prison, the files?
6. The arrival of Rebecca, the Marilyn Monroe look, blonde hair, costumes and style, the impact of her arrival, her haughty manner, Harvard, her role in the prison, with members of the staff, the significance of the Christmas pageant, the presentation, the mockery, the fight, happening every year? Her reaction, Eileen’s reaction?
7. The relationship between Rebecca and Eileen, the glamour versus the plain, Eileen caught up, admiration, fascination, Rebecca talking to her, the invitations, outside smoking, the discussions, the drink at the bar, the dancing, Eileen infatuated?
8. Polk’s situation, Eileen always watching him in the yard, alone, his mother’s arrival, Rebecca sweeping her in, Eileen watching the discussion, Lee silent, the mother’s reaction, sweeping out in anger? The consequences, the issue of the son killing his father, the echo for Eileen at her own father?
9. At home, her father’s drinking, complaints, mocking her, memories of his wife, the fact that he was abusive, his saying she forgave him, the continued treatment of Eileen, out all night, being sick on the car, locking her out, the criticisms, the accident, going to the doctor, the drinking would kill him, coming home? The final talk with some kind of understanding of her?
10. Christmas Eve, Rebecca gone, Eileen dismayed? The phone call, going to the house, the bottle of drink, the talk, audience anticipation, a different consequence, Mrs Polk, in the basement, tied up, the interrogation, her collapse and telling the truth about father and son, her own behaviour? Eileen with the gun, holding it, wounding Mrs Polk, forcing the drugs down?
11. Rebecca, staying to tidy up, never appearing again? Eileen to take the body, at home, her decision to drive out, leaving the body wounded and drugged, going to the highway, getting a lift, going to a future, with the money she had saved, smiling?
12. The unpredictability of the plot, intimations of direction of the plot, but the plot going in different directions?

SUBSERVIENCE

US, 2024, 103 minutes, Colour.

Megan Fox, Michelle Morrone, Madeline Zima, Matilda Firth., Andrew Whipp,

Directed by S.K.Dale.

Subservience is not a word that one normally uses. However, it does open up various aspects of the themes of this drama/thriller focusing on androids.

2024 was the year of the delightful animated film, The Wild Robot, on the one hand a throwback to lovely animals in the Bambi tradition, on the other hand, an alertness to AI developments in robots, their potential for service and protection of humans, the dangers of their being exploited and becoming tyrannical.

Subservience is a family story, a busy father, his young daughter, his pregnant wife unwell. So, in this future, what better than going to an android market for help? A nicely pleasant female-appearance android present herself to the daughter and is soon taking her place in the household. Obviously, there is going to be a limit to the niceness of the android, the daughter calling her Alice after Lewis Carroll’s books. And, some movie buffs remember usurping babysitter thrillers like The Hand that Rocked the Cradle.

Megan Fox is Alice, saying all the right programmed responses, all logical, indicating herself (itself?) to the protection of the principal buyer. But, how to interpret this without any feelings or emotions – or has she? When the father mentions that the new born son is something of a ‘burden’, Alice finds ways, impassively violent (or is she?) to lightening the burden, the wearisome child.

And, of course, there will be some sexual issues, Alice alleviating more burdens, difficulties and  confrontations for the wife who is waiting for an organ transplant…

So, as with so many android films, AI cannot only dominate our lives, potentially destroy them.

Subservience is rather ambiguous: service, being subjugated, and the need for the android to find its subservient role in the family.

1. A melodrama, AI thriller, moral fable?
2. The future, the manufacturing of AI androids, the development, human characteristics, appearance, algorithm and behaviour? The promotion of the androids, the markets, the using homes, on building sites, in hospitals…?
3. The basic situation, Nick, his work, relationship with his wife, her pregnancy, illness, love for his daughter? The need for help? Going to the market, looking at the mail androids? The daughter wandering, seeing the female, welcoming, wanting her, reading Lewis Carroll, naming her Alice? Her coming into the home?
4. Alice, her appearance, the algorithms, logical decision-making, the development of emotions, but keeping the object of decision-making? Seeing her in action, Nick as the prime controller, the issue of Casablanca, the reprogramming, her taking charge of eliminating aspect of the programming, the principle of protecting the controller? His behaviour, hearing his words, acting logically?
5. The erotic aspects of the film, the relationship between husband and wife, the pregnancy, the birth of the son? Alice, using logic concerning sexual activity, the effect on Nick? The consequences when his wife returned home, the alienation, his being sorry?
6. The workplace, the building, the boss, substituting the workers, firing them, androids coming in, Nick to stay supervising, Monte and the friendship, his anger, confronting Nick, the fight, Monte accusing him of selling out to the owners after the sabotage? Alice, going to his apartment, the violence, his android, Alice destroying her?
7. Life at home, Alice with the baby, with the daughter, the discussions with the wife? The growing tension? Nick and his erratic behaviour, the drinking?
8. The situation with the transplant, the storm, the delay, the eventual transplant, the strong heart, the wife and her falling down the stairs, recovering, her strength in the final confrontations?
9. The buildup to the crisis, Alice putting the baby boy in the path, holding the door against attack, the wife getting in the window, the confrontation? Going to the hospital? Nick and his attack on Alice?
10. Alice, going to the headquarters, the investigators, the discovery of her ordering the program, her mind being transferred to the blonde android? The confrontation in the hospital, the wife and daughter hiding, Nick and his injuries in hospital?
11. Home, the dangers, the threats, Nick driving, crashing into the android?
12. Happy ending, written by humans rather than AI? Yet the ending of the manufactures of androids, cover-ups, proceeding, the development of the androids, the effect for humans?

THE SUBSTANCE

US, 2024, 140 minutes, Colour.

Demi Moore, Margaret Qualley, Denis Quaid.

Directed by Coralie Fargeat.

The substance is a serious, challenging drama on some key contemporary issues, winner of the Best Screenplay Award at Cannes, 2024. However, it could also be described as “not for the fainthearted”. The Australian government classification is indicative: R18+ ‘High impact violence, blood and gore’.

The film was written and directed by French filmmaker, Coralie Fargeat (whose previous feature film, 2017s Revenge, which treated similar themes with pervasive blood). This film, in fact, was made in Paris but with American key leads. Coralie Fargeat is an angry filmmaker, standing up and strongly assertive for women, targeting the exploitation of the “male gaze” and women’s treatment by sleazy males, here in the television industry and advertising.

To indicate the serious treatment here, this reviewer immediately started to think about Stevenson’s Dr Jekyll and Mr Hyde, the doctor at home and his experimentation, taking substances, and his public persona, charming but sinister, Mr Hyde. In fact, the director herself has suggested thinking about Oscar Wilde’s The Picture of Dorian Gray, the ugly ageing portrait at home, the seemingly perennial youthful public figure. And, some reviewers also offer helpful cinema and theatre comparisons, the 1966 Seconds, with Rock Hudson, a banker wanting to start his life again with a new identity and a new face. Another suggestion is the story of the ageing and fading star, Norma Desmond, in Sunset Boulevard.

Star of this film is Demi Moore, 40 years after she began her film career – appearing in this film and her being exposed in so many ways seems a courageous choice on her part. She plays a Jane Fonda like television host of aerobic exercises for women, quite a celebrity, a corridor filled with flattering posters… But, she is 50. She is 20 years over the expected age for such a less celebrity. She has to go. She is involved in a car crash – ironically as she stares at her image being torn down from a boulevard billboard.

While the film has a range of male characters, they are presented as leering, stupid, followers, incompetent… And, at the head, is Dennis Quaid as an over-the-top sleazy television producer. Satirical, maybe, but #Me Too exposes and court cases indicate the elements of truth.

This film runs for 140 minutes so the audience has plenty of time to contemplate what is happening, the ageing star taking the substance, the consequences for her inner self to emerge, physically, thirtysomething mentality and appearance, to take her place. The new self, is Sue, played by Margaret Qualey who is appearing in more and more significant roles in recent years. She is the right age for the male gaze, for audience popularity – and she basks in it only to be the agent of her own downfall. Some of the transformation sequences have their harrowing and startling moments, commentators referring to as “body horror”. But, as with Jekyll and Hyde, there has to be a reckoning, Jekyll becoming a monster, Hyde and his exposure.

Which means that the climax of the film has high monstrous elements, physically, psychologically, violently, a climax and a New Year’s Eve television show where everyone is spattered with the blood of the creatures.

Symbolically, the film opens with a popular star on the Hollywood catwalk of Fame , gradually deteriorating and ignored – and, that is where the film ends, a star is born and dies.

1. The title, the focus, anonymous name, powerful substance program, consequences?
2. The work of the director, angry, targeting the male gaze, portraying ridiculous men, sleazy men? Presenting ambitious women? Glamorous women? Issue of ageing? Public response, television audiences?
3. The plausibility of the plot, the history of bodily enhancements? Consequences, glamorous appearance, ageing, artificiality? Surgeons – but, here, self-and administered procedures? The strict instructions, no deviation?
4. Demi Moore and her career, parallels with her character? No holding back in her performance? Margaret Qualey, young, glamour, success, ambition, ruthlessness, self-centredness?
5. The opening, the Hollywood star, preparing, success, age, people ignoring it, walking over it? Spilling the food? And the return to the star at the end, Elizabeth Sparkle and her face and the prosthetics, disappearing?
6. Elizabeth Sparkle, her story, the parallel with the Jane Fonda row pick programs? At 50, appearance, age, her team, her slogans, the corridor, her portraits? Her being fired, interactions with Harvey? His associates? His sleazy interventions? The impact, the billboard, taking her down, the car crash, no injuries, the assistant, his insinuations, the address on her coat?
7. Elizabeth and her moral stance, 50, her career, vanity, pride, her home in luxury, the big poster? Her angers, the quest for her successor? The maid, cleaning, boning the agency, the number, going, the backyard, stooping to go in, her locker, material, taking it home, the audience seeing the implications? Her decision to go ahead?
8. The Dr Jekyll and Mr Hyde theme? The director and her reference to the Picture of Dorian Grey? 21^st-century versions, female versions? The same issues?
9. The drama of the transformation, the frank presentation of the bodies, naked, vulnerable, the emergence of Sue? The seven days for each of them to live, the transfer and’s? The rules? No deviation?
10. Sue, going to the studio, with Harvey, the two men and the auditions and their male gaze, criticisms of the women are auditioning, the response to Sue? Harvey and his excitement, the executives? The program, the rehearsals, the exercises, her style, the supporting cast, her looking at the audience? Success? Provision to be absent for a week to care for her mother? Harvey and his enthusiasm? The success of the program? The risks, deviating, the consequences for Elizabeth and her finger?
11. The success of weeks for each of the characters, Elizabeth collapsing, in the house, the gift of the French cookbook and the recipes, watching television, her anger with Sue? Going to collect the supplies? The discussions with the anonymous voice? Sue, success, summoned to Harvey, her fears, the offer of hosting the New Year’s Eve show?
12. Sue, her life, the men, sex, Oliver across the way? The consequences for her, drinking, the deviations?
13. Elizabeth, her anger, the temptation to stop the program, her motivation for not going through that, her change of mind, part of the process, stopping?
14. Sue, the New Year’s Eve, the dress, Harvey and the executives? The style of the show? The previous incident with a lump in her buttock, drawing it out? The restroom, her teeth, the body degenerating, in the corridor, smiling without opening her mouth? Her fleeing, going home, the confrontation with Elizabeth, the injections, the viciousness of the fight, Elizabeth and her age, monstrosity? Her being bashed?
15. The transformation in Sue, the prosthetics, the ugliness, the faces, Elizabeth and Sue, going to the studio, Elizabeth mask, the audience reaction, the revelation, the consequences, the crowds, the men denouncing her as monster, the violence, the vast spattering of blood?
16. The fact that the two women wore one, depending on each other, the final collapse, Elizabeth and her face, on the Hollywood star, disappearing? And the cleaners coming over it?
17. The description of the film as a horror film, as body horror, the classic allusions, the two aspects of the one personality, the public charm, the private monstrosity?

PRIMA FACIE/ NATIONAL THEATRE LIVE: PRIMA FACIE

UK, 2022, 120 minutes, Colour.

Jodie Comer.

Directed by Justin Martin.

A welcome addition to screen versions of performances from the British National Theatre. A stage experience is captured. Worldwide audiences have an opportunity to experience something of the world of international theatre.

There have been many one-woman, one-man performances causing admiration in audiences that one performer could convey so much drama, so many characters, bring to life a play with such skill. Amongst the top one-performer plays, Jodie Comer as Tessa, a British lawyer, has to be one of the best.

Jodie Comer, came to audience attention on television series, Killing Eve. She also appeared in several films, stealing the show as a Midwestern wife of bikies in the 1960s in The Bikerider.

At the beginning of Prima Facie, written by Australian lawyer and television presenter, Suzie Miller,  is  shefull of energy, assurance, speaks exceedingly quickly, is on the move around the stage, moving furniture, changing clothes, telling a narrative, vivid in her descriptions of what is taking place, and vivid in her voices and intonations to indicate a variety of characters and their interactions. It is a tour-de-force, emphasis on the force.

In the second half, Tessa turns down somewhat, she is the victim of a sexual assault by a colleague, makes the decision to bring the case to court, inviting the audience to share her experiences, confiding in the audience, describing what is happening, the accused’s defence using some of the tough tactics she had used in the first half of the play.

In many ways, this is an exhausting experience for the audience – who is in vast admiration for the versatile, exhausting performance by Jodie Comer

BONNARD: PIERRE & MARTHE

France, 2023, 122 minutes, Colour.

Cecile de France, Vincent Macaigne, Stacy Martin.

Directed by Martin Provost.

Lovers of French art, especially from the 19^th century into the 20^th century, will respond to the title of this film. Those not familiar with the art and the artists will be wondering who this couple are.

Pierre Bonnard was a celebrated artist in the 1890s, friend of other artists, Impressionist like Monet, feted in art circles in Paris. With a number of other artists, he was part of a group who wanted to develop the art movements of the time. And he had, as patrons, some of the business entrepreneurs of the period.

The film opens with him painting a young woman, sitting posing for him, she a worker in the business of making artificial flowers. She finds posing very boring. However, she is swept up by the experience with the painter, beginning an impassioned affair with him. She tells him her name is Marthe with a surname taken from the street where she lives. The audience sees, but the artist, Pierre, does not knows that her real name is Maria, she is one of two daughters of an elderly woman, unwell, angry, demanding of her daughters.

In fact, Pierre and Marthe were together for almost 50 years, their union ending with the death in 1942.

With such a long life together, his success in his work, her becoming his model and muse, the screenwriters had to make decisions about how much of the narrative could be contained in a film of two hours. They have made the option of focusing on four time periods in the life of the couple. The meeting takes place in 1893, establishing the characters, the beginnings of their relationship (not yet marriage because he does not want children and be a bad father, yet her wanting children) and his successful exhibitions. Then there is a 20 year gap, the couple now well-established, home in a country villa, Pierre being a success and acknowledged, 1914.

It is a surprise then to move only four years on, 1918, some months before the end of the war which has affected their lives, Pierre called up and affected by his service, the final months and difficulties in rations and surviving. This time the focus is on another character, a young model at the Art Institute, Renée (Stacy Martin) with whom Pierre becomes infatuated. But this time, Marthe, while still the muse and loving her husband, has turned into the practical housewife.

It is in this period that there is a most drama about the relationship between the two, the infatuation with the model, her being received into the household, Pierre travelling with her to Rome, his painting there, his decisions about the affair.

But this is also a period when Marthe herself starts to paint, something in the style of her husband’s work, yet her own individual perceptions. And, there is an exhibition of her work, well received. But this period in their life is marked by tragedy.

Finally, 1942. The couple are elderly, Marthe who has been a lifelong asthmatic, now very ill. Pierre, as always, continuing to paint. And he does at the end, painting his wife’s favourite almond tree blossoming.

One of the difficulties for appreciating this film is the mostly one-dimensional portrait of Pierre, continually painting, his infatuations, his love for Marthe, his transgressions. On the other hand, Cecile de France brings Marthe to vivid life, making her a very interesting character, multidimensional, eliciting audience sympathies.

1. Audience knowledge of Pierre Bonnard, of Marthe? Their time? The Art? The details of their lives?
2. The French atmosphere, the 1890s, 1914-1918, 1942? The decision to choose these four eras for the dramatisation of the art, the artists and their lives? The musical score?
3. A film for art enthusiasts, knowledge of the background of the Impressionists, the various artists, the sequence with Monet, patrons of the art, the movements, the styles, impressions, colours, subjects, landscapes, women…?
4. The introduction to Pierre, his intensity, age, his glasses, the detail of his painting and his style, brushwork, palette, colours? His choosing of models? Marthe and her sitting, posing, bored, her work making flowers, her age? The sexual encounter, infatuation? The revelation about , Pierre , sexuality, devotion to his art, his ambitions, new movements, collaborations, his patrons?
5. The truth about Marthe, Maria, her surname from the street, visiting her mother, her mother and bitterness, her sister, her sister being supported, the issue of divorce? Marthe and her care for her mother, but her exasperation? Over the years, her mother eventually dying, her grief, with her sister, the funeral?
6. Marthe and her moving in with Pierre, life together, his art, her being a model, finding the house in the country, buying it, the exhilaration, naked and enjoying the water, buying the house, remodelling?
7. The issue of painting and subjects, women nude, the comment about not painting men nude?
8. Marthe and her reticence, unused to society, yet taking her, the artists, the patrons, Misia and her relationship with Pierre, her playing the piano, Marthe’s admiration? The exhibitions, Pierre and success? This continuing over the decades? Misia and her husbands, the clash with Marthe in the river, later appearance?
9. 1918, the war, Marthe looking older, housewife, finding supplies, the limitations, Pierre at the front, the aftermath? More reserved? continuing his painting? Asking Renée to pose, her infatuation with Pierre, her being well-known at the Academy, her American fiance? Marthe and her response, inviting Renée in, to stay with them at the house, the atmosphere of a ménage a trois? The effect on Renée? Her leaving?
10. Pierre going to Rome, his rationalisation, the Gallery, his work, Renée with him, at the station, the knocking on the wall, Marthe seeing Renée? In Rome, the painting, the promise of the marriage, Renée and the wedding dress? The sexuality? The painting of Piazza del Popolo, the insertion of the image of Marthe? Renée and her reaction? Pierre and his reaction? The discussion about his love for Marthe? His decision to break the engagement, the consequences for Renée, anger, the dress, the bath, her suicide?
11. Marthe, beginning to paint, Pierre’s style, brushwork, subjects, her success, the visit of the painters, the happy meals? Pierre’s return, supporting her, the exhibition? The sudden news of Renée’s death, the impact on Pierre, his collapse, blaming himself? The consequences for the couple?
12. 1942, almost 50 years together, Marthe old, he will, her history of asthma? Pierre, continuing to paint? The return of the painting from Rome so long ago? Marthe going out, the arm and tree, blossoming, Pierre beside her, quietly dying? His painting of the blossoming arm and tree?
13. The final information, Pierre’s thousands of paintings, Marthe and her work, her presence in so many of his paintings?