Displaying items by tag: Peter Malone's Movie Reviews

BORDERLESS FOG

Indonesia, 2024, 111 minutes, Colour.

Putri Marino, Yoga Pratama, Lukman Sardi, Yudi Ahmad Tajudin.

Directed by Edwin.

A 2024 film, streamed on Netflix, Borderless Fog offers an opportunity for world audiences to have easy access to watching a contemporary Indonesian film, a thriller, murder mystery, detection. It also offers an opportunity to appreciate something of different styles of life, Asian atmosphere, racial complications, cultural traditions.

The setting is Borneo Island, the border between Malaysia and Indonesia, people moving across borders, passport requirements on the one hand, corruption and brown paper bags with cash on the other. It is remote from the capitals, a mixed area with Indonesians, Malays and local tribe, Dayaks.

The photography of the beauty of the island is striking, panoramic views, the density of the forests.

There are some grim aspects of the plot, serial killings. And, while the killings themselves are not shown, there are gruesome aspects of the results, bodies and severed heads. The local police are investigating, but few results.

Borderless Fog is very interesting in its central character, a female police officer sent from Jakarta, contemporary look and style, strong-minded, physically tough, taller than many of the men (and actress Putri Marino perhaps reminding us of the young Sigourney Weaver). She clashes with the local head, of course, finds support in his assistant, encounters a cooperative shopkeeper, works with a fiery local who wants to take the law into his own hands.

The plot is often quite complicated, requiring audience attention as to who is who and who is supporting whom.

Suddenly, the focus is on a van, a woman driving, young girls in the back, stranded at a swollen river – and then the revelation of the driver being one of the victims, and the realisation that this is a situation of human trafficking, proliferating along the Malay/international border.

Audiences will find the comparison between the detective’s methods and activities with those familiar from American or British police investigations very interesting. And, the officer herself is burdened by an episode in her past, pressure from her father, examples of police pressures and influence.

There are some twists, questioning of loyalties, the audience puzzling over who amongst the possibilities of suspects has actually been doing the killing, and why, possibly a crusade against the traffickers.

Underlying the realism of the killings and the investigation, are suggestions of ghostly presences in the forest, and influence on the behaviour of the locals. The filmmakers have decided to resolve the mystery but, with the ending, also suggest that there might be something in the mysterious ghostly presences in the forest.

DEATH ON THE TYNE

UK, 2018, 87 minutes, Colour.

Johnny Vargas, Sion Gibson, Tony Gardner, Don Gilet, Georgie Glen, Sue Johnston, Sheila Reid, Doon Mackichan, Felicity Montagu, James Fleet.

Directed by Ed Bye.

This is the second in a trilogy of murder mysteries featuring Johnny Vargas and Sion Gibson. Murder on the Blackpool Express the first, Dial M for Middlesbrough the third.

Movies and television have reminded us of the various levels of comedy in the British repertoire. In fact, there have been some brilliant comic personalities in screen presence, performance, verbal dexterity, wit, a worldwide reputation.

On the other hand, thinking of the range of broad comedies, geared especially to the popular television audience, they are pretty straightforward, not particularly subtle, enjoyment for the moment.

This series has been compared by some to the Carry On films. When they first appeared in the 1950s, the Carry On films were very popular but dismissed by many as too lowbrow. But, time has been very kind in the reassessment of the Carry On films and the talent of their casts.

Probably not so for this film. The characters are more or less as expected, talk and behave directly, not much nuance or subtlety. Johnny Vargas and Sion Gibson own a tour agency, not many customers, here just three elderly ladies, all set for a ferry trip from Newcastle to Amsterdam. They have a secret – which involves their inheriting a great deal of money from a dead friend.

The other characters are the range of people found on the ferry, the captain, his assistant about to take over, his fiancee the ship’s entertainer, her lover smuggling himself on board, and the manager of the passengers.

Some deaths, the unmasking of the unlikely killer, some silly complications with the elderly ladies and the death of one of them (by mistake!), Attempts at detection, some comic moments, many corny moments, an 87 minutes’ rather lowbrow British entertainment.

ALIEN: ROMULUS

US/UK, 2024, 120 minutes, Colour.

Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, Aileen Wu, David Betts, Ian Holm facial and voice.

Directed by Fede Alvarez.

Reviewer advice. First, this is definitely a film that needs to be seen in the cinema, in the dark, the impact of a large screen and high-tech sound system. Second, this is a film of continued tension, the skill in making its audience feel on edge throughout the film, prolonged time unrelieved, enhanced because this is a serious narrative futuristic story incorporating an atmosphere of terror.

For older audiences, it is amazing to think that it is 45 years since Ridley Scott directed the original Alien, its making such an impact in its time, and the emergence of Sigourney Weaver as Ripley, setting a mark for women in leadership/warrior roles. Alien: Romulus is the seventh Alien film, set in time between the original and Alien 2.

There were a number of Ripley sequels, there were also the two prequels, Prometheus and Covenant. With Alien: Romulus, there is a younger director, Fede Alvarez from Uruguay, who made his mark with some American horror thrillers, Evil Dead and Don’t Breathe. But, while he certainly draws on his capacity for horror and terror, this is a ambitiously vast project. And, it has the advantage of many references to the original film, quite a number of parallels in the action. It opens on a planet light years from Earth, a sunless planet, owned by the mining company, the men and women there virtually slaves, trapped in hard labour.

The main part of the film, however, is on the space ship, large but claustrophobic, high-tech but menaced mysterious and ugly creatures. They resemble those in the original film as do some of their origins (memories of creatures emerging from human bodies).

This time the characters are young, in their 20s, trapped in the mines, discovering a possibility for escape, to get to the abandoned spaceship and travel to a freer destiny. The central character is Rain, played by Cailee Spaeney, a pleasant and enterprising young woman, the firm friend of a high-tech android, Andy (a most sympathetic performance by David Jonsson, nicely genial and indulging in puns and wordplay, then reprogrammed to higher intelligence and loyalty to the mining Company, his skills essential for escape and survival. There is the sympathetic Tyler, his wilful and obnoxious cousin, Bjorn, Tyler’s pregnant sister Kay, Bjorn’s girlfriend, Navarro.

Most of the action, of course, is on the space ship, the discovery of the alien creatures, the sense of menace and terror, refuge and escape in various parts of the space ship, Rain assuming more and more leadership, becoming the new Ripley.

The film works well as a contribution to the Alien franchise, satisfyingly linked to the previous films and the original, but powerful in its ability to keep audience nerves on edge for a great deal of the action, at times unrelenting tension.

1. The seventh Alien film? 45 years after the original? Audience expectations, the various sequels, other explorations of the themes? The success of this film?
2. The time setting for this film, after the original, prior to Aliens 2? The original film, Ripley as survivor and her appearance on the other films? Not in this film? But the connections with the first film, the space ship, its mission, the experimentation, the creatures, the androids, the company, explorations of space, for the planets?
3. The time and the place, light years from Earth, futuristic, space exploration and travel? The opening, the mines, the company, contracts, slave labour, Rain and her wanting to leave, the digging? Her relationship with Tyler, Tyler with Bjorn, Bjorn and his relationship with Navarro, Kay and her pregnancy, and the importance of the android, Andy, sympathetic, the number of puns and play on words?
4. The atmosphere of the film, the creatures and aspects of horror and menace, the atmosphere of terror and its pervading the film and its effect on the audience?
5. The oppressive town, mining site, no sunlight, the humans as slaves to the company? Tyler, his reaction, gathering the group, the plan, to travel to the space ship, to travel to the distant planet? Their working together, the escape, arrival on the space ship, Romulus and Remus?
6. The human characters, Rain, her experience, her wanting to leave the mine, hesitant, trusting Tyler, ordinary but about to emerge as strong heroine? Tyler, leadership, hopes, keeping the group together? The contrast with Bjorn, obnoxious, critical, sabotaging? Navarro, her character, with Bjorn, with the group?
7. Andy, the sympathetic android, personality, British accent, manner, human qualities, intelligence, the bond with Rain, as a brother? And the range of puns and jokes?
8. The episodes on the space ship, the technology, the discovery of the creatures, the pursuit, tenacity, closing doors, isolating? Andy and his contribution, helping? Bjorn and his antagonism, his decisions, the escape, death? Navarro, the creature clutching her, trying to disengage it, ultimately her dying? Kate, her pregnancy, her being trapped?
9. Andy, the control, loss of power, Rain and her substituting the mechanism, his greater intelligence, but at the service of the company? Rain and her ingenuity, the dead, the destroyed androids, then mechanisms?
10. The importance of Rook, the link with Ash from the original film, the use of Ian Holm’s face and expressions, similarity a voice? His explanations, at the service of the company, the mission, the creatures, the power? Rook and his trying to control Andy? Confronting Rain? His destruction?
11. The crisis, the Xenomorphs, vicious, the visual appearance, memories of the creatures of the original film, their infiltrating the human bodies, the shock and then bursting forth? Kay, being trapped, the creatures, her giving birth to the monster, its confronting Rain and Andy?
12. Rain, using her wits, ingenuity, relying on Andy, transforming him back to his original relationship? Rain, the dangers, the confrontations, with the monster from Kay, the deaths of the other members, her becoming a new Ripley?
13. The buildup to the climax? The dangers, Andy and the rescue, rain and her success, setting for the future planet?

MARMALADE

US, 2024, 99 minutes, Colour.

Joe Keery, Camila Morrone, Aldis Hodge, Wayne Duvall.

Directed by Keir O'Donnell.

Writer-director, Keir O’Donnell, grew up in Australia, had success in the United States as an actor and comedian, and has brought some of this ironic talent to this screenplay.

The film focuses on Joe Keary (Stranger Things), a rather dimwitted young man, in prison after being arrested for robbery, sharing his cell with Otis (Aldis Hodge) and planning an escape with him. And there are flashbacks to his story, love for his sick mother, a chance encounter with a flamboyant young woman, Marmalade, entranced by her, bringing her home. Camila Morrone a is a very striking Marmalade.

The first half of the film consists of the discussions in the cell and the flashbacks. And, then there is quite an unexpected twist. Spoiler alert!

It turns out that the cellmate is an FBI chief who has been trying to track Marmalade for two years after several robberies. He has a support squad, the hostile local policeman in whose jurisdiction the robbery took place. And, there is a collaboration of one of the guards who is part of the team, forever quoting Shakespeare.

The second half of the film has Baron continuing his story for his cellmate, the plans for the robbery, titles up on screen to indicate stakeouts, surveillance, masks (and their stealing them, tri-faced masks which are rather disconcerting to look at), the actual robbery, and Baron and the getaway – but, wallowing in the money, the police arriving and Baron’s arrest, planning to meet Marmalade the next day after his escape.

There is the police pursuit, various leads, Baron buying pharmaceuticals for his mother after a phone call from prison, the police getting more and more frustrated, Baron leaving a message which partly reveals his motivation. And, the final twist, looking at photos from the robberies in the past, and the discovery of who Marmalade actually was!

Initially interesting but not outstanding – but, after the twists, quite a ride!

1. The title and expectations, the character, and name, behaviour?
2. The prison setting, details of cells, corridors? On the road, the robberies and setting them up? Homes? The musical score?
3. The first half of the film, the setup for Baron, his story, the flashbacks, Marmalade, her story, the plans? The need for escape? Otis as cellmate, listening, supportive?
4. Otis, his character, the cell, his manner, listening, the money, the plan? And a twist midway through?
5. Baron, his age, long hair, sad story, considered as slow-witted, the glimpses of his childhood, Otis hurrying him on, his sick mother and support, the paper delivery, his being sacked because of his long hair? The encounter with Marmalade, the impact, swept off his feet, travelling with her, at home, with his mother, her plans, the idea of the robbery?
6. The script twist half way through, Otis and the FBI, the guard at the cell quoting Shakespeare, the other members of the investigation squad, for two years, chasing Marmalade, her bank robberies? The local policeman and his opposition?
7. The further story, Baron infatuated with Marmalade, the sexual encounter, Marmalade and her personality, age, dress, manner, stories, laughter, erratic? The details of the plan, the headings on screen, stakeouts, casing banks, safe houses, strategies…? And the actual robbery, Baron as the getaway driver? At home, the money, the arrival of the police, the arrest? Marmalade and her getaway, the plan for 3.30 the next afternoon?
8. Otis, the arrangement of Baron’s escape, the laundry basket, the keys of the car, going to his rendezvous?
9. Otis and his squad, the pursuit, Baron visiting his mother’s grave, and to the ice cream parlour, their chasing the car, Baron disappeared, the local driving the car? Going to the ticket office, the message?
10. Baron, cutting his hair, the phone call from prison, the police tapping it, the pharmaceuticals?
11. The background stories, Baron’s mother, Marmalade and the foster homes? The police going to the pharmaceutical boss, his anger, the truth about him, his arrest?
12. The final twist, the truth about Marmalade, the truth about Baron, the money, the pharmaceuticals, going to visit his mother?
13. The first half interesting but unexceptional, the difference coming in the second half with all the twists and the revelation about Marmalade, the photos, Baron and his spinning the whole tale?

MARINETTE

France, 2023, 93 minutes, Colour.

Garance Marillier, Emilie Dequenne, Alban Lenoir, Fred Testot, Sylvie Testud.

Directed by Virginie Verrier.

A football story. From France, opening in 1987, continuing its story throughout the 1990s and into the 21^st century. It is based on the life and career of French football player, Marinette Pichon.

The film appeared at the same time as the Swedish film, Tigers/Tigra, also a football story, focusing on the career of Matt Bengtsson.

While the opening of the film focuses on Marinette as a little girl, her skill with the ball, her relationship with her family, with the school children, it emerges that she is a skilled player and that she has determined that this will be her life. However, the film focuses on the difficulties with female football players and their clubs, the lack of professional recognition (even to the time of the release of this film), the bad comparisons with male football players, organisation, salaries… To that extent, the film is an expose of French treatment of female players.

However, Marinette is scouted by American clubs and moves to the US, achieving great success, some failures, especially concerning Olympic Games possibilities, but persevering with her play as well as with her campaigns. And, there are rivalries in the French team, whereas she is welcomed in the United States.

Marinette has been at the forefront of gay rights, gay marriage, and the film dramatises these aspects of her life – and highlights them at the end of the film.

1. A football story? European football? Female players, the situation, organisation, pay?
2. A French story, France and its devotion to football, men’s teams, women’s teams, contrasting organisation, payment, professionalism?
3. This story based on an actual character and her life and career? As a little girl, fascination with football, going onto the field, the coach, encouraging her, her play, reactions? Support from her mother and sister? Aiming to be professional?
4. Growing up, the years passing, her commitment to football, training, skills?
5. Her working with the French team, the management, the other players, amateur status, training sequences, playing sequences, spirit of the team, clashes, the coaches and support? French play, success, but women’s sport as minor?
6. Scouted by the Americans, her transfer to the US, language limits, the welcome, the professionalism, the training, the matches, the ups and downs, missing the Olympics, her perseverance, her skills? With management, with coaches?
7. Marinette and her personal life, the attractions, the relationships, gay rights issues, same-sex marriage, her life, public support and campaigning?
8. Marinette and her family, the continued support of her mother?
9. Finishing her career, record set, achievement? And into the future and her social campaigns?

ELIZABETH TAYLOR, THE LOST TAPES

US, 2024, 100 minutes, Colour.

Directed by Nanette Burstein.

It is something of an understatement to say that Elizabeth Taylor was a significant world figure in her day. She spanned the decades, born in 1932, moving to the US at the breakout of World War II, beginning her film career in 1943 with Lassie, come home, consolidating it, Riding in the British races, National Velvet, a very strong career into the 1970s. He died in 2011.

The lost tapes of the title refer to interviews with Richard Meryman, 40 hours which took place in 1964, then placed in an attic and only discovered by the interviewer’s wife in 2019 and made available. Documentary director, Nanette Burstein, has organised a great variety of segments from the tapes to make Elizabeth Taylor’s narrative about her life and career up to this period, material and 1966, culminating in her appearance in Who’s Afraid of Virginia Woolf and her winning her second Oscar for that performance.

While the voice-over is significant, the director has been able to obtain a great range of visual footage of the actress, of her life in public, aspects of her life in private, interviews, social photos, and, clips from a great number of her films. This is always something which makes a favourable audience want even more.

There is great emphasis on how beautiful Elizabeth Taylor was as a little girl, as a teenager, as a young adult, but voicing dislike of her schooling at MGM studio – moving into adult roles, even as Robert Taylor is wife in The Conspirators, when she was 18. And, there is a lot of footage and her own observations about her first marriage to hotel heir, Nicky Hilton, the initial happiness, his character, her moving towards a divorce. Then, for the curious, there is her marriage to Michael Wilding, the British actor some decades her senior, some years of happiness, dependence on him, continuing her career but dissatisfied with the roles that MGM was giving her. And she had two sons. The tapes offer observations about Michael Wilding, the strains on their marriage, and her divorce when she was still in her mid-20s.

For those interested in her comments about her further marriages, needless to say, there is quite a great deal, especially about Mike Todd, enjoying his so-called lack of education, oddball style and humour, his achievements, and happiness with Elizabeth Taylor, the birth of their daughter, the tragedy of his accidental death in a plane crash.

For audiences wondering about Eddie Fisher (and not favourable to him), her comments about him as a friend of Mike Todd, Debbie Reynolds being her bridesmaid, the talking with Eddie Fisher, Mike Todd’s friend,, his infatuation with her, the rapidity of marrying Elizabeth Taylor only hours after the divorce from Debbie Reynolds – Elizabeth Taylor indicating the Debbie Reynolds that made to something of a show of her shock. Finally, Elizabeth Taylor says she was not in love with Fisher but he was a good friend, especially talking about Mike Todd.

There is Elizabeth Taylor’s illness, highlighting some of her roles, especially the support of George Stevens in both A Place in the Sun and Giant, many sequences, background, James Dean, and her friendship with gay actors, Rock Hudson, Montgomery Clift, a lifelong bond with Roddy McDowell who makes commentary throughout this film. There are scenes from Suddenly, Last Summer as well as her complete dislike of Butterfield 8 – and the scene of her accepting her Oscar for this performance.

Cleopatra. Richard Burton.

In fact, there is quite a lot of background about the making of Cleopatra, initially with Ruben Mamoulian and, then Joseph Mankewiecz, scenes with Rex Harrison, then the arrival of Richard Burton, her illness, delays with production, starting again with so many consequences in recasting, many scenes from the film itself, especially her entry into Rome with the cast of thousands.

Of course, audiences will be wanting to see the relationship with Richard Burton, here Elizabeth Taylor’s commentary on meeting him as a badly hangover drink, the bonding between them, the breakup of his marriage, many scenes of them together, in other films, socially, with their children bonding with Burton, and her saying that the marriage would last for 50 years.

And, then being hounded by the paparazzi, condemned, even with a glimpse of John XXIII in the Vatican, but some of the winning over public opinion.

Those interested in Richard Burton, he appears in many sequences, interviews, and helps audiences to understand his personality and his decisions about alcohol, about marriage, his career.

The filmmakers have added further material, some of Elizabeth Taylor’s performances in the 1970s, her drug and alcohol addiction and rehab, but, especially her emergence at the time of AIDS, support of Rock Hudson, her speeches, speeches to Congress, her work and foundations.

Which does provide something of a triumph for the actress so often in the limelight, who makes some wry comments about her being a star celebrity commodity, contrasting with her desire to be an actress. The range of her marriages, the six years with the Senator included, the marriage with the bodybuilder not included. But, she moves from a world of glamour and publicity to a reputation of social concern.

STUDS

Ireland, 2006, 90 minutes, Colour.

Brendan Gleeson, David Wilmot, Liam Carney, Domnhall Gleeson.

Directed by Paul Mercier.

This is a very Irish film – and audiences will need a fine-tuned ear to take in all the Irish accents and language.

It is a comedy-drama. The focus is on a local football team, middle-aged men who train and play together, rather a bickering group as they play. There are various football scenes – and of their bad showing.

At the centre of the film is a bluff and burly man, Brendan Gleeson in a typical role, responding to an advertisement from the team to become their coach. They do accept and what follows is a lot of training, some shrewd tactics, some success, moving towards the top of the ladder.

The film shows in some detail several of the central characters (one of whom is played by Brendan Gleeson’s son, Domnhall Gleeson).

The coach is not who he seems but he does have success with the team, their finally forcing him to drink in celebration and, as we expected, his falling off the wagon. And, questions as to where he will go and as to where the team will go.

1. Irish comedy? Irish drama? Football? Middle-aged men?
2. The Irish town, the soccer field, the dressing room, the roads, houses, atmosphere, industry? The musical score?
3. The title, the men and their age, image of themselves, their work, playing football, enjoying it, wanting to win, down on their luck, the Thursday night practices, with the car headlights, the particular characters, interactions?
4. The football sequences, the play, the defeats, the practice, improving, victories? The hard practice sequences?
5. The men, Bubbles and his voice-over, leadership, the other members of the team, their work, personalities, clashes, comic touches, serious touches, the discussions in the dressing room? The character of the Prophet, quoting the Scriptures, watching, coming in, his skills, Bubbles finding his hut, the death, his playing and success?
6. Walter, Brendan Gleeson character, his arrival, the ad in the paper, the player putting it in, the qualifications? The identity of Walter, the background, playing, reputation, tough? His argument, their accepting him? His attitude towards the men, the demands, the tough practices, the matches, the pep talks, the strategy of losing one match to win the next in the cup? The gradual improvement, the successful matches, the buildup to the final, the losing? His reaction?
7. The background for the development in the town, the field becoming private property, the clashes?
8. The range of men, the film not offering any family background? Just seeing them with their interactions amongst themselves, erratic behaviour?
9. Bubbles, the true identity of Walter, keeping it secret, the team forcing him to drink, his alcoholism, taking home, the wife angry at him, the glimpse of the sun? Keeping the secret?
10. Walter, on the road, the final talk with Bubbles, the alcoholic, taking an identity, his achievement, walking on?

TIGRAR/ TIGER

Sweden, 2020, 116 minutes, Colour.

Erik Enge, Alfred Enoch, Mauritzio Lombardi, Frida Gustavsson.

Directed by Ronnie Sandahl.

A sports film, based on an actual character and his experiences.

Matt Bengtsson is a young Swedish football player, age 16 going on 17. He is acclaimed locally, is chosen to play for Inter Milano.

He is a young man, rather morose in temperament, devoted to his mother, his father absent.

While there are football sequences and many training sequences, the film actually offers a criticism of players’ spirit within top teams, their not accepting newcomers, taunting and touches of bullying, the repercussions for the player, support from officials. Erik Enge is quite persuasive as the young footballer. British actor, Alfred Enoch (all the Harry Potter films), plays his supportive friend. There is also a relationship with a model, leading to the challenge of what the player really wants, complete dedication to his sport or a full of life.

This is a film particularly for European audiences who follow the major football teams and competitions, interested in an expose of life behind the matches. Once the player has made a decision, he acts on the diary that he has been keeping and becomes a writer, publishing his expose.

At much the same time, a similar film was released from France, Marinette, about the difficulties for women football players, their not being treated professionally, and the central character being brought to the United States and being successful there.

1. A film based on actual characters and events? But dramatised?
2. A Swedish production, Swedish story, the initial Swedish settings, home life, football, celebrations, transition to Italy, Inter Milano, the team, accommodation, training, matches, spirit? And the experience and crises for Matt?
3. The story of Matt Bengtsson: his ambition from childhood to be an international football player, encouragement by his parents, his skills, 16 turning 17, slight build, his happiness in being chosen, writing his journal, farewell to his mother, travelling to Italy, the reception, the manager and the interview, the silence, the affirmation, supervised by Luca?
4. The promise of the room, his having to share, sitting at a table, the player walking off, the snide remarks, the bets that he would leave, no team spirit amongst the men? The practices, his steady discipline of exercise and training? The language issues? Travelling in the bus, his being ignored? On the field, the games, the injuries?
5. On the bus, sitting next to Ryan, Ryan as friendly, talking, listening to the music, giving advice, becoming a confidant? The buying of the car, Matt unable to drive, underage, the choice of the car, Ryan driving? An experience of friendliness?
6. Matt and his achievement, the year, playing, criticisms, a chance to play in the main match, the lower teams? Waiting on the bench, warming up, playing, the clashes?
7. Going to the club, the encounter with the model, talking, going out, friendly, the sexual relationship? The strictness of the club, curfew, his going out, in the car, caught, the warning? The encounter at the club, his explanation about his ambitions? Her not being able to understand his commitment? The breakup?
8. The background of his father, not coming to the celebration, his mother’s attitude, the message from his father, the phone call, the half sister, emotion?
9. The depression, writing in the diary, the cumulative effect of the team, Ryan and his being sold off? The dismissal of the player and his depression, climbing onto the building, urging him down? The interviews with the manager, his affirmation, wanting him to commit? Matt and his refusal?
10. The depression, walking on the road, hit by the truck, in hospital, the lesser injuries, his mother coming, the story of epilepsy? Her being prepared to go along with it, changing her mind? His determination?
11. Ultimate plea, his decision not to continue? His driving in his car?
12. The information, the aftermath, his diary, his writing the book, the expose of life behind the facade of the matches and victories, management, hostilities, lack of team spirit, exploitation?

FUCHSIA LIBRE

Philippines, 2024, 112 minutes, Colour.

John Arcilla, Paolo Contis, Khalil Ramos.

Directed by RC Delos Reyes.

Best to check Filipino audiences and reviewers to gauge how this film communicates!

The screenwriters must have had lots of ideas for plot lines – and decided to include them all. Which means then that the film goes in all kinds of directions, gathering themes from a range of Filipino movies. Then the title eventually emerges.

The film opens nicely with father-son relationship, the little boy, his policeman father enthusiastically supporting him at boxing training, his moves. However, very unsubtly, we see the little boy attracted to another little boy and suspect instantly where this could lead. So, there is the exploration of the gay theme in Filipino society, the macho father and his disappointment in his son, the son coming out to his father and being rejected, and teaming up, running a gym, with a group of very, very camp friends.

One of the difficulties of this theme is that the writing and the performances would indicate that it is the work of straight writers and actors doing an impersonation of gay and camp, rather than coming across authentically. There are camp jokes. But, perhaps surprisingly or not, there is not an indication of any kind of intimate gay relationships or behaviour, just the camp and some cross-dressing.

So, we focus on the central character, seen as a boy, rejected by his father who bashes up a young man friend, witnessed by the police chief, and losing his possibilities for promotion, and as the film moves forward 10 years, working in car repairs.

The son is effective in his gym, training, enjoying his friends’ company, but then a twist in the plot as a landlord threatens to take over the building and the need money to buy the property.

The film then becomes a martial arts story, but especially in underground and illegal multi-martial arts fighting. Our hero then is persuaded to go into the fights to get the money to pay for the building, but wearing a mask, calling himself Fuchsia Libre, very camp in his behaviour and setting expectations, losing at first, but then winning.

The film then becomes a police undercover investigation, the hero’s father going undercover, becoming adviser to the psychotic young boss of the fights, criminal activities, drug deals, called The Patron. His outbursts and fanaticism and glee sadistic humour and, embarrassed, killing those he disapproves off, have to be seen to be believed. The father, not knowing that Fuchsia Libre is his son, decides to promote him as a fighter in order to further infiltrate the criminal gang, ultimately to get copies of financial dealings from his computer.

Which builds up of course to quite a climax, an opponent in a fight pulling off the mask, the father seeing his son, trying to warn him off fighting, the final desperate fight, the father supporting his son, the Patron going berserk, and an emotional fight and shootout.

And, as expected, father-son mutual reconciliation, forgiveness, love, and the father’s acceptance of his son as he is.

(The Filipino critics were not kind to Fuchsia Libre, too many themes are not always convincing.)

ROBIN’S WISH

US, 2020, 77 minutes, Colour.

Directed by Tylor Norwood.

In 2018, four years after the death of actor and comic, Robin Williams, a tribute documentary was produced with an indicative title: Robin Williams: Come Inside My Mind. It was an attempt to explore how Robin Williams ticked, his intelligence, his wit, his capacity to entertain. But it also raises the issues of addictions and the consequences.

This documentary, Robin’s Wish, was released two years later. The basic insight of the film is the revelation that Robin Williams was suffering from a neurological disease, Lewy Body Dementia, but little is known about it. And, throughout the film, there are a number of medical experts who explain the condition, how it affects the brain, the psychological consequences, the influences of behaviour, seemingly erratic.

While the film does fill in a lot of the biography of Williams, is a boy, his growing up, his talent for acting, his comic talent, improvisation, his film opportunities, his life in Marine County, testimony from close friends over decades, several of his neighbours, the title highlights his wish to entertain. However, with many interviews with his wife, Susan Schneiders, the descriptions of his last years, the effect of the disease on him and day-to-day life, as well as director, Shawn Levy with extent of comment about Williams on the set of the final Night at the Museum film provide insights into what was happening in Robin Williams brain, in his mind..

Robin Williams was well liked, is admired for his screen performances, both serious and comic, never short of a word, stunning people with his capacity for improvisation. The world was saddened at the news of his death. This documentary goes some way to helping audiences understand what goes on in of life someone in the public eye, well-known from the media, but struggling with physical and psychological issues which can lead to death.