Displaying items by tag: Peter Malone's Movie Reviews

MILLER'S GIRL

US, 2024, 96 minutes, Colour.

Martin Freeman, Jenna Ortega, Bashir Salahuddin, Gideon Adlon, Dagmara Dominczyk.

Directed by Jade Halley Bartlett.

This is not a film for the wide audience. It takes a very serious subject, teacher-student relationships. However, the screenplay is filled with excerpts from literature, especially from Henry Miller, his sexual subjects and style, actually not permitted to be taught in the school in the film. There are many other literary references and literary discussions which may be too much for the wider audience.

British actor, Martin Freeman (The Hobbit, Dr Watson to Benedict Cumberbatch’s Sherlock Holmes) at a small American school, creative writing, himself a published author of short stories, resigned to being a teacher rather than success as a writer. He has a brittle marriage with his wife, preoccupied with her work, alcoholic.

Rising star Jenna Ortega (Wednesday, Scream) is a wealthy 18-year-old living in a mansion while her parents travel abroad. She is well read and has ambitions. In her encounter with her teacher, she reveals her talents, he is intrigued, becomes infatuated and affected by her, she controlling the situation, writing a story based on Henry Miller which has quite a psychological sexual effect on her teacher.

Feeling some rejection and the criticism of her story, she reports him to the school’s principal, leading to questioning, suspension, and her being vindictive, even to her close friend at school.

Another variation on the dangers of teacher-student relationships and involvement.

1. The name, Miller? The character, the novelist Henry Miller, his books, his themes, sexuality, relationships, obsessions?
2. The American town, remote, school, classes, lecturers, the principal? Other students? The literature class, the students, the reading, the assignments, their stories? Jonathan Miller, leading the class? The friendship with Boris and his presence?
3. Martin Freeman as Jonathan Miller, middle-aged, the writer, his ambitions, disappointments, the tension in his marriage, his wife drinking, her work, his resentments? Love of literature, option to teach, the encounter with Cairo, that she had read Finnegan’s Wake, his admiration, comments to Boris? His interest in her, her living alone, coming through the woods, the discussions, the assignment, her story, Henry Miller and his not being allowed to be taught at the school, the continued meetings, the effect on Miller, the effect on Cairo, teacher-student relationship?
4. Cairo, the story about her parents, living in the mansion, alone, through the woods, her friendship with Winnie, Winnie and her blasé attitudes, seductive towards Boris, the discussions about sex and sexuality, about her relationship with Miller, the writing of the story, the sexual encounter with each and her later using it to intimidate Winnie? Her background, wanting to be a writer, her extensive reading?
5. The teacher-student relationship, the shared discussions, very literary, the meetings, outside, smoking, Boris present, the phone call, calling in at her house in the evening?
6. Boris, friend, teacher, sounding board for Jonathan? With Winnie?
7. Jonathan, the infatuation, her work, the sexual effect on him? His wife’s interrogation? The consequence of his trying to be detached?
8. The effect on Cairo, her reporting into the principal, his being called in, the discussions, his defence, her insistence? The effect on him?
9. At home, the taunting of his wife, interrogation? His loneliness, suspended? Cairo’s victim?
10. Cairo, vindictive, seductive, and the collapse of her friendship with Winnie?
11. The literary nature of the screenplay, limiting the potential audience not familiar with literature or interested in hearing lengthy excerpts and discussions?
12. A variation on seduction and the teacher-student relationship?

KA WHAWHAI TONU - STRUGGLE WITHOUT END

New Zealand, 2024, 115 minutes, Colour.

Temuera Morrison, Paku Fernandez, Hinerangi Harawira-Nicholas, Jason Flemyng, Ariana Smith, Te Wakaunua Te Kurapa, Cliff Curtis, Jack Barry.

Directed by Mike Jonathan.

The middle of 2024 was a significant time for the release of significant New Zealand films, significant films with Maori themes. Firstly, Lee Tamahori completed his trilogy which began with Once Were Warriors in 1994, and his going back to the 1930s, the tribal warfare, the establishment of colonial towns, conflicts, The Convert. Soon after came the contemporary story The Mountain, directed by Rachel House, symbol of Mount Taranaki and three 11-year-olds wanting to climb it, opening up themes of Maori lore. And now this film with its Maori title, boldly asserting Maori language and presence, and an English subtitle, Struggle Without End.

The action of this film moves thirty years on from the 1830s of The Convert. This is a time of rebellion, a gathering of tribes, a rebellion, the taking of a stand at a fort, the attack of the British colonial soldiers, the onslaught, a subjugation.

Again, as with The Convert, the cinematography of the New Zealand landscapes is beautiful and significant. As is the musical score.

The context of the narrative is the gathering of the tribal leaders, discussions about war, possibilities for peace, the significant leader, Rewi (played by Temuera Morrison 30 years after his significant role in Once Were Warriors) is fierce, traditional beliefs, but acceptance of Christian faith (and a cameo from Cliff Curtis as a priest, Curtis also being a star of Once Were Warriors), wanting the possibilities for peace. However, there are other fierce Warriors who want action, bloodshed.

This is the framework for a central narrative which focuses on a teenage lad, Jack (an effective performance from Paku Fernandez), Maori mother, White soldier father (Jason Flemyng) who is captured, bound and gagged, telling a story of simply wanting to visit his grandmother. Also in the camp is a young woman who is considered to have special powers, contact with the gods, visions. She is Kapu, manipulated by her ambitious mother, set in a kind of shrine, special garb and head coverings, having some mystical experiences and visions, but also young and lonely.

Most of the language of the film is Maori but, just as we might be thinking of Romeo and Juliet, a moment of English-language actually refers to “star-crossed lovers”. So, with the expected sequences, brutal as they are, of the British soldiers’ advance, of the fort defence, of massacre, there is also the story of Jack, at first skilfully helping with making the bullets, but then an escape with some of the younger people from the Fort.

But, there are moral dilemmas for Jack, rejoining his military father, memories of his own service and some of the brutality he had to participate in, at a crossroads in his life, the impact of his British military upbringing, his love for his mother and sadness at her death, and an option for following his Maori heritage.

In many ways, the colonial-Maori clash is as expected, but is enhanced by the personal, young story at its core. And, at the end, there is information about the decline in the Maori population during the 19^th century, but also about the changes and developments in place for Maori peoples at the end of the century into the present.

1. The title, the Maori language, Maori-assertion, history? For the Maori audience, for the wide New Zealand audience, beyond New Zealand?
2. Audience knowledge of colonisation in the 19^th century? The British, the towns, the impact on the Maori peoples, tribal warfare, Treaty of Waitangi, the uprisings and rebellions, the massacres, the 19^th century history, the beginning of the increase of the Maori population, rights, place in New Zealand society?
3. The 1860s, Britain as a colonial power, the soldiers, the forts, weapons, rifles and muskets, uniforms, distinctive? Recruiting among the Maoris? Intermarriages and children? The film’s focus on the uprising, the oncoming British forces, the shooting and deaths? The final colonial victory? The consequences?
4. The gathering of the Maori warriors, Rewi and his leadership, status, personality, the Maori markings, his language, yet his wanting peace, the Christian traditions, his relationship with the priest, the singing of hymns? In the tradition of the gods, the regional and tribal gods, mystic communications?
5. The other warriors, their fierceness, wanting war, taking of Jack, wanting him to be a sacrifice, the fierceness of the warriors, but their possessing the weapons, readiness to fight?
6. The place of Kopu? Her age, set aside by her mother, her mother’s ambitions, as channelling the gods and power? Her adornments, alone? The trances and visions? Yet her not wanting this position, rebelling against her mother? Her mother’s aggressive power? Her mother later with the soldiers?
7. Jack, the gradual revealing of his background, his Maori mother and grandmother, his father a soldier, Jack and the army, his being captured, truth and lies, saying he was going to see his grandmother, his being bound and gagged, speaking to Kopu, engaging her sympathy, sharing his loneliness? With the warriors, those wanting him to be sacrificed, those for keeping the peace?
8. The younger members of the Maori group, boys and girls, their status? The baby? And the role of the older women?
9. Under siege, the making of the bullets, Jack and his skills, working? His attempts at escape? Being returned?
10. The advance of the British, the role of Jack’s father, seeing him in the flashbacks, in command, ruthless? The advance, shooting, the many deaths? The remnant?
11. Kopu, interactions with Jack, his offering to help her escape, with the young children, the escape, through the bush, hiding, the pursuit of the soldiers? The young boy wounded, their carrying him? The vision of the town where Jack came from? The song? The findings, all the dead? Another town, the different letter in spelling?
12. Jack, leaving the group, going back, his father finding him, his salute, his role with the Army, memories of his mother in the flashbacks, his conscience, his father commanding him, especially the people in the hunt, his setting fire, his father getting him to shoot the victim? His father’s love for him, his sternness? Jack, making decisions, the escape?
13. Jack with the horses, rejoining the young ones, the death of the boy? The arrival of Jack’s father, the confrontation? The arrival of the warrior? their fight, the sword, the cudgel, the deadly fight? The death of Jack’s father?
14. The consequences, Jack and his future, his options, with Kopu and the children?
15. The consequent information about the putting down of the Maori peoples, gradually increasing in number, during the 20^th century, to the present day?

NOT NEGOTIABLE/ NO NEGOCIABLE

Mexico, 2024, 87 minutes, Colour.

Mauricio Ochmann, Tato Alexander, Geraldine Zonat, Fernanda Borches, Enoc Leano, Leonardo Ortizgris.

Directed by Juan Taratuto.

While the film opens with something of a light touch, even in a hostage mediation scene, quickly mediated with success, and the mediator and his psychologist wife are sparring, observed by the young daughter, the possibility divorce, their going to couples therapy and arguing strongly, but six Negotiable has serious political themes.

We are introduced to a mysterious shopkeeper who fixes machines, is revealed, with an associate, to have a huge basement technological operation for surveillance. They then abduct the president who is on a tryst with a Congresswoman from the opposition. And the abductor wants the mediator to be the only person negotiating with him, even abducting his wife through her physical fitness coach.

The latter part of the film moves quite swiftly, the authorities, the mediator, the abductor and his demands, a lie detector and a charge whenever the president answers with false information.

And, there is a revelation of the back story of why the two men are in confrontation. So, time limits, expectations, action, a seeming resolution – and final revelation is about political corruption.

The film serves as something a rallying cry of what might happen to expose corrupt leaders.

1. The title? Hostage situations, mediation? Negotiations, blocks?
2. Mexican film, the setting, the city, the neighbourhoods, the initial abduction sequence, homes, therapy sessions, apartment blocks, hostages, surveillance headquarters? Atmosphere? The musical score?
3. Alan Bender, introduction, with his wife and daughter, in the car, the squabbling, his going to mediation, smooth talking, appealing to the sentiment of the abductor, his dog…? At home, tensions at home, his promise not to be away all the time, not fulfilling it…? Love for his daughter? Arguments with his wife?
4. The wife, psychiatrist, therapy, her client, the connection with the school, her daughter, her frustrations with her husband, the arguments of the therapy session? The fitness supervisor, the relationship?
5. The introduction to Vicente, kindness towards the old lady, fixing her machine? Underground, the extensive technology, surveillance? His associate? The abduction of the president, in the car park, the guard in the boot of the car, president, his rendezvous, the Congresswoman? Their being tied up, Vicente and his mask on the screen? The motivation, the president and his way of life, the accusations, the buzzer and the charge for every lie?
6. Vicente, the back story illustrated, sniper, with Alan, the shooting, the bus exploding, his being dismissed, prison, feeling that Alan had abandoned him? Abducting his wife?
7. The government, the secretary of the interior, the revelation of her corruption, the hypothesis of what might happen, the risks to the President, the covering stories?
8. The police, Alan and his stuttering assistant, Officer Socorro, her collaboration with Alan, his being warned off, his being singled out, his plans, the pizza and the lie detector, Vicente and his recording the president? The release of the hostages, the revelation that the fitness supervisor was the associate, brother of Vicente’s wife and her death, lack of funds, the money transfers?
9. The final meeting, the plan for the release of the president, Vicente willing to go to jail, the video found on the associate, concealed with his wife, the expose, the commentary around the world, in the country, the demonstrations, the janitor hero – and the tongue in cheek ending with his wanting to be President

SEMPER FI/ BROTHERS IN ARMS

US, 2019, 99 minutes, Colour.

Jai Courtney, Nat Wolff, Finn Wittrock, Arturo Castro, Beau Knapp, Leighton Meester, Jared Bankens.

Directed by Henry Alex Rubin.

The title is the motto for the Marines. There is an alternative title focusing on the camaraderie between male friends and in war.

The setting is 2005, an ordinary American town, an introduction to a group of friends at a bowling alley, enjoying themselves, creating a bit of mischief with the owner, but carrying on their lives. Their leader is Callahan played by Australian Jai Courtney. He is older than the others, responsible for his half brother, Oyster, Nat Wolff. We see glimpses of the life of the other friends and their relationships, the visit to a bar, flirting, a fight in the toilets and the unintended death of a young man.

The group is also a reservist group and is called up to go to fight in Iraq – some scenes there, fighting, deaths, and Callahan in a confrontation with an arguing Iraqi and his shooting him – and the impact for the rest of the film in his not being charged in any way, returning home, resuming his way of life.

Oyster is arrested for the death of the young man in the toilet, resentful towards Callahan, going to jail, attacked by the guards in jail, drugs planted in his cell, put in solitary. When Callahan comes to visit he is surly and refuses to communicate with him.

The effect of the war, his rough past, getting his life in order, becoming part of the police force, the impact of the experiences in Iraq have upset Callahan and he determines, after the failed visits to Oyster, to free him from jail and get him across the Canadian border. He draws on the friends to collaborate in the plan, one supplying surveillance machine but reluctant to help because of his wife and child. Callahan also consults a friend who is against the war but is a lawyer, getting information and advice from her.

There is tension on the scene where the bus with the prisons is attacked, confrontation for Callahan, Oyster and his escape. Callahan finally having some satisfaction in doing something for someone else, especially Oyster, in his life.

1. The original title? The motto of the Marines? The alternate title, military fraternity, relationships independence?
2. 2005, setting, the town, streets, bowling alley, homes, the military, the fort? Scenes in Iraq, the desert, military action, dead and wounded? Prison? The musical score?
3. The introduction to the brothers, their friendship, Callahan and his leadership, half-brother to Oyster, legal guardian, age and experience, the other friends, the episode at the bowling alley, competitiveness, friendship, the owner and his reaction, allowing them to play? The competitive running? The homes? At the bar, flirting with the girls? Oyster, wanting to buy the girls a drink, his rival, the fight in the toilets, the fatal injury to the man, his death?
4. Callahan, older than the others, role in the police, the reservists, going to camp, the exercises, Oyster unsettled, the fight, the domestic work? The clashes with his brother? Independence? The girls, the fight, Callahan seeking him out, his plan to escape the country, with the help of Snowball? Callahan confronting him, handing him over?
5. Oyster, his age, wilful, his book and plans to succeed, the arrest, his resentment, in prison, with the apples, the brutality of the guards, planting drugs, solitary? The visit by Callahan, his resistance? The buildup to the escape, Callahan’s speech about being substitute father, Oyster and his final response, crossing into Canada?
6. The friends, bowling alley, competitiveness, girlfriends, military reserve, their going to Iraq, the scenes of action, Callahan and his confronting the man about the bed, the protests of the man, his shooting him? There all returning home? The action taken against Callahan? The effect on him – or not?
7. The visits to Oyster, failure of communication, the decision to get him out, the discussions with the group, Jaeger and the loss of his leg, Milk collaborating, Snowball and his earnestness, Dwyer, his wife and child, opting out, giving the surveillance machine? Callahan, his determination, the discussions with Stacie, the past, her relationship with Jaeger, lawyer, against the war in Iraq, discussions about the penalty for abduction?
8. The abduction, the car, the prisoners in the bus, Jaeger at first missing, the tire, the bus careering, the signals to Callahan, the confrontation of the guard, the guard able to ring through for support, Callahan’s boss and his trying to persuade Callahan to give up, the rescue of Oyster, taking him to the border, his getting through? Callahan, driving, the opposite direction, finally caught?
9. The final moment, Callahan and what he did for Oyster, motivations, the law, responsibility, penalty, the future?

HAMMASKJOLD/ HAMMARSKJOLD: FIGHT FOR PEACE

Sweden/Norway/South Africa, 2023, 114 minutes, Colour.

Mikael Persbrandt, Francis Chouler, Hakeem Kae-Kazim, Colin Salmon, Richard Brake, Sara Soulie, Thure Lindhardt, Jordan Duvigneau.

Directed by Per Fly.

For older audiences who remember the late 1950s and early 1960s, the name of Dag Hammarskjold. A Swedish diplomat, he was much admired at the time, establishing a pattern for the role of the Jews to of the United Nations. After his untimely death, his book of poems and spiritual reflections was published, Markings, the source of reflection and inspiration for the many who read it.

This film, focusing on the late 1960 and throughout 1961, offers an excellent opportunity for memories for older audiences and, one hopes, something of a revelation to younger audiences about one of the significant personalities of the 20^th century.

This film offers a portrait of Hammarskjold as well as something of a study of his character and his diplomatic efforts. Early in the film, there is his declaration to combat colonialism – and, while he fell victim to his efforts, his influence throughout the 1960s and beyond was quite powerful, especially in Africa, so many of the countries moving towards independence.

Hammarskjold is played by Swedish actor Mikael Persbrandt (who had actually played Hammarskjold in a supporting role in the South African film and story, The Siege of Jadotville). And Hammarskjold  at this stage of his life was in later middle age, heavily involved for his life in diplomacy, a hard worker, if a lonely person, a very loyal staff who supported him, with whom he could share his ideas and hopes, and, in this film, a loyal friend in his chauffeur, Bill (Francis Chouler) on whom he could rely in every small detail of managing his time, his chauffeur.

Again, audiences need to know something about the situations in the African countries, the colonial powers and their influence, specifically here, the Belgians and the harsh history of the colonisation of the Congo, the severity of the rule of King Leopold, the exploitation of the mines and minerals, the vested business interests. By 1959, the Congo leader, Patrice Lumumba, with some ties to Russia, was viewed by many in the West as too dangerous. As the film shows, a business leader, Tshombe, secedes from the Congo to establish Katanga with himself as leader, leading to the assassination of Lumumba.

The Belgian government, the business interests, the corruption of Tshombe and links are set up with mercenary groups to support him.

On the political level, the film shows Hammarskjold and his ambitions, moves towards independence, encounters with Lumumba, discussions with John F. Kennedy, conflict with Nikita Kruschev, the sessions in the United Nations, the possibility of his being voted out, his taking a strong stance. There are also his negotiations with the British government, the possibility of face-to-face discussions to resolve the impasse. And, with some opposition, there is his decision to send in peacekeeping forces, initially successful, ultimately conflict with the mercenaries. And, this led to Hammarskjold’s death, publicly considered an accident at the time, later investigations highlighting the malice and sabotage.

Another advantage of the film is its look at Hammarskjold and his private personality, being a loner (except for a small pet monkey that had the freedom of his house, a genial companion, Mr Greenback), memories of past friendships, rekindling the friendship, a happy summer day in Sweden with friends urging to buy a house for his retirement, and the complexities of a close friend and issues of sexual orientation.

And, all the while, sequences of Hammarskjold at his desk, writing his reflections, the audience hearing them in voice-over, spirituality, poetry, self-questioning.

Worthwhile venturing back into the 1960s, world tensions and situations, and a singular personality who made his mark and was much admired.

1. Audience knowledge and appreciation of the person and political power and influence of Dag Hammarskjold?
2. Focus on his final year, taking for granted his previous political activities, becoming Secretary General of the United Nations.
3. The recreation of the New York settings, UN headquarters, the interiors offices, meetings? The African sequences, the massacres in the village, the rise of power of Tshombe, the death of Lumumba, the intrigues, the Belgians, the mines, the military, the mercenaries, the attacks? The musical score?
4. The use of newsreel footage, the use of the black-and-white television in the television sets, giving authenticity, the focus on Africa and the events, at the United Nations, the meetings, Nikita Kruschev, the Congo?
5. The role of the United Nations, the secretary general, the Security Council, the establishing of the peacekeeping forces? The perspectives on different nations, the objections of the Soviet delegates, the denials by the Belgians, the African delegates? The meeting with JF Kennedy, the decoding of encrypted messages, Kennedy and his stances? The intervention of the British, the negotiations for Hammarskjold visit for peacekeeping?
6. Dag Hammarskjold himself, his anti-colonialism stances, the events in the Congo, the meeting with Lumumba, the role of the Soviet Union, the uranium mines, the Belgians and their protectiveness, Tshombe and his declaration of independence, the new nation of Katanga, Belgium in support, the execution of Lumumba, the mercenaries, the initial operation and occupation by peacekeeping forces, the leaking of information, the second operation and the disaster?
7. The Secretary General and his stances, defying Kruschev, setting up the operations, Ralph Bunche and his wanting diplomacy rather than action?
8. The Belgians, the negotiations, behind-the-scenes?
9. The staff at the United Nations, Bill as bodyguard and chauffeur, friends? The staff in the house? His secretary and her loyalty? The work in the office?
10. At home, his privacy, the loner, Mr Greenback as companion, the monkey on his shoulder, liveliness in the house, getting free from the cage, his lead, death, his not wanting to view the body of Mr Greenback? His musings, his writings, the poetry? The encounter with Peter Levin, his making contact, publishing, Hammarskjold reading his books, the memories of the past, the indication of homosexuality, the attempted kiss, the reaction, the separation for 30 years? The contact again, the loneliness, the security check and finding Levin had a record? The return to Sweden, the birthday party, the friends, the happiness and peace, walking, the sea, the friends proposing that he buy the house, his decision? The encounter with Peter Levin, the police charge, the letter and the invitation for the future, Levin receiving it after the death?
11. The final issue, the decisions, the politics of 1961, his decision for action, Bunche staying behind, negotiations, the British, the plane, the guard, the leak, the scenes of negotiation with the mercenary dealers, setting up the operation to down the plane? The flight, those agreed to go on the flight? Arriving near the airport, the attack, the shelling of the plane, the crash, the burning of the plane?
12. His leaving behind the manuscript for Markings, his secretary, the publication? The insights into his character and interior life?
13. The information about the aftermath, Congo, Katanga, Tshombe and his exile?
14. The contribution of Dag Hammarskjold in his time? Consequently?

SECRET NAME/ LA PLACE D’UN AUTRE

France, 2021, 112 minutes, Colour.

Lyna Khoudri, Sabine Azema, Maud Wyler, Laurent Poitrenaux.

Directed by Aurelia Georges.

It is something of a surprise to find that this film is based on a novel by British author, Wilkie Collins, famous for The Woman in White and The Moonstone. This film is based on a lesser-known novel, The New Magdalen. Interestingly, The Woman in White and The Moonstone have been filmed many times for film and television whereas there were four short versions of The New Magdalen from 1910 to 1914.

The setting here is France at the beginning of World War I, some scenes of battle, nurses tending the wounded, negotiations of passes with the German authorities.

However, this is the story of Ellie, played by Lyna Khoudri, Constance in the The Three Musketeers films, D’Artagnan and Milady. We first see Nellie ousted from housekeeping, walking the streets, the revelation that she had been a prostitute, looking for some kind of refuge but being persuaded to become a nurse on the front line.

The meaning of the title comes into force when a young woman, Rose, is stranded at the frontline, reveals her story to Nellie, but it is wounded, presumed killed in an explosion. As with the title of the film, Nellie takes on the name of the stranger and takes her identity.

The film then takes a rather elegant tone, Nellie able to be a reader to an ageing wealthy lady, becoming her companion. But, for the drama, Rose was not killed and has arrived to claim her place in the household, deception by Nellie, investigation by the elderly lady’s nephew which vindicates Nellie, repeated attempts by rose to declare her innocence – and a final moral confrontation and search for a satisfying ending.

1. The title? The French title and identity theft? The English title, the importance of names and concealment?
2. The 1914 setting, World War I in France? Scenes of war action, nursing, the advance of the Germans, interactions? The musical score?
3. The plot based on a Wilkie Collins novel, The New Magdalen? The adaptation? Updating to the 20^th century?
4. Nellie’s story, the opening, her working, being ousted, wandering, her past on the streets, the other women, the man following her, the sexual encounter? The refuge, nurses, the volunteers, her being seconded, going to the front, her work with the wounded, with the officer?
5. The arrival of Rose, her story, death of her father, seeking out the widow of her father’s friend? Interactions with Nellie, Nellie helping her? The German attack, the bombardment, Rose and her injuries, to her neck, assumed dead? Nellie, her decision, the documents, burning her hand, the letter, setting out on her journey?
6. Her arrival, the representation to all, society, position, wealth, her assistant, her nephew, his preaching the church, visits to his aunt, the meals, intrigued by Nellie, yet his suspicions, his later work in verifying her identity? Is then volunteering for the front?
7. Nellie presenting herself as Rose, the documents, her research about Switzerland, her knowledge, her education, her reading, the character of the old lady, the growing dependence on Nellie as Rose, a happy life?
8. Rose, surviving, recovery, coming to the house, the confrontation, Nellie and her reaction, the old lady and her harsh judgement? Rose taken away, the doctors, the police, the institution? Her determination, her assertions? Nellie going to see her, the confrontation between the two?
9. Julien, the investigations, the issue of the wounded hand, Nellie seeming the authentic Rose? Rose escaping, coming to the house, further confrontation?
10. Nellie, her decision, revealing the truth, her own background, her mother, education, lower class, on the streets? The old lady giving her the ring, her pawning it?
11. The old lady giving the amount of money to Rose for her future? In the car, finding Nellie, the discussion in the car, her wanting to adopt her, Nellie asserting her mother’s name, wanting her to read, to go to Italy, the future?

LE DISCOURS/ THE SPEECH

France, 2020, 87 minutes, Colour.

Benjamin Lavernhe, Sara Giraudeau, Julia Piaton, Kyan Khojandi, Guillaine Londez, François Morel.

Directed by Laurent Tirard.

This is a brief and amusing French film, French style.

Right from the beginning, the film breaks the fourth wall, the central character addressing the audience, actually speaking out the main credits. And he continues to speak to the audience throughout the film, but taking the audience into his mind, explaining himself, justifying himself, scenes of him, frequently, at a dinner with his family and the audience being told what he is thinking while he does not say it to those of the table. Then there are various sequences of the speech he might have given at his sister’s wedding – and is reluctant to do this. Some of these sequences are very persuasive in his putting his foot in it but then his retreating.

His other dilemma is that his girlfriend is taking a break, like hitting the pause button instead of stop. And we have various flashbacks to his life with his girlfriend, their meeting, mischief in the park with a boy riding his bike, shared happiness, the breakup. And, all the while during the film he is waiting, at the family table, for his girlfriend to read him back on the 38^th day of the break. It is that kind of film.

Actually, Adrien, the central character, would be pretty obnoxious to live with! And, while we have his critical version, especially of his potential brother-in-law and criticisms of his parents, we hear their normal conversations as they discuss mundane things and are very cheerful with each other, enjoying the meal.

But, he does get the opportunity to reconcile with everyone – and a bit of rehabilitation for himself.

So, something of a character study in an offbeat kind of way. Also a portrait of relationships in an ordinary French family. And, elaborate wedding celebrations, the conga line, the speeches, the potential for mishaps, and, eventually, some happiness.

LIGHTS OUT

US, 2024, 90 minutes, Colour.

Frank Grillo, Mekhi Pheifer, Jamie King, Dermot Mulroney, Scott Adkins.

Directed by Christian Sesmo.

This is one of those action films which used to be called “straight-to-video”. Now it is “quick-to-streaming”.

There is immediate war action, grimly filmed, involving the central character Duffy, played by Frank Grillo, who seems to have specialised in appearing in this kind of action show. Then he is involved in a confrontation with someone cheating at cards, displaying a capacity for fighting. He is observed by Max, Mekhi Pheifer, with a proposal that they join together doing the rounds of the Underground fight club’s, making money from bets – something which immediately happens.

Duffy is wary of Max at first, then joins with him, goes to Los Angeles and boards with Max’s sister and niece, the sister being a victim of domestic violence. And he is tormented by flashbacks to the past.

The first minutes of the film, it seems to be a macho show for a male audience, then some acknowledgement of women as victims of male domestic violence.

The rest of the film is a combination of tough, very tough fight scenes, a wheeler dealer fights entrepreneur played, surprisingly, by Dermot Mulroney, who is also one of the producers of the film. However, the main villains of the film happened to be reputable police, actually working the fight clubs, claiming money, even shooting their opponents while keeping their reputation. In fact, the main villain is a female detective played by Jamie King.

Duffy becomes a more genial man, especially boarding with Max’s sister and niece, gets tangled up in more fights, building up to a confrontation with the corrupt police and shootout.

The film is principally for a male audience which likes this kind of tough action – and for a female audience who may be interested in a film with such a tough female villain.

The director, Christian Sesmo, has made many such action shows.

LA SAINTE FAMILLE/  THE HOLY FAMILY

France, 2019, 90 minutes, Colour.

Louis-Do de Lencquesaing, Laura Smet, Marthe Keller, Lea Drucker, Inna Modja, ThIerry Godard.

Directed by Louis-Do de Lencquesaing.

This is very much a film for audiences with a distinctive French sensibility, perhaps, a Western European sensibility. It will probably not appeal or interest audiences with Anglo-Celtic sensibilities.

The title is ironic. The central character, a famous scientist with biology theories about reproduction and the mystery of the developing universe, seen lecturing to a rapt audience at the opening, is certainly not part of a holy family. He has a wife, pregnant, becoming more and more alienated from him, going off to Tangiers to supervise work on the harbour. They have a young daughter together and he has adopted an older girl.

The screenplay by the director and main star, is something of a dramatic jigsaw, introducing a range of characters, having them interact, revealing more and more about them, having them make offhand remarks giving the equivalent of lectures, raising all kinds of themes.

And in this family which is not wholly, the ageing grandmother is dominant, a past relationship revealed which alters relationships within the family, the family planning to move the grandmother in with her daughter who is worried and concerned about everyone, sending her son, the scientist, off to Barcelona for the funeral of the maid who brought them up. His brother is nervy, drinking, about to become a father, then revealed as homosexual breaking off from his partner. And there is a woman connected to the family, in Barcelona, but bought by the scientist’s mother back to France to make an inventory of the grandmother’s possessions – and the family coming in picking and choosing, the scientist having a sexual liaison.

The above paragraph may make the film more immediate coherent than it is as we watch.

The scientist is approached by a woman who knows him, is French with an African background, and makes an appointment for him with the government where he is appointed a government Minister with a focus on science and family. We don’t see much of him in this role because he is much more involved in personal matters, his mother, coping with his brother, intimate relationships with the woman from Barcelona, visits to his grandmother, panic attacks…

Very much for a Francophile audience.

A FRIENDLY TALE/ LE BONHEUR DES UNS…

France, 2020, 104 minutes, Colour.

Berenice Bejo, Vincent Cassel, François Damiens, Florence Foresti.

Directed by Daniel Cohen.

A French satiric film. The English title sounds rather genial. The French title implies rivalry, the happiness of one at the expense of another…

This is a film about four friends. However, the focus is on Lea, played by the always sympathetic Berenice Bejo (A Separation, The Movie Teller). She seems a simple, nice kind of person, happily working in the department store, advising customers about dresses, possibly in line for promotion. However, she is observant, takes notes, creates stories in her mind, eventually writing them down – to great success, her becoming a celebrated author and prolifically producing books. And she remains nice throughout.

But, her best friend, played by Florence Foresti, becomes more and more jealous, badmouthing her friend, she herself trying to write but unable, trying different areas to achieve, finally deciding on marathon running. On the other hand, her husband, played by François Damiens, is much more friendly, his wife encouraging him to explore all kinds of possibilities from art, to music, but he is not being particularly successful.

The other difficult character is Lea’s husband, played by Vincent Cassel in a role rather more different from those he usually plays. He is a believer in the man as the head of the household, works in Vietnam aluminium company and is ambitious, being passed over. However, he gradually comes over to his wife’s point of view, a bit uncomfortable with her growing wealth, comfortable apartment (which her best friend is very jealous of).

The tone is set for the film in a long opening sequence where the four are at a restaurant and a lot of time is spent on Lea having a desert, the other is declining, changing their minds, different possibilities, an exasperated waiter. And, to bring this satiric perspective to an end, a repeat of the restaurant situation and choices.

1. The French title, happiness at the expense of others…? The English title and the emphasis on friendship, ironies?
2. The French setting, the city, couples and homes, meeting places, restaurants? The publishing world, book signings and tours? The aluminium firm? Work, offices and training, exhibitions? The musical score?
3. The focus on the four characters and their interactions? Friends, tensions, rivalries, insecurities, success?
4. The introduction to the characters, Lea and Marc, we’re working in the shop and happy, Marc and his ambitions, single-minded, the aluminium company? Comparisons with Francis and Karine? Their marriage, her hopes, his hobbies?
5. The opening and closing with scenes in the restaurant, the nature of the friendships, longtime friendships, interactions, humour? The long process of whether to have desert or not, the various combinations strung out, Lea and her reactions? And the waiter and his waiting?
6. Lea’s story, her working at the store, the boss and the possibility of promotion, her meeting customers, the woman asking advice about the dress, her giving advice, putting hold, to return the next week, reaction of the boss and loss of custom, the woman returning and buying more clothes? Is recommending her to manage a store? Her lunch, observing people, imagining their stories? Karine joining her, the character of the lady in blue? Lea, her writing, diffident, sending the manuscript, the positive reactions? Audiences losing his sense of real-time, the publication, success, though the books, publications, the reviews, the signings? The effect on her?
7. Marc’s story, the marriage, the dominant male, his expectations, the subservient wife, at work, his ambitions, passed over, his enthusiasm for his work and for aluminium, the secretary? The restaurant, controlling Lea? The reaction to her success? Observing, the discussions with the friends, the separation, his motivations? The book signing, his love for Lea, reconciling? The new house and its comfort? His discovering his love for Lea?
8. Karine’s story, longtime friendship, comfortable life, relationship with Francis, the meals, her envy of Lear, trying to write a story, not getting anywhere? Her self-confidence? Who supported Francis and his hobbies? Her reaction to Lea’s success, becoming more and more jealous, conversations, insinuations, criticisms, phone calls? The change of hobby, running, obsessive, sequences of running, Francis cheering her on, going to the dinner, her envy of the comfortable house, leaving? And the final dinner and the choices about desert, and the patient waiter?
9. Francis and his story, devoted husband, wanting to be a composer, Karine urging him on, some compositions, moving to painting, moving to sculpture, the exhibition the social? Going to train with bonsai? His lack of success? His more simple approach, friendship?
10. The background of the world of publishing, the editors, the managers, tours, business, success?
11. And the title seen in retrospect of the whole film?