I'LL SEE YOU IN MY DREAMS

US, 2015, 92 minutes, Colour.

Blythe Danner, June Squibb, Rhea Perlman, Mary Kay Place, Martin Starr, Sam Elliott, Max Gail.

Directed by Brett Haley.

The title of the film is that of the popular song of the 40s and 50s, memorably sung by Doris Day in the film with that title.

This is a film for an older audience, especially in older women’s audience. At the centre is a former singer and former teacher, in her 70s, widow of 20 years after the accidental death of her husband, Carol, still living comfortably at home. She is played by veteran actress, Blythe Danner, always sympathetic on screen.

Down the road is a home for aged care with three of her friends, often meeting together, gossiping, playing cards. They are played by veterans Mary Kay Place, Rhea Perlman, there 70s, with June Squibb, still making films into her 90s. They like to gossip about Carol and possible relationships, especially with the young technician, pool cleaner, who visits Carol and has long conversations with her about himself, going to a karaoke bar with her, his composing a song for her. Stop

However, another resident of the aged care home is Bill, played by Sam Elliott with his usual affable charm. Again, a relationship with Carol, together, her being able to reflect on her life more freely with him, on his boat.

The film does not end as we might have expected with a happy relationship. Complications with Bill’s health, complications with the young man’s devotion to Carol, support from the women’s group – and Carol, at this age, having to reassess her life and plan for her future.

1. The Title? The old song? Dreams and reality?
2. A film about age, ageing, memories of the past, love, coping with the present, into the future? Happiness, sadness?
3. The California setting, Carol and her house, garden and pool, the aged care home? The streets, shops, restaurants? Audiences identifying with placing characters? The musical score?
4. Carol’s story, widow for 20 years, love for her husband? The past, her singing, the band, her teaching career, stopping singing? Living alone, comfortable? Her friends at the aged care, cards, gossip? The encounter with Lloyd, his reserve, her talking, inviting him for a drink, his relaxing, his attraction to her, karaoke talk, at the bar, their singing, his writing the song for her, singing it? His disappointment at meeting Bill? The later return, Carol encouraging him? Carol playing golf, noticing Bill, his response to her, the invitations, her going out, enjoying the evening, the challenge, listening to Bill’s story, the sexual encounter and the aftermath? With her daughter, the bonds, the discussions, the call to the hospital, Bill’s death? The effect on Carol, plans for the future, travel with her friends?
5. The humour of the speed-dating episode, Carol uncomfortable, the range of men and the making conversation within the five minutes?
6. The friends and aged care, the different personalities, discussions, gossip, sex issues, playing golf, playing cards, touch of snooping? The response to Carol and Bill?
7. Bill, charm, but aged care, his boat, story of his wife leaving and dying, the attraction to Carol, the flirting, the invitation, the dinner, the night together, the plans for the future, on the boat, the proposal, the news of his death?
8. Audiences identifying with Carol, with the situation, older generation, younger generation?

MUZZLE

US, 2023, 93 minutes, Colour.

Aaron Eckhart, Penelope Mitchell, Diego Tinoco, Stephen Lang, Paul Johansson, Nick Searcy.

Directed by John Stalberg Jr.

The title indicates restraining animals. Here, in the K-9 department of Los Angeles, there are police dogs, especially one in the opening sequences called Ace, then an attractive dog later in the film, Socks. However, the central character, Aaron Eckhart Jake Rosser, is a Marine suffering from PTSD, asked whether he struggles with anger and replying that it has long since won, needing to be restrained, especially his violent reactions at crime scenes, shooting, needing some kind of muzzling.

On the one hand, this is a police thriller, criminal gangs, drug dealing, violence on the streets, in warehouses… And glimpses the way through of rundown neighbourhoods of Los Angeles.

On the other hand, this is a character study of Jake Rosser, the impact of his past, his commitment to his police work, his angry outbursts, scenes of affable conversations with his dogs, tending them, grieving when Ace is killed in action, referring to him as a police officer rather than as a dog.

Stephen Lang appears as the trainer of the dogs for the police force, sympathetic, helping Jake to find a new dog. Penelope Mitchell appears as a sympathetic nurse, Jake attracted to her, but then her disappearance. There are several of his sequences, and, there are the various police officers throughout the film, the superiors, the partners, those despising Jake but one of them helping ultimately in the confrontation with the criminals.

In the past there was Tom Hanks in Turner and Hooch, James Belushi and K-9.

1. The title? Police dogs? Owners and trainers?
2. A police thriller, Los Angeles, familiar material in treatment, but with differences?
3. The streets of Los Angeles, the poor neighbourhoods, drug dealers, gangs? Police precincts, offices? Crime scenes? Ambulances? The musical score?
4. Jake Rosser and his story, the Marine background, post-traumatic distress, memories of his overseas service, the demands, his responsibilities, the American male and his tough image, in denial for need of treatment? The importance of his dog, the opening, driving his vehicle, talking to the dog, considering the dog as a police officer?
5. In action, the crime scene, Jake and his gun, the shooting, the pursuit of the criminals, his dog, the tactics, Jake and his reactions, the shooting, his dog injured, demanding attention for a police officer, the ambulance treating the humans, his attacking the medic? The consequences, his status, the authorities, the discussions with him, the advice that he see a therapist?
6. The scenes with the therapist, moods, advice, self-reflection?
7. Going to the dog pound, the attraction to the new dog, the friendship of the manager, training, advice?
8. The familiar story of the police, going on his own, the investigations, the interrogations, tracking down clues leads, fellow police officers and their reactions? The authorities?
9. The information, the old man sitting and observing, reluctant information, leads, the help of the fellow police officer, the setup, the role of the dog, the dog and the previous connections, menacing?
10. The final confrontations, Jake, the dog and his devotion, the criminals, the setup, achieving his girls? His future?

THE KOALAS

Australia, 2024, 91 minutes, Colour.

Directed by George Wallace-Crabbe, Gregory Miller.

Koalas, a great Australian favourite in the past, the genial character, Blinky Bill, were declared an endangered species on 12^th of February 2022. Previously they had been classified as “vulnerable” and “threatened”. Australians became conscious of so many koalas being destroyed in the vast bushfires of 2019-2020.

This significant documentary opens with people gathering on the side of a road in at the National Park to view a koala on a tree. Admiration, curiosity, cameras. but also officials coming for rescue.to the. This is a film about the status of koalas, the destruction of their habitat, so often in the name of “development”, the need for rescue, veterinarian care, and a safety and survival campaign.

There is a particular focus here on Campbelltown and its surroundings, south of Sydney, an area with increasing ice and housing development, the clearing of land, cutting down trees. the clearing of forests. Throughout the film, there are visits to other parts of New South Wales, the focus on the survival of koalas in Victoria, and action in south-eastern Queensland.

The makers of the film have drawn on quite a number of concerned contributors, 30 to 40 making their appearance and voicing their concerns. They highlight the wide concern of the issues, range of volunteers, many belonging to organisations for protection of wildlife, scientists, politicians, engineers, all combining to make a 90 minute impact on the concerned audience.

There are quite a lot of images of the koalas themselves, time to look at them closely, their size, their ever-appealing faces, climbing the trees, squatting in the trees, continually munching (and some explanations about their love for gum trees, the toxins, their coping with them, effect on the environment). And throughout, quite a number of them are shown in close-up, and information given about their origins, their health, their survival in the bush. And, many statistics indicating how numbers are diminishing, the fires, so many becoming roadkill as they try to cross the highways, some diseases.

Which means there is quite some urgency behind the making of this film, an appeal to the Australian public to become aware of the situation, threatened species, endangered species, the threats from deforestation, logging, housing developments. Many of the advocates encourage dialogue between those concerned and governments, planners, scientists, experts on wildlife, protests and demonstrations, combat, but the possibilities of dialogue, especially with development companies, logging companies for positive outcomes.

While most of the campaigners are middle-aged and older, this film is also an appeal to younger audiences who are concerned about the environment, climate change, a better world.

COLD COPY

US, 2023, 91 minutes, Colour.

Bel Powley, Tracee Ellis Ross, Jacob Tremblay, Nesta Cooper, Ekaterina Baker, James Tupper.

Directed by Roxine Helberg.

There are indications of journalistic ruthlessness in this title. And, reminders of that archetypal story about a star, career, decline and fall at the hands of an ambitious next-generation, All about Eve.

British actress, bel Powley, plays Mia Scott, a young journalism student who has had no other ambition than journalistic success since the death of her mother when she was eight. She goes to classes, study is the lecturer, harshly demanding successful journalist, Diane Higa, played to the arrogant hilt by Tracee Ellis Ross. Mia rehearses for an interview, is treated harshly, is resentful, declares that she is only after the truth but is seen to be betraying her friends, chosen by Diane who seems to see something of herself and the young Mia, and is usually demanding on.

By chance, Mia encounters a teenager, played by Jacob Tremblay (Room, Wonder) who has a sad story, a busy father, a mother dead by suicide, himself an artist, erratic in his behaviour. He then becomes the focus of Mia’s video project.

Mia is in no way sympathetic, any moments of sympathy are always for her own ends. And I and sees something of herself in the past in Mia.

There are ultimate betrayal is, Diane taking over me is peace. Mia getting revenge on Diane and humiliating her in public – the film ending with Diane’s knowing look at what Mia has done and Mia looking complacently. But, the audience knows, that in some years a new Mia will do the same to her.

1. The title? Journalism? Commitment? Old and relentless?
2. The background of American journalism, education of journalists, television programming and meetings, printed video, radio?
3. The story of Mia Scott, her age, in college, ambitions, classes, him, her roommate, pollution for presentations, interviews, her rehearsing, attitudes towards Diane eager, the friend asking to present material, and not presenting it, the interview, the tough stances, Diane even tougher, hard, harsh, humiliating? Her throwing her presentation away?
4. Diane, age and experience, seeing her in action, on screen, with executives and staff, her lectures, the demands? Later the background of the wine gift, her ex-husband, signing the house away, personal life and attitudes?
5. Mia, number 20 on the list, accepted, Kim and her excitement, her contact at the politician’s office, information? Mia later using this, the anonymous phone call, the contact being sacked, sabotaging Kim’s career? And her later vengeance on Diane, taping her, giving the material to Kim, its being broadcast, the consequences for Diane, Mia watching her being interviewed and attacked by journalists?
6. Mia, the meetings with Diane, Diane seeing something of herself in Mia, demanding, continually questioning expressions, getting near to say what she meant, her project, the critiques, further demands, Mia finally editing, Diane taking her in as an assistant, menial with the coffee, it also present – and the disillusionment that Diane presented her investigation has her own? Mia is violent response?
7. Kim setting me up with the man, their walk, his approach, is violent matching reaction, Igor and coming to her rescue, first impressions, his age, his house, luxury, the absent father was business, the dead mother, the discovery of her reputation as a writer, a suicide?
8. Igor, as a character, the effect of the suicide, the demands of his father, going to school spasmodically, taking Mia to the factory, the flour, his art?
9. Mia taking him on this project, the news story, his wanting the story about himself, not about his mother, the family and their not revealing anything about the mother to the media? Mia and the interviews, filming him, even filming him attacked by the bullies? At home with him, his father’s arrival in ousting her? Her taking the key, going to the apartment, finding his mother’s final letter to him, “perfect boy”?
10. , Editing it, her commentary? As a piece for television? Her excitement at its being presented, Diane taking it has her own?
11. Memories of story like All about Eve, the ruthless star, career, memories of the past, fostering the up-and-coming potential star, then being undermined and betrayed? And the audience realising, while Mia doesn’t, that this same betrayal what happened to her in years to come?

PICASSO: A REBEL IN PARIS – STORY OF A LIFE AND A MUSEUM / Picasso: Un ribelle a Parigi - Storia di una vita e di un museo

Italy, 2023, 93 minutes, Colour.

Mina Kavani.

Directed by Simona Risi.

This is a popular-audience-friendly documentary about the celebrated Spanish artist who moved to Paris in 1900 and made France the base for his career for the next seven decades.

The documentary is hosted by Iranian-born actress, Mina Barney, dubbed for the English version, empathising with Picasso as an exile from home country, explaining aspects of Picasso’s life, his art, sometimes addressing the audience over her shoulder, something of a commanding presence when she is on screen.

However, the film introduces quite a number of expert talking heads, especially in French, but with subtitles. They offer personal appreciation, technical information, perspectives on Picasso, life and art.

The immediate advantage of the film is placing Picasso in his historical context, born in Spain in 1881, his art studies in Spain, his moving to Paris and establishing himself there – with quite a number of photos of the young Picasso as well as some clips of the older man, especially his painting his signature – which is also the final scene of the film.

But, of course, the main advantage is the close-ups of so many of Picasso’s paintings and the information that he was not only prolific, he was more abundant, continually painting, keeping so many paintings himself. And the advantages of this when the French government set up a château as his Museum, it was able to house so many of his paintings, the camera sometimes roving through the museum.

And, there are some explanations of the changes in his career, his becoming part of the French establishment from the end of the 19^th century into the 20^th, friendship with, for example, Matisse, the development of Cubism, indications of his style in the early pieces and then the development of the multi-dimensional images with which audiences are so familiar.

There is some background to his own life, relationships, models.

But, this is a 90 minute documentary, an invitation to Picasso’s career, and audiences being able to follow up with Internet entries. And Picasso was portrayed in the film, Surviving Picasso, where he was played by Anthony Hopkins, 1996, directed by James Ivory.

THE SINS OF THE FATHER

UK, 1990, 102 minutes, Colour.

John Thaw, Kevin Whatley.

Directed by Peter Hammond.

This is one of the later episodes in the long-running Morse series on British television, 33 episodes in all. This one is from 1990.

The familiar ingredients are there: the Oxford setting though not so much emphasised this time, Morse and his moods, reflective music, interrogations, always leaning on Lewis, but a variation in his attraction towards the doctor working on the autopsies, a date, some dancing, meeting again, music… The more humane face of Morse.

Focuses on a wealthy family, owners of a brewery, with 150 years tradition. However, one of the managers is found dead leading to problems with the finances of the family, the uncovering of relationships and passion, and a solution which takes the investigation back into the past generations of the family.

1. The popularity of the long-running series? Television movies? With style? The popularity of Morse and his personality, enigmatic and mannered style? The personality of Lewis? Their relationship? The solving of the crimes? Intricacy of the plot? The psychological dimensions, the mystery and clues? Police work and solving the mysteries with their own abilities? The work of Colin Dexter?

2.The Oxford settings, the city and landscapes, the cityscapes, the buildings? Comments about Oxford and Oxford society? The ironies about Oxford and the dons? The university city? Ordinary people? Their interconnections? So much beauty – and so much crime?

3.The quality of the mysteries, character-driven? Sufficient information, sufficient clues? The exploration of character and clues?

4.John Thaw as Morse, his personality, the changes over the years, yet remaining the same? The mystery of his name? His crusty manner, the bachelor (but romantic at times)? His own authority – exercised over Lewis – and his reaction to authorities? Promotion or not? The changing of his attitudes towards Lewis, bossing him, patronising him about education and culture? The issue of music? Drinking ale? His car? Quietly at home, at work? With Lewis, understanding the situations and characters, the deductions? His being a good listener – but critical?

5.The contrast with Lewis, the family man, the ordinary policeman, education and lack of education, his being put down by Morse – but enjoying his comeuppance now and again? Music and his ignorance? The first reactions, Lewis being patient? His admiration for Morse, having to do so much leg work, to formulate hypotheses? Working under pressure? Collaborator and partner of Morse?

6. The initial murder, the brewery, the difficulties, the letter from three years earlier, burnt? The takeover offer? The range of suspects?

7. The brewery, the death of Trevor, the revelations about his borrowing and deals, fraud? Stephen, technology, suspicions? George and the offer from the rival firm? Involvement? Weeks, his position in the brewery, continuing on, the board meeting and his willing see do it as directed to save the brewery? Victor, his work in the bureau, his relationship with Gail? The dramatisation of the characters, their suspicions, alibis?

8. The family, aristocratic, Charles, his age, hearing, wheel chair? Yet alert, pride in his ancestors? Knowledge of the deals, his attitude? Relationship with his wife, her strong character, aristocratic, snobbish? The death of her children? Her liking Helen, her dislike of Lorraine? Wanting grandchildren? Her knowledge of the frauds/not?
9. Victor, his mother, strong personality, his trains, the outings with Gail? His work?
10. Morse and Lewis, working together, respected jobs, the interrogations, the family and the reactions, the people at the plant? Lewis and the discovery of all the historical documents, the explanation of the brewery, the partnership, the scandal, the blackmail?
11. The revelation of the Crease connection, the solicitor, his death?
12. The board meeting, the decisions about selling the brewery or not, the various stances, the boat?
13. Stephen, his womanising, the relationship with Helen? The rendezvous, her finding his body? His wife, the swimming, the opera, strong-minded, her back story, the children?
14. The revelation that Victor was the killer, the suspicions of his mother having kill the solicitor? The arrest?
15. The drive home, the choice of vocabulary on the phone, Lewis and his observations, Morse turning round, the confrontation with the wife, her guilt, farewelling her husband?
16. The title and the moral issues?

DAMSEL

US, 2024, 110 minutes, Colour.

Milly Bobby Brown, Ray Winstone, Angela Bassett, Robin Wright, Brooke Carter, Nick Robinson, voice of: Shoreh Agladashloo.

Directed by Juan Carlos Fresnadillo.

The title, Damsel, seems very straightforward. And it is in the establishing of life in the kingdom:  there are two sisters, the older sister, Elodie, played by Milly Bobby Brown (Stranger Things, Enola Holmes) parents played by an interesting combination, Ray Winstone and Angela Bassett. But, there are difficult times and father has arranged marriage with a Prince in a prosperous realm.

However, the title is misleading insofar as Elodie is never a damsel in distress though she does experience quite a deal of distress, especially in confronting a Dragon (voiced by Shoreh Agladashloo) but the point is that she is one of those heroines, think Princess Diana in Wonder Woman, or Furiousa…

Everything seems initially wonderful in the prosperous realm, especially a Prince Charming played by Nick Robinson and his mother played by Robin Wright. But, immediately after the wedding, the narrative shifts gear and we see that Emily is a sacrificial offering to the Dragon, as has happened with many a Princess before her.

So, moving into action, but frequently in the dark cave of the Dragon, Ellie confronts the Dragon, suffers the loss of her father and his repenting of trapping her in the situation, confrontation with the Prince, with his harridan mother, and a rescue by her own mother.

This is something of a mediaeval show in the royalty versus the Dragon genre, some have complained that it takes itself far too seriously and would have been more enjoyable with some touches of irony. Perhaps.

1. The popularity of Game of Thrones, television, films, Dragon and kingdom stories?
2. Mythical kingdoms, landscapes, valleys and mountains, cities, palaces, dragons’ lairs?
3. Costumes, decor, special effects, action? Musical score?
4. The prologue, damsels, the tradition for distress and rescue, not this kind of film?
5. The king and his soldiers, approaching the mountain, the confrontation with the Dragon, the flames, consumed? The later flashbacks and the explanation of the killing of the Dragon’s children, the death of the king? Motivation for revenge on the descendants of the king?
6. Centuries later…? Introduction to Lord Bayford and his family, the two daughters, his wife, stepmother? The bonds? Characters? Famine, in need, the negotiations, the voyage to the Kingdom of Aurea?
7. Queen Isabelle, Prince Henry, the court, the planned marriage, the pomp and circumstance? Yet the stepmother and her wariness? Lord Bayford and his reticence? Two sisters, joyful, and D and her meeting with the prince, his tour, friendly? The prospects?
8. The wedding, the cutting of the hands of the bonding of blood (and the later information that the Dragon would suspect the smell of the blood and the princesses have been the daughters of the kingdom)? The brusqueness of the behaviour, throwing Elodie into the abyss?
9. Elodie, her personality, strength of character, the impact of the betrayal, injuries, the voice of the Dragon, the continued threats, vengeance, the pursuit, the flames, the corridors of rock, her taking refuge, her being burnt, leg injuries, but the finding of the glow worms and their healing, providing light? The taunting of the dragon? The hallucination of the other victims? The names carved on the rock, carving her name? The maps, taking stock of where she was? Energy, courage, the hook for the crystals, climbing the crystals, the dragon confronting, her fall? Leaping over the cousins, literal cliffhanging? In the sunlight, the vast cliff, seeing the men and the horses? The writing the horse, escaping, the Dragon and the horse on fire?
10. Her father and the men, coming to her rescue, calling out her name, the eventual confrontation by the Dragon, catching the man and flying and killing, confronting Lord Bayford? His plea?
11. Elodie and her witnessing everything, keeping silent, coming to her father, his apology, her for giving him? His urging her to take the rope?
12. The confrontation with the Dragon, the sword in the eye, tempting the fire and leaping aside and its rebounding on the Dragon? The possibility for killing the dragon? Not killing the Dragon, the conversation, the explanation of the deception by the Queen for the victims? The dragon and the motivation? Letting the dragon live?
13. Queen Isabelle, her reaction, taking the little sister, throwing her over the cliff, the reaction of Prince Henry, his appeal?
14. Elodie, finding her stepmother, wounded, the return to confront the Queen, the altercation, the dragon arriving, eliminating the enemies with Fire?
15. The sisters reunited with their stepmother, sailing home, a feisty warrior?

THE SUSPECT

UK, 2022, 5 X 48 minutes, Colour.

Aidan Turner, Shaun Parkes, Camilla Beeput, Anjli Indra, Adam James, Uma Warner, Bobby Schofield, Tara Lee, Sian Clifford.

Directed by James Strong, Camilla Strom Henriksen.

The Suspect is an adaptation of the first crime novel by Australian award-winning author, Michael Robotham. It is a television series in five parts.

Central character, eventually the suspect, is a psychologist, Joe O’Loughlin (who will appear and other Robotham novels), played by Aidan Turner (older). When a woman’s body is found, he is called in by the police to give advice. He is also helped by a fellow professional, a long-time friend.

As expected with a murder mystery and a police investigation, there are quite some complications, going back into Joe O’Loughlin’s past former client, her obsession with him, quite complex unravelling of her links with various people in his life. And, there is a complication with a young man, vagrant, unreliable, coming to Joe for therapy, but also then a suspect.

The film shows the conscientious investigation by the police, Joe’s support from his wife, the evidence emerging from the past about the murdered woman and her relationship with Joe, his investigating the background of the young man, his being in danger – and final twist as regards who is guilty and what happened.

Quite exciting and interesting in the investigations and the solution.

1. The title? Joe O’Loughlin? Bobby Morgan? Range of murders? Suspects? Plot twists?
2. Television series, the five episodes, time to develop the plot, develop the characters?
3. The London settings, the Westminster Hospital, interiors, police precincts, homes, psychology practice, offices? The British countryside, homes in the country? The Liverpool settings, the vistas of the city, offices? The musical score?
4. Joe O’Loughlin, the background of Michael Rowbotham novels, the first? Is background, relationship with his father, the death of his mother, blame, is work as a psychologist, reputation, friendship with Jack, the marriage to Julianne, their daughter? His home life? The diagnosis of Parkinson’s and the effect on him throughout the series, handshaking, dropping things, falling?
5. Bobby, impressions, during the sessions, his manner, 21 of the page, talk about his mother, but for his father, Joe and his working with him, eliciting responses? The development of Bobby’s character, is attacking the woman at the taxi stand, his defence of himself, later with the lawyer, going to court, getting preparation? When Joe in an emergency? Is living quarters, sharing? His learning Spanish? Joe and the investigation background, going to Liverpool, the stories of his father, accusations of abuse, the mother and her malevolence, exposing her children to sexual violence, the suicide of her husband? The disappearance of the older boy? The repercussions for Bobby?
6. The development of Joe’s story, the effect of the Parkinson’s diagnosis, his friendship with Jack and visiting him? Issue of Catherine McCain, the discovery of her body, the mystery? The visit to the cemetery, his holding the shovel, the later fingerprints when discovered? The past relationship, her accusations, his defence? The mystery of her application for secretarial work? The visits to London? Time of her death, a laborious? Joe in the diagnosis, drinking, wandering, going to the prostitute friend, the repercussions for his wife, his alibi, the death of the prostitute and his escaping with her car?
7. The police, the personalities of the two detectives, the discussions about their work, discussions of evidence, interviews with Joe, with Jack, with Joe’s wife? The formulation of theories, the evidence against Joe, surveillance of him, meetings with Bobby and his plausible explanations? The grim determination that Joe was guilty? Going to Liverpool, circumstantial evidence, the deaths? Joe and his urging the detective to come to the roof, the evidence folder?
8. Joe, the audience following him, suspicious of him or not? Search for evidence, suspicions of Bobby, the 21 cuts on the body? Is going to Liverpool, the past contacts, persuading them to show him documentation, the video of the interview? His return to Liverpool, the meeting with Bobby’s mother and her antagonism? The police suspicion of his assault on her? Wanting to warn the past collaborator, not answering the phone, the police discovering his murder?
9. The personal story, Joanna’s relationship with his wife, love for his daughter? His arrest, the daughter at school, her phone call to him? Check, the past with Julianne, is continually going to the house, Joe suspicions, issue of the boiler, the plumber, warning off Jack?
10. The buildup to the climax, the timing, the evidence against Joe? Bobby, the Spanish class, getting the lift from Julianne, insinuating himself into the house, tying up Julianne and the daughter, Joe’s arrival?
11. The revelation of the plumber, the older brother, his committing the murders while Bobby had the by? The police arriving, Joe indicating criticise the plumber’s truck? The siege, the threats?
12. Joe, persuading the older brother to talk, the stories of the past, their mother, her exploiting them, the flashbacks, the brother doing the murders, the range of those who signed the document about their father, the planned revenge, making each of them suffer, the loss of a loved one? The brother with his change of heart, reading Julianne and the daughter, allowing Joe out, keeping his brother in? His going to the boiler and the house exploding?
13. Joe vindication, the future with his wife, pregnant? The work of the police, needing more apology!

THREE CHORDS AND THE TRUTH

Australia, 2022, 80 minutes, Colour.

Jackie Marshall, Maisie Owens, Matthew Heys, Timothy Blundell.

Directed by Claire Pasvolsky.

A small-budget Australian film, starring Jackie Marshall and based on her own experiences.

Basically, this is a story of two women and friendship. Jackie Marshall plays Angie, a musician who have might have been more successful in her day, somewhat erratic, but a composer and a singer, her in her 40s and now seriously ill. She encounters Ruby, Maisie Owens, a runaway from a harsh domestic situation, a would-be musician. This is a film about the friendship between the two women, Angie teaching Ruby, Ruby bringing some life back into Angie, even to her performing.

1. The title? Originally from Howard Hartman about the norms for country and western music?
2. The Australian setting, home, streets, the pub, recording studio?
3. The songs, composed and sung by Jackie Marshall, style, lyrics, her performances in the pub, in the recording studio, by herself, with Ruby?
4. The introduction about Angie, winning awards, the commentary? The story, cancel when young, recovery, out and about, her career, success, the return of the cancer, risk removal, the further cancer in the bone? Not long to live?
5. Angie is a personality, alone, sabotaging her own career, the conflict with the record producer, payments, the clash with the owner of the bar, masking outside, is letting her in, success, giving her money? The final acclaim of the crowd?
6. The intercutting of the story of Ruby, her age, on the train, homeless, wandering, looking for an unlocked car, spending the night, in Angie’s car, Angie offering the cup, Ruby running away, Angie searching for her by car, finding her, bringing her in?
7. The relationship between the two, Ruby eventually saying her name, the story about her mother, her father and his search for her, visualised in flashbacks? The effect on Ruby? Angie, not telling her she was dying, kind, companion, sharing, encouraging Ruby with the guitar, the notes, lyrics from the heart, reducing the song?
8. Ruby discovering that Angie was dying and had not told her? Running away, going home, the cemetery and her mother’s grave?
9. Her father, meeting her cousin, there are escape?
10. Angie’s final songs, announcing her death, the impact on Ruby, her father visiting? The final images of her success with the song?

AS THEY MADE US

US, 2022, 100 minutes, Colour.

Dianna Agron, Simon Halberg, Dustin Hoffman, Candice Bergen, Charlie Webber, Justin Chu Carey, Julian Gant.

Directed by Mayim Bialik.

The title comes from the next generation, remembering their parents. This is a story of a Jewish family, written and directed by actress Mayim Bialik (many episodes of The Big Bang Theory). It would be interesting to ask her how much of the film and its screenplay is based on her own family experiences.

The central character is played by Dianna Agron, divorced with children, possibilities for a new relationship, annoyed that her former husband keeps turning up. However, she is also preoccupied with the help or dying father. He is played by Dustin Hoffman nearing his mid-80s (and playing an ailing father in his next film, Sam and Kate). Hoffman gives a bravura performance as a man who is physically ill, trying to cope, remembering his past, to see the son he has not met for 20 years.

His wife is played by Candice Bergen in a fierce and dominating role, intervening all the time, controlling situations, critical of her daughter, wanting the best for her dying husband but forcing him to do what she wants, including a frightening sequence where she forces his birthday cake into his mouth. Simon Halberg appears later in the film as the alienated son.

The film opens with a flashback to the parents bickering in a car, the effect on the children as they grow up, their dependence on each other, the father even being violent, the mother critical – and some indications for “as they made us”.

Audiences may identify with some or many of the characters and the situations.

For a comparison of life within an American Jewish family, the remake of the Israeli film, Shiva, this is Where You Leave Us, is a useful reference.

1. The title, the focus on the children, the impact of the parents?
2. A family story, a Jewish family story? The impact for a Jewish audience? Other audiences? The writer, Jewish, American, drawing on her own experiences?
3. The focus of the present, Eugene and his health, diagnosis, dying, the response of Barbara, Abby and her responsibility, Nathan and his absence?
4. The flashbacks to the past, the opening and the bickering and swearing in the car, the children in the back conversing, the orange shading of the flashbacks? Eugene and his violence towards Abby? The two children relying on each other, Abby not being fed, Nathan combing her hair? Sufficient flashbacks to explain the situation?
5. Dustin Hoffman is Eugene, his character 73, the actor aged 83 at the time? The qualities of his screen presence, age, charm, as husband and his unhappy memories, supported ambitions in art, yet his devotion to Barbara and’s declarations? His sadness at Nathan’s absence? The devotion of Abby, always present, tending to him? His decline in health, her interference, the carers, Aaron and his devotion, Eugene and his falling, Abby help him up, in his chair, then to his bed, the birthday party on the fiasco with the cake, the issue of his smoking pot for many years, the quiet, the sadness and joy in his eyes, Nathan’s visit? The gradual decline and his death?
6. Abby, age, marriage, failure, her sons, Peter and his presence in the house, not removing his goods, the divorce, a year passing? Custody of the children? Her devotion to her father, nagging phone call from her mother, always going to the house, constant in her care, touches, words, journey, the garden, the attraction, talking together, Barbara’s invitation to Jay for the birthday party, his bringing his two mothers and Eugene’s reaction in question? The fiasco of the cake? Contacting Nathan, presented his visit, the photos, showing them to her mother? Her absence for her father’s death? The sadness of the funeral, her mother gossiping and criticising?
7. Barbara, Candice Bergen’s performance, a hard woman, focused on herself, her relationship with her husband, over the years, criticisms, controlling him? Not accepting his illness, interactions with Abby, continually phoning her comments and criticisms, what Abby did, what she wore…? The issue of the drugs, the carers sacked, Eugene smoking pot? Last birthday party, the cake, forcing it into Eugene’s mouth, everybody fleeing the scene? Her presence at Eugene’s confessing his love for her? The funeral, sad, yet criticisms of the family and friends?
8. Nathan, his back story, the impact of his mother, staying away, his career, the arts, persuaded to visit, the impact, the photos? Thanking his father for his influence on his art? Present at the funeral but in the car?
9. The six months later, the impact of the criminal, Abby and her grief, realising that she had been a doormat for everyone, writing the article, on the cover of the Jewish magazine, coping with grief? The invitation to the party, taking the children, Nathan introducing his family? Their walking together – the future?