Displaying items by tag: Peter Malone's Movie Reviews

UNFROSTED

US, 2024, 93 minutes, Colour.

Jerry Seinfeld, Melissa McCarthy, Jim Gaffigan, Amy Schumer, Hugh Grant, Christian Slater, Patrick Warburton, Sebastian Maniscalco, Max Greenfield, Cedric the Entertainer, Kyle Dunnigan, James Marsden, Adrian Martinez, Thomas Lennon, Tony Hale, Maria Bakalova, Dean Norris, Peter Dinklage, Bill Burr, Ronnie Chieng, Jon Hamm, John Slattery, Fred Armisen, Dan Levy.

Directed by Jerry Seinfeld.

You might have to be in a good mood to enjoy Unfrosted. Even then, it may not be entirely satisfying. But, it offers a lot of ingredients and performances for an easy enjoyable 90 minutes.

It would seem that Jerry Seinfeld has had a thing about breakfast cereals over the years, part of his stand-up comedy routines. American audience, familiar with Kellogg’s and Post cereals, the rivalries in Battle Creek, Michigan, especially in the 1950s and 1960s, may feel that this is familiar material, companies, products, promotion, cereals for parents, cereals for kids. Non-American audiences will be familiar with Kellogg’s but not so much with Post.

There is an amusing opening, a young boy is dissatisfied with his family, packing his goods in a knapsack, leaving home, arriving in a diner and encountering Jerry Seinfeld and they talk about Pop Tarts and Jerry offers to tell the true story of its origins, and the flashback to the shenanigans.

And, shenanigans there are, in many ways like a live action cartoon. Some of the behaviour is quite absurd. A lot of the action and behaviour is very silly. From a more serious point of view, there is caricature, there is irony, and a lot of satire, comment on American capitalism and business deals…

We are taken to Battle Creek in the 1960s, in the last months of JF Kennedy’s presidency. Seinfeld plays one of the executives at Kellogg’s, Jim Gaffigan playing the heir to the family business, erratic, not always confident. There are lots of discussions, issues of products, testing, marketing. But, across the way, with binoculars peering from both sides, is the Post office, led by Marjorie Post, played by Amy Schumer. An awards ceremony where Kellogg’s wins everything, compared by Cedric the Entertainer.

But, there are plots afoot, Marjorie with her underlings and spies, stealing Kellogg’s formula, Kellogg’s with their spies. They are after a family product to entice families.

Then two young children appear getting into dumpsters and finding leftovers and testing them. They become an important part of the final drama, arbiters of what children like or not.

Kellogg’s then want to go back to one of their previous experts, Donna, played by Melissa McCarthy, working in the company preparing for moon landing – and ridiculing the very idea of anybody going to the moon! She has back to the company, hires an alleged expertise group, including caricature Nazi played by Thomas Lennon, a fitness freak played by James Marsden, a bike manufacturer, a chef. In fact, they don’t come up with anything much at all. There are some comedy sketches for each of these characters, even to creating a pastry covered fish.

There are also some satiric presentations of press conferences and how not to answer questions. There is also a crisis in the supply of sugar, Kelloggs visiting a Latin dictator to ensure a steady supply of sugar, he both charming and threatening. Which means then the Post executives have to look elsewhere and decide on Cuba, including a visit to Moscow and Kruschev. This involves complications with the Kennedy administration and Kelloggs going to have an interview with the President.

In fact, one of the enjoyable aspects of the film is the range of promotion caps that critical Snap, Crackle and Pop and a wide variety, but the best of all of these is the British actor who in his Tiger outfits is filmed for commercials. The special enjoyment is that he is played by Hugh Grant, sending up himself, sending up pompous British, full of self-importance, ambitious to plead King Lear, ultimately trying to lead a revolution against Kellogg’s but failing.

Amongst the other satires are presentations of famous TV host of the 1960s, Walter Cronkite, as well as the national official for approval of foods and the pressure Kelloggs put on him.

Ultimately, both companies hasten to put a new product on the shelves, Post failing completely with “Country Squares” (and the comment who wants to be a square!) And Kelloggs using an old computer which turns out mistaken messages, wanting to have Trat Pops, finish up having Pop Tarts – an extraordinary success, and Jerry Seinfeld’s character getting all that he wanted for his house, especially a front lawn.

Audiences will enjoy the finale and the credits, all the characters performing in an entertaining musical performance and recapping their characters.

THE HANDSOME SUIT/ HANSUMU SUTSU

Japan, 2008, 115 minutes, Colour.

Shosuke Tanihara, Muga Tsukaji, Keio Kitagawa, Mayumi Sada.

Directed byTsutomu Hanabusa.

A broad Japanese comedy of 2008, still relevant. Audiences outside Japan do not often see this kind of popular Japanese-homespun comedy and moralising. (If this were an American film it could well have been made by Adam Sandler starring Chris Farley – as he did with Tommy Boy)/

A lot of talk about being ugly and being handsome throughout the film, so many people targeting those who do not live up to glossy magazine standards, being labelled as ugly.

So, a fable. A genial large, but short, cook in the diner has inherited from his mother and has a large following because of the skills in preparing the menu. But, his friends laugh at him as ugly. When a very pretty young woman asks if a job is available, the friends all say yes, but our cook is hesitant, eventually saying yes. Then, she is so successful, crowds arrived. The cook is smitten but, when she asks him what appeals, his description is totally about her appearance. She rushes away.

In the meantime, we have seen some clothing executives looking at footage and deciding that the cook is perfect for their experiment. They invite him to their shop, provide him with a “handsome suit” which rather looks like a robot, the manager revealing that inside his handsome exterior he is very ordinary.

What follows is a kind of jolly Jekyll and Hyde story, the cook at home as Jekyll, the cook in his handsome suit, Mr Hyde, becoming a model, promoted, top photography, encountering the star model, emotional ups and downs, living the high life, eliciting jealousy from a young would-be model, a near fatal exposure when he has a shower which the suit is not guarded against!

In the meantime, back at the diner, a large genial young woman, is highly successful at the diner despite being labelled as ugly. The cook is comfortable in her company.

Needless to say, there will come a high conscience moment, the cook having achieved absolutely everything in rich society, in advertising society, the clothing manufacturers in offering him an everything-proof suit so that he can be secure and forever in this happiness. Moment of decision. And, at the time, the large young woman at the diner is involved in an accident, the message coming to him that she is in hospital. On the runway with the star, he has a moment of conversion, denounces everything and rushes to the hospital.

There is an entertaining twist that the beautiful young woman at the opening of the film is the daughter of the suit manufacturer and it is she who has put on a fat suit because she likes the cook so much.

Moral of the story, be happy with your true self, as you are..

DARK SATELLITES/ DIE STILLEN TRABENTEN

Germany, 2022, 120 minutes, Colour.

Nastassja Kinski, Martina Gedeck, Albrecht Schuch, Irina Starshenbaum, Lilith Stangenberg, Charly Hubner, Adel Bencherif.

Directed by Thomas Stuber.

For quite some time, we, the audience, may be puzzling over the title of the film. Half way through, there is an explanation. In this German city, in former East Germany, in the evening, the tall high-rise apartment blocks, lights coming on, going out, and the empty space surrounding, suggests dark satellites.

Given that most of the action takes place in the city, often in the dark, in the early hours, it seems surprising that the film opens in the German countryside, workers, some migrants, a stranded group where a little girl has eaten poisonous leaves and is dying, the workers’ boss calling on Hamid to speak with the group and translate.

Then begins Hamid’s story, refugee, Muslim and devout, married, making friends with the owner of a diner, Jens, who works with his schoolfriend, Mario (who makes racist jokes at Hamid). But Hamid enjoys returning to chat with Jens, and finding that they live in same apartment block, same floor. Later Hamid will invite Jens to visit the mosque.

Which leads the audience to Jens’ story, a genial man in his mid-30s, curious about Hamid and his beliefs and prayer, but each evening, after work, encountering Aischa, Jens’s wife, wearing the hijab, but with burns on her arms and wrist, continually smoking. Initially reticent, she responds to Jens’ friendship, talking together, sharing experiences, her always being cautious, but the friendship becoming more intimate.

The there are also parallel stories which do not connect, but taking place in the same city, at the same time.

The main story is that of Christa (Martina Gedeck), husband now dead, children at any distance, working as a railway cleaner in the night hours, finishing by about 11 or later, going to a bar, quietly drinking. She encounters a local hairdresser, Birgitt (Nastassja Kinski). Each night they meet. They talk. They drink. They share stories. Christa becomes more and more infatuated with Birgitt, is quite upset when she has to leave, but happy on her return, getting her hair done…

In the meantime, there is Erik, a security guard, living alone in a hut, going his rounds, intrigued by a young girl sitting on a playground swing. They eventually get to know each other, talk, her being able to tell her story, Erik experiencing a great attraction.

Which means that this is a film about lonely people, possibilities for connection, possibilities for love, sometimes doomed, sometimes happy, in the spaces surrounded by the dark satellites.

1. The title, the explanation, the visuals of the high-rise buildings at night, dark, like satellites, flying in space, the images and symbols?
2. East Germany, 21^st-century, memories of the past, the Soviet Union and unification?
3. The opening, the countryside, the crew, the discovery of the men, refugees, the intervention of Hamid, finding the group, the young girl poisoned by the flower? The police arriving?
4. The screenplay then following various stories, the interconnections or not, parallels?
5. Hamid’s story, his background, migrant, his wife, at work, language? Going to the diner for the sandwich, issues about pork? The meeting with Jens, friendship with Jens, accommodating his tastes? Mario in the diner, the racist jokes, New York sandwich called 9/11? Hamid and his returning, growing friendship, the two men as neighbours in the apartment? Jens going home, as meeting with Aischa, hijab, Muslim, the burns on her arm, self-inflicted, smoking? Their talking, looking at the darkening sky, the explanation of dark satellites? Jens and his infatuation, the gradual breaking down of the barriers, Aischa and her continued smoking, Jens fascinated by Hamid and his prayer, beliefs, providing the red carpet as a mat for his prayer, the invitation to go to the mosque, his observing the men and their prayer, Aischa indicating silence? The two becoming closer, Aischa collapsing, illness, his washing the clothes? The intimacy between them? the disappearance without explanation, the apartment bare?
6. Jens at the diner, school head friendship with Mario, the issue of the red carpet, in the diner instead of tiles, walking like the stars? Hamid and the comment on tiles, the decision, Jens and his father, the work, and Mario disappearing?
7. Christa and her story, at night at the railway station, throwing out the cans and putting them back, her work as a cleaner, criticisms from the authority? Going to the bar, drinking, the bartender, the encounter with Birgit, their talking, the growing friendship, intimacy, drinking, Birgit and her work at the hair salon, the routine of meeting, going home in the early hours, the attraction, sharing, stories? The emotional effect for Christa, the sexual consequences? Grief at the absence, Birgit and her return, the music, dancing, cutting Christa is hair? The work, the supervisor, Christa confronting, leaving, going to the apartment, two women together?
8. Erik, security guard, his rounds and routines, his background, contact with the team, is nights at work? Marika on the swing, at night, the interactions between the two, the growing friendship, sharing of stories, the sexual effect on Erik at home, development of the friendship?
9. A film about ordinary people, ordinary jobs, loneliness, friendships, hopes and fulfilment?

IF

US, 2024, 104 minutes, Colour.

Cailey Fleming, Ryan Reynolds, John Krasinski, Fiona Shaw, voices of: Steve Carell, Phoebe Waller-Bridge, Louis Gossett Jr, Alan Kim, Emily Blunt, Awkwafina, George Clooney, Bradley Cooper, Matt Damon, Bill Hader, Richard Jenkins, Keegan-Michael Key, Blake Lively, Sebastian Maniscalco, Christopher Meloni, Matthew Rhys, Sam Rockwell, Maya Rudolph, Amy Shumer, Jon Stewart, Brad Pitt.

Directed by John Krasinski.

If has been written and directed by John Krasinski, director of the app a Quiet Place films, and best known on television for The Office as well as being Jack I am. In checking on his background, we find that he has two daughters with his wife, Emily Blunt. And we get the impression that he might have created this story and this film for his daughters.

Certainly, the film has a great appeal for young girls – and their parents. It is a very pleasant film in itself, a pleasing film for its audience, an entertaining fantasy. What If…?

There is happiness and sadness as the film begins, the little Elizabeth, always called Bea, has a loving mother and father. But, we see her mother is ill and sadness in store for Bea.

Some years pass quickly. Bea (an impressively convincing performance from young Cailey Fleming) is now 12, rather sombre, asserting that she is an adult not a child. Her father, always a cheerful and jokey character (John Krasinski) is sick in hospital and Bea is staying with her grandmother (an enthusiastic Fiona Shaw).

But, there is something strange going on in the attic. And, here the fantasy begins. And a reminder that IF is short for Imaginary Friends. And the important question, where do Imaginary Friends go after we have forgotten them. So, we begin to find out, Bea mellowing a little, especially in the company of the rather quizzical Cal (Ryan Reynolds). And, to our delight, there is quite a range of fantasy characters, each very idiosyncratic. And it is very hard to go past delight in the giant roly-poly Blue, getting into all kinds of scrapes, eager, funny comments – and all with a welcome voice of Steve Carell. There is also a kind of pixie-insect, and dancer, Blossom (an enjoyably Phoebe Waller-Bridge).

Krasinski must have a lot of friends in the industry when we look at the huge list of voices of the various IFs – not that we recognise most of them while we are enjoying the film but a heavy satisfaction of having so many talented voices in the list (and the enjoyable credit which those charging out of the cinema as soon as credits appear will miss, the introducing of Brad Pitt as Keith the IF who did not speak – Keith is actually invisible provides a happy pratfall joke right at the end.)

And everyone joins together in a kind of mission, seeking out the adults who have forgotten their IF and all kinds of funny and serious attempts to rekindle their party childhood feelings.

Lots of sentiment, lots of fun, enjoyable for children, and even the possibility for melting the hearts of any sceptics – or critics!

1. The What if…? Of the title? The IFs, imaginary friends?
2. The target audience, younger audience, girls in the audience, families, parents and the older generation? Something for everyone?
3. The plot and its fantasy, audiences surrendering to the fantasy world, the fantasy world interacting with the real world?
4. John Krasinski as writer and director, sensitivity towards children?
5. The star cast, the voice cast and the celebrities, the joke about Brad Pitt?
6. The setting, Elizabeth, her age, called Bea, the relationship with her mother, with her choking father, the sadness, her mother’s death, the impact?
7. The years later, her father in hospital, staying with her grandmother, not wanting to be considered as a child, rather severe in her manner? Her visits to her father, his continually joking, her stern reactions, a relationship with her grandmother, in the house, the meals?
8. The noise in the Attic, her going up, the discoveries? Are gradually seeing the Ifs? Her initial reactions, interactions with them, softening her attitudes, joining with them in their mission, to reconnect older people who have forgotten their imaginary friends?
9. The range of the Ifs? Ryan Reynolds as Cal, his management role, interactions with the others, supervision, corrections? His own personality, sometimes stern, sometimes humorous? A guide for Bea? Steve Carell as Blue, an attractive character, his comments, his behaviour, getting into strife? The contrast with Blossom, appearance, voice, businesslike, background as a dancer, Phoebe Waller-Bridge? The range of the other characters, visually, the voice cast, their activities?
10. Cal taking Bea to Coney Island, the headquarters, meeting Lewis, Louis Gossett Jr, benign, advice, walking with Bea, his wistfulness, about the adults losing memories of their imaginary friends?
11. Episodes with the little boy in the hospital, his injuries, shrewd, talking with Bea, friendship, trying to get him an imaginary friend, the initial failure – and success at the end?
12. Her father, the flowers, the jokes, his concern and love, the operation, the aftermath, the friendly staff and nurse? Recovery?
13. Her grandmother, the photos, memories of the past, her grandmother thinking to be a dancer when she was young, the musical themes from Spartacus, her dancing, in touch with her past?
14. Blue, tracking down the awkward businessman, seeing his awkwardness, making the contact, disturbing him, the connection and the glow, going confidently into his work?
15. The characters and their discovery of their memories?
16. The effect on Bea, and his concern, the connection, and the discovery that he was her imaginary friend?
17. Memories of childhood, sadness of forgetfulness, joy of remembering?

THE IDEA OF YOU

US, 2024, 115 minutes, Colour.

Anne Hathaway, Nicholas Galitzine, Ella Rubin, Annie Mumolo, Reid Scott.

Directed by Michael Showalter.

This is a romantic comedy with a difference. Society has always accepted that older men can have romances, relationships, marriage with younger women. However, this is not the case with the older women and a relationship with a younger man, this variation on the May-December situation.

This is at the centre of this film, which makes more impact than might have been initially anticipated. There is the strength of the presence of Anne Hathaway as the Gallery owner turning 40, Solene, divorced, a sense of betrayal by her husband, and a teenage daughter to whom she is devoted. The other aspect of the casting is having British actor Nicholas Galitzine as a lead singer in a Boy Band. Anne Hathaway has a 20 year career in films, including an Academy award for her portrayal of 17 in Les Miserables. Nicholas Galitzine has shown quite an ability in diverse roles, a Marine in Purple Hearts, an American college jock in Bottoms, a British Prince in red, White  & Royal cope blue, as well as the ambiguous George in his relationship with James I in the television series, Mary and George.

The situation of the two meeting is credible enough, a mistake on the part of Solene, the interested response of Hayes and his singing for her at one of his performances.

From the point of view of the older woman, the film shows both risk and caution, hesitation and getting to know the young man better, very much attracted and making a life-changing decision. From the point of view of the young man, this is an opportunity to be taken seriously, to enter an adult relationship.

There are a pleasant aspects of the story, the touch of affluence, the art world and the Gallery, popular music and the band’s performances.

While there are idyllic scenes as Solene goes on European tour with Hayes, touristic glimpses as well as romantic episodes in famous cities, there is the inevitable opening up of consequences for each of the characters, their being photographed in Paris, the inevitable posting of photos on social media, the consequences, the exposure, and, very strikingly in this film, the extraordinary hostility and injustice of condemnations of the older woman, blaming her for the relationship, blackening her name, condemning her as a person.

Which means that the later part of the film shows this conflict, how each of the characters handles the situation and the consequences for themselves personally. Just as the film was about to end, there is a postscript, five years later, what the five years have meant and indications for the future.

1. Romantic comedy with a difference? The issue of age difference? Different attitudes for older men, for older women?
2. The Los Angeles settings, homes and families, rock concerts, art galleries, affluent society? The scenes in New York? The international travel and the key spots of Europe?
3. The musical score, the background, the range of songs, Boy Bands, performance, insertion of songs in the action, the lyrics?
4. The stage performances, the members of the group, Hayes and his style, the personalities of each of the members of the group?
5. Solene, Anne Hathaway’s performance, her career? Turning 40? The story of her life, studies, meeting Daniel, marriage, birth of the daughter, his infidelities, gossip and her humiliation, the divorce? Her love for her daughter? Her Gallery, her staff, clients, the works of art, sculpture, ceramics, paintings…? The plan to go off to camp? Daniel and his impositions, her going to the concert, the noise, the crowds, for the toilet, the caravan, the mistake, encountering Hayes?
6. Hayes, his age, story, family background, singing, auditions, the Boy Band, friends with the members of the group, the travelling lifestyle, the performances? His more serious approach?
7. The credibility of the May-December romance? His singing, her being in the audience, the dedication, turning up at the Gallery, the tour, offering to buy everything? The discussion of the art? Her special painting – and his later buying it and delivering it? The paparazzi outside, driving away and his concealing himself?
8. At the house, the talk, the attraction, cleaning the fridge, sandwiches, the attraction, the kiss, the reactions? Solene and her self-consciousness?
9. Izzy, her age, friends, the concerts, teenagers on pop culture, her relationship with her mother, with her father, going to the summer camp?
10. Hayes and his invitation for Solene to go to New York, her decision to go, the time together, the sexual relationship, falling in love, her return to LA? His invitation to her to accompany him, the hesitation, accepting, the plane, the other members of the group, the groupies, various cities, the concerts, the relationship, their time together? The different cities and their style, glamour, the couple kissing, the risk, the photographs?
11. The swimming pool scene with the young women, bikinis, Solene’s self-consciousness, the talk, humiliated, leaving, aggressive towards Hayes?
12. The return, Solene and her secrecy, her friends and wanting information? The warning about social media, her shock, the photos?
13. The impact of social media, audience response to the trolling, the vicious comments, the range, the effect for Solene? For Hayes? Her breaking with Hayes, regrets, his visits, the discussions?
14. Daniel and his confronting the couple? Izzy and her response?
15. The issues of the paparazzi, photographers, gossip magazines, social media, the viciousness of attitudes towards older women with younger men (and not with older men with younger women)?
16. The hard decision for Solene, the break, handling the situation, with Hayes? Her listening to his music – the seeming end of the film?
17. Then five years later, Hayes and his career, performances, on the Graham Norton show, Solene watching, the return? The future?

NYE

UK, 2024, 60 minutes, Colour.

Michael Sheen.

Directed by Rufus Norris.

This is a welcome addition to the series of National Theatre is seven (in fact, the hundredth entry).

The significance of the series is that theatrical performances, especially from London, are made available by screen capture (the documentary shown during the interval gives some insight as to cast and director looking at and assessing the impact of frames of sequences, and the positioning of cameras in the theatre).

This is a play written by Tim Price. It is highly theatrical insofar as many devices are used for the stagecraft which are particularly theatrical and could not be used in a cinema version of the play: the use of curtains being opened and closed to indicate a range of locations, hospitals, parliamentary discussions, the House of Commons, office of the Prime Minister… And, on the curtains, the projection of all kinds of hospital imagery, sonar, strobe lights, as well as graphic background of crowd scenes. While this is acceptable/welcome in the context of audience presence in the theatre, National Theatre Live offers the cinema or home audience the equivalent experience.

The Nye of the title is the famous left-wing, socialist politician from Wales, a former miner,   Aneurin Bevan known as Nye. Audiences not familiar with him and his career, there would be a recommendation for audiences to do some pre-watching homework – even the brief initial summary of his life and career in the Wikipedia article. Audiences would be then on the wavelength.

As Nye, Michael Sheen gives a bravura performance. This reviewer saw him as Mozart to David Suchet’s Salieri in Amadeus in the West End, 1999. In the 25 years since then, Sheen has made a name for himself in films, playing Tony Blair three times, playing David Frost in Frost/Nixon, on television in a number of series, especially Masters of Sex. Here he is on stage all the time, the opening in a hospital bed in the aftermath of surgery, wearing red striped pyjamas which he wears throughout the play.

The play’s structure device is stream of consciousness, Nye emerging from his bed often, reenacting various sequences: school days when he stammered, with a cruel caning teacher, to discussions about the mines, to his growing political awareness, to World War II, a vivid confrontation with Winston Churchill, his challenging and condemning Churchill, the postwar era and discussions with Labour Prime Minister, Clement Attlee, and the issue of his taking up the Health ministry. There are also sequences back with him in bed in the hospital, the visit of his wife, Jenny Lee, her political role, her role as his wife, especially during this illness.

In the middle of the first act, there is some exuberance with a song and dance routine, Get Happy – preparing for the judgement day!

But, the key issue is Bevan’s achievement with the National Health scheme some intense discussions, especially with the deputy labour leader who opposes the scheme, even having something of a vision, his enthusiastic rhetoric, remembering the collaboration of the miners in his past, a health scheme in Britain which would treat people equally, making health readily available, something which he achieved in 1948.

The impact of Nye will depend on audience interest in politics, left-wing and conservative, knowledge of British politics during the war and in its aftermath, is one achievements.

With its stream of consciousness narrative, with extra experimental stagecraft, with Michael Sheen’s enthusiastic and articulate performance, this National Theatre Live performance capture is striking.

DIE MITTAGSFRAU/ BLIND AT HEART

Germany, 2023, 136 minutes, Colour.

Mala Emde, Max von der Groeben, Thomas Prenn, Liliane Amuet, Laura Louisa Garde, Fabienne Elaine Hollwege.

Directed by Barbara Albert.

This film is based on the bestselling novel, Blindness of the Heart, by Julia Franck, translated into 37 languages and well acclaimed.

This adaptation, with the German title focusing on The Midday Woman, English title Blind at Heart, runs for 2 ¼ hours. In fact, it is almost like two films in one.

We are introduced to 2 sisters, other male relatives lost in World War I, the Jewish mother becoming demented. The younger sister, Helene, has ambitions to be a doctor. The older sister, Martha, is a nurse. They get the opportunity to go to Berlin in the 1920s to stay with their aunt, hostess with parties and guests, exuberance and decadence. The older sister succumbs to drugs and a relationship with a friend from home. Helene becomes a pharmacist, who is serious, working her way to be a doctor.

The first half of the film is Germany from the 1920s to the 1930s, growing power of the Nazis, anti-Semitism, and Helene falling in love with a charming literature student, Karl. But, tragedy strikes, at a demonstration outside the Reichstag.

The second part of the film moves from the 1930s into the 1940s, Helene in her grief not completing her exams for becoming a doctor, as a nurse, caring for her sister who goes into an institution, a sad visit to her mother, also in an institution, being examined by doctors to see if Jewish mental instability is hereditary. But, a German patient, helped by Helene is in love with her, she resisting and not telling him her story, his offer to find fake documents when she has been asked to produce Aryan identity. This is a sad part of her life, the brusque German patriarchal attitudes, the pregnancy, birth, difficulties with her little boy, Peter. The husband is away is important war commands, forbids his wife to work, then, finding she is not a virgin, despising her.

She becomes a nurse, efficient, going through the hardships of the war, then suddenly, peace.

The story is framed by Helene’s visit to the uncle of her husband to see her son whom she had abandoned at the end of the war.

This film is very much from a female perspective, novelist, the writers, and Barbara Albert, has a long reputation for serious films, as director.

1. Title of the novel? The title of the film? Blindness of heart? The story of The Midday Woman and her visits and people confiding in her, the consequences?
2. The scope of the film, the World War I period, Germany in the 1920s, decadent side, serious side, medicine, drugtaking, relationships, anti-Nazi attitudes? The situation of the Jews? The war period, sombre, family life, German military, hospitals? The musical score?
3. Introduction to Helene, after the war, travelling through the fields, the car, the encounter with the uncle, her looking for her son, the conversation? Then the flashbacks, some indications of her visit, The Midday Woman, the response of the uncle, the boy hiding? The ultimate resolution in the light of Peter’s father, patriarchal, demanding, fascist, mother’s neglect in love, abandoning him?
4. The family, the focus on the two sisters, Martha and her playful attitudes, sexual undertones, Helene and her seriousness, reading, wanting to be a doctor? The meals, served for the absent men, their mother’s mental condition, her collapse, the sisters surviving, and mother in institution, the going to Berlin, their aunt?
5. The aunt, her household, hostess, the guests, the dancing, sexual encounters, Helene and the shock, cocaine, Martha and drugtaking, discovering Leontine in Berlin, the relationship? Support of the aunt, anti-Semitism, the decision to go to Brazil, pawning her positions? Helene and her studies, serious, the introduction to the pharmacist, her serious work, Karl and his asking for medication, his returning, the invitation to the walk, Helene going, the bond between them, the relationship? And his personality, charm?
6. Helene pregnant, ill, talking with her sister, the arrangement of the abortion, not telling Kyle the truth, his shock? Yet bonding with her, his going to the demonstration at the Reichstag, the news of his death? The effect on Helene?
7. The transition in the film, Martha going to the institution, Helene and the documents and going to visit her mother, the doctors checking Jewish patients and hereditary, Helene and the documents, burning them? Being asked for Aryan identity? The shock of Karl’s death, and not completing her exams? Working as a nurse? diligence? The encounter with Wilhelm, helping him, his attraction, the approach to her, in love? His offer of getting the documents, her name as Alice, moving, his personality, the proposal, her acceptance, the wedding at his choose one uncle’s farm, the wedding night, the uncle’s bed, his blunt expectations of the sexual encounter, upset that Helene was not a virgin, emergence of his personality, Germanic, militaristic, that his wife would not work, housekeeping? Her pregnancy, his disdain?
8. Helene, growing older, at home, the housekeeping, the meals, her husband in his absence, his promotions? Pregnancy, his disdain? The difficulties of the birth? Naming the boy Peter? Going home, his continued crying? Her husband and his not wanting his son to be soft?
9. The years passing, her husband disowning her, her working as a nurse, the hardships during the war, the nurse questioning her identity? Her compassion, the woman to be sterilised and her refusing? Praise of her and her surgical skills? The sudden ending of the war, the doctor lamenting the death of Hitler, the friendly neighbour who looked after Peter hanging herself?
10. The relationship with Peter over the years, distant, his devotion to his mother, the discipline, in the fields, the Jewish refugee? Her decision, the train, leaving Peter with the suitcase at the station, her getting on the wagon with the refugees?
11. Years passing, her return, wanting to see her son, his reluctance? The uncle? Peter running past her, her chasing him, the ending and the future?

FURIOUSA

Australia, 2024, 148 minutes, Colour.

Anya Taylor Joy, Chris Hemsworth, Tom Burke, Alyla Browne, George Shevtsov, Lachy Hulme, John Howard, Angus Sampson, Elsa Pataki, David Field.

Directed by George Miller.

Back in 1979, Dr George Miller surprised Australian audiences with his small-budget futuristic action film, Mad Max. Two years later he surprised the world with the sequel, Mad Max two, The Road Warrior. Then Beyond Thunderdome, quite a heritage. But, there was to be more. 2015, Academy Awards, Fury Road. And, here we are in 2024, 45 years later, enormous expectations for Furiousa.

For most audiences, expectations fulfilled – and then some!

We are back in the Wasteland, the vast deserts (Broken Hill locations), once again a post-apocalyptic world, a glimpse of a world of green and fruit, by and large welcoming territory, by contrast, communities of bikie gangs, the remnants of industry and fuel with Gastown, and an attempt at some kind of “civilisation” in a regime, The Citadel. At times, the visuals of the vast Citadel are overwhelming.

But, we met Furiousa in the form of Charlize Theron in Fury Road. This is her origin story. At first she is played, quite tellingly by very young actress, Alyla Browne, then, as the young adult, by Anya Taylor Joy. The oasis is infiltrated by some bikies, conflict, abduction of young Furiousa, her determined mother in full pursuit, and the beginning of the many, many battles.

The young Furiousa is brought by her captives to a weird bikie community lorded over (rather than ruled or governed) by a kind of Aussie Viking, whose utterances are a mixture of classic literature and banality, aptly named Dementus, and played with relish by Chris Hemsworth. But, for this reviewer, at times played in over the top cartoonish style. And, as with the other films, some of the warriors, one eyed, maimed, disfigured, rogue caricatures. But, Dementus, with a sense of the classics has a vehicle designed like a Roman chariot. And, in attendance, he has his sage, The History Man, tattooed with words and learning, played by George Sheftsov as a kind of Gandalf figure.

But, there are over two hours of action to go. Dementus has territorial ambitions. There are sieges of Gastown. Dementus challenges the leadership of The Citadel. No lack of opportunities for continued battles, it confrontations…

Furiousa herself confronts Dementus and finds a home and a haven in The Citadel, grows up, becomes involved in the defence.

The latter part of the film dramatises the conflict between the three communities, convoys of food to be transferred to Gastown in return for fuel. Which offers the opportunity, of course, for the huge trucks to cross the desert, pursued on land, and even from the air. The driver is played by Tom Burke and bonds with Furiousa. Yes, shet has to fulfil her dynasty, confront Dementus, a visualising of all the ways in which she could destroy him but we could not imagine his strange, ultimate fate.

There have been some critics who found that this was too much, over and over. And they lamented that George Miller has relied on CGI whereas, in the past, he showed he did not need them. But, for audiences, there is never too much and the CGI produces, of course, extraordinary effects.

George Miller will be 80 in 2025 but has let the world know that he has a sequel in mind..

1. 45 years of Mad Max? The origins,, small-budget,, successful, the sequels, years passing, Fury Road, acclaim and awards? Now the prequel?
2. George Miller, writing and directing, in Australia, in the US, this film in his 70s? His writing, flair and directing, budgets, locations, action and special effects? Musical score?
3. Audiences for Fury Road, the character of Furiosa, her origins, the world and the wasteland in which she lived and grew up?
4. The importance of the locations, Broken Hill, Hay, New South Wales? The range of sequences, desert, mountains, dunes? Vastness? The communities, initial prospering community, the threats from the wandering bikies, the visualising of Gastown? The visualising of the Citadel, vast? The detail?
5. Costumes, the tradition of the Mad Max films, bikies, masks, uniforms, primitive, designed? For each of the communities? The visual impact?
6. The action sequences, ever more spectacular, and exclusions, noise, audience response?
7. The opening, Furiosa and her sister, the fruit, the bikies, interfering with the bikes, the attack and Chase, the capture of Furiousa, her mother’s response, the other women, the determined pursuit, bikes the visuals of the dunes, the tracks, the young girl, mother shooting, deaths, getting the bike, continuing the pursuit?
8. The bikies entering their centre, disputes, rivalries, the thugs look, fights? The introduction of Dementus, visually, his presence, Chris Hemsworth, the look, the voice? The blend of educated and ignorant? In command, his Roman chariot-like vehicle? The History Man looking and sounding like Gandalf? Dementus and his reaction, response to Furious, her mother, the attack, captured, tied tortured, her doing to watching? The motivation for revenge?
9. Dementus and his cohort, on the attack, and Gastown, those in charge, the petroleum, the need for fresh food? Finding the wanderer from The Citadel, his information, Dementus and his group, confrontation, the visuals of those in charge, the high towers, the walkways, ropes and communications, the challenge, the man falling?
10. Response to the leaders of The Citadel, the leader, his mask, his aggressive sons, paintings and his heart, The People Eater in his suit, his advice? The combat?
11. Furiousa, masked, captured, observing, her escape, the authorities of the Citadel questioning her, her telling the truth about Dementus and her mother, refuge in The Citadel? Time passing, the transition, her motivation, not speaking, her escape, disguising herself as male, relied on in the work?
12. The years passing, the establishing of the three centres, the rivalries, the ambitions? The various attacks – and the narrative of film interspersed with the battles in combat?
13. The arrangement for the transition of food from The Citadel to the other centres, to Gastown in return for fuel?
14. The introduction of Praetorian Jack, the driver, his skills, the visualising of the attacks, the bikes, the cars, trucks, the use of smoke, red and green, the aerial attack?
15. Furious, and the convoy, revealing herself, her work with Jack, the battles and her skills? The motivations? The further journeys, talking with Jack, her having the map from the stars on her arm, the seed and hope? Jack urging her to freedom?
16. Convoys, the visit to Gastown, the upset, not getting the fuel, the return, the decisions of the authorities of The Citadel?
17. Dementus, his ambitions, his attack on Gastown, planned attack on The Citadel? Burning Gastown? The authorities at The Citadel, some wanting to attack, the fire and decoy?
18. Dementus, the attack, the fights? The convoy, Furiosa in the back vehicle? The siege, the fight, the shooting? The eventual taking of Jack and Furiousa? Jack and his being dragged behind the vehicle? Furiosa watching? Her defiance of Dementus? The escape to the car, the pursuit?
19. The buildup to the confrontation between Dementus and Furiosa, in the desert, his escape, the tent, her capturing him? The verbal conflict? Dementus and his attitudes, his death? The visualising of the possibilities for his death? Yet the final reality, the seed planted in him, the tree growing from him, the taking of the apple reminiscent of the opening?
20. Furiosa, near ready for the action seen in Fury Road?

FORD v HOLDEN

Australia, 2023, 99 minutes, Colour.

Narrated by Shane Jacobson.

Directed by Serge Ou, Martin Baker.

If there can be a title, headline, Ford versus Ferrari, why not a story of Australian car rivalries? And here it is.

Older Australians have vivid memories of what the rivalry was like. But, since the 2010s, and manufacturing coming to an end in Australia, the younger generation needs this kind of documentary to inform them about this automobile past.

The narrator of the film is Shane Jacobson, popular from his film Kenny, a strong presence on stage and screen. And, there are many talking heads, writers, journalists, observers, academics… And they offer quite a range of reflections. (Shane Jacobson is not seen until a final glimpse before the final credits.)

The opening of the film offers a historical survey, going back to the early days of cars, the American influence, the 1920s, but very much a focus on the end of World War II, the developments of the late 1940s and the rivalries in the ensuing decades, a great deal of attention given to the 1960s and 1970s.

For those interested in manufacture, there is a great deal of information and visuals of developments of design, the elements of production, the factories, assembly lines, but also advertising and promotion, and emerging of the use of sexual imagery and gimmicks for enticing the potential buyers.

The voice-overs just provide the descriptions, reminding us of popular names, FJ Holden, FX Holden, Kingswood, Monaro… as well as Ford and its Valiant’s.

Which means then that a great deal of attention is given to look and styles of the cars of the two companies, what they meant for their owners, especially families, and, from the 1970s, women driving these cars. Emphasis on the motivations for buying the cars, detailed picture of some of the tests, some of the drives – in difficult terrain, to prove that the Holdens were better for Australian situations, roads, range of countries than the Ford cars.

There is a great deal on Bathurst Panorama, excerpts from the races over the several decades, the careers of such drivers as Colin Jones, Peter Brock, Alan Moffat and their rivalries. Many scenes of the crowds and their excitement.

Then, towards end of the century, the production of cars in Japan and their importation, changing perspectives, changing buying habits. Always issues of popularity, price, and marketing.

Finally, there is decline in production, crisis for the Americans and Fords, Australian government factors, and the decline of General Motors in Australia.

There is some pathos at the end of the film, the closure of the factories, moving into a different 21^st-century and Australians and their use and selection of their automobiles.

A BUMP ALONG THE WAY

UK, 2019, 95 minutes, Colour.

Bronagh Gallagher, Lola Petticrew, Mary Moulds, Dan Gordon, Andy Doherty.

Directed by Shelley Love.

A cheerful film from Northern Ireland.

This is a story of Pamela, played exuberantly by Bronagh Gallagher, aged 44, a broken marriage, living with her daughter, Allegra, working at a bakery. After some drinking, she has a passionate evening with a younger man in the back of a car. She is not worried about unprotected sex because it been told after the birth of Allegra that she cannot have any more children.

But, she could, and does, conceive.

A blend of comedy and seriousness in her facing the reality of motherhood in her 40s, a reliance on her close friend, confidante, but also problems with her daughter, midteens, critical of her mother at times, initially upset about the pregnancy, especially as news gets around the school, but eventually coming to terms, and eager for the baby.

There is a scene with the ex-husband, unsympathetic. There is a confrontation with the father and his hostile attitude.

In the Allegra part of the story, there is school, classes, her being bullied, a sympathetic teacher, her infatuation with a boy, neglecting a close friend, some drinking, sickness, and great embarrassment.

However, this is a happy film, some reconciliation is, the baby, and reconciliations all round.

1. The title, tone, pregnancy, comic, serious?
2. The Northern Ireland setting, characters, accents? The town, homes, school,, hospital, surgeries? Musical score?
3. Pamela’s story, aged 44, the initial encounter with Barry, her drinking, sex, unprotected, not fearing pregnancy, broken marriage, relationship with the ex-husband and his visits, Allegra as her daughter, age, managing by herself, in the shop, the customers, Richard with Michael and his support? At home, tensions with Allegra? Health, discovery she was pregnant, reaction, her reliance on Sinead as her friend and confidante? The doctor, the pregnancy, previous advice? Attitude, keeping the baby, others suggesting abortion, a mother at 44?
4. Her going to see Barry, his negative reaction, his mother, ousting her? Her later decision to return and confront him?
5. Allegra, her name, her friends, bullied at school, the class and her response to the teacher, his concern? Her friend, their being together, her infatuation with the boy, his ignoring her, then his talking to her, collecting her friend, the separation? Her mixing with the other girls? Her birthday, our with boys and friends, the drinking, infatuation, the boy’s girlfriend and her reaction? Her lying to another? The story about her mother’s pregnancy and her reaction? At home, hostile?
6. Allegra and her gradual mellowing, love for her mother, concerned about the baby?
7. Pamela going to the scan, the decision to know, about the name of the boy? The photos of the scan – and her having Allegra’s?
8. The visit her ex-husband, the tension, clash?
9. The birth, the joy?
10. The happy reconciliation, friendships, happy ending?