Displaying items by tag: Peter Malone's Movie Reviews

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?

REFLECTION

Ukraine, 2021, 127 minutes, Colour.

Directed by Valentyn Vasyanovych

This is a very serious and sombre film from Ukraine. It presupposes audience knowledge of Ukraine, the tense relationship with Russia in the past, famines, part of the Soviet Union, freedom, and the clash in 2014 and Russia’s appropriation of the Crimea. This episode is the context for this film.

However, with Russia’s invasion of Ukraine in 2022 and the continued war, it has even more relevance and poignancy.

This is an episodic film with a distinctive style of camera work. Most of the sequences are long, filling the frame, the action within the frame, the camera generally not moving except from distance to foreground. In between there are a few action sequences like going from the torture room down to the basement and the hurried moving down the steps.

The scene is set with two men talking about their work as doctors, one at the headquarters, the other coming from the front, and some personal touches of relationships, along with a demonstration of firing bullets and avoiding them. The film then moves to a scene of surgery at some length, especially with the bloodied bodies. A transition then to a drive in the rain, and a young woman asking her boyfriend about patriotism and why he hadn’t enlisted.

A scene at home, looking at an LP, noise from the player, the transition to a further drive, the rain, an action sequence, and the capture of the doctor.

There are some gruelling sequences following, interrogations, some graphic moments of torture, the intensity of the interrogator, the soldiers watching, the effect on the doctor, his being hurried down the steps to the basement, stripping him, vigorous hosing him. She is one interrogation, and his being placed in the cold cell.

There is a sequence of a huge vehicle, allegedly for humanitarian aid but, with its assistants, inside a machine for the disposal of bodies. Further torture, further disposal of the bodies and the offhand conversation between the two men.

There follows a quieter interrogation and the doctor confessing to being a spy. There is an emotional sequence of a long drive along a long dark road leading to an exchange of prisoners.

Then a transition to a conversation with a high-rise buildings background, some more intimate sequences, the man on a couch, a woman doing exercise, bins of LPs.

The final part of the film seems to be a medley of sequences, a meal, branches, book, a running track and dogs, dressage, the rain, city lights, a rider rescuing dogs.

The title of the film is Reflection and, with its range of images, the war background, humanity and inhumanity, and poetic images and symbols, there is much to reflect on.

KINGDOM OF THE PLANET OF THE APES

US, 2024, 145 minutes, Colour.

Owen Teague, Travis Jeffrey, Freya Allen, Kevin Durand, Peter Macon, William H.Macy.

Directed by Wes Ball.

After a very successful trilogy during the 2010s, here is the beginning of a new trilogy. And, 21^st-century audiences seem to have taken very favourably to Planet of the Apes films. This is the 10^th.

However, for those of us who were watching films in 1968, the impact of the original Planet of the Apes was unexpectedly powerful. We went on a journey into strange world of intelligent apes with Charlton Heston, and, with him, to be rather overwhelmed by the final discovery of where the planet actually was. Then there were five perhaps rather ordinary sequels, with titles like Conquest, Battle, Escape… And Tim Burton ventured on a remake with the original title in 2001, not so well received. But, the trilogy of the 2010s, Rise, Dawn, War… with its focus on the commanding ape leader, Caesar, performed by Andy Serkis, reinvigorated interest.

This film is very long. Some have complained that there is not enough action, too much serious reflection! On the other hand, most have been impressed with the re-creation of this ape world, opening in a small village rather than in the kingdom, information given that humans have created a virus long since which has affected the apes and enhanced their intelligence and had an overpoweringly harmful effect on the humans. These apes are great climbers, protectors of eagles and cherishing eggs from their nests. (And the climbing will have great significance in the final action.)

And, director, Wes Ball, says he was influenced by Mel Gibson’s Apocalypto, the impact of the conquistadors on the local Mexicans. So, this is a story of the abduction of the villagers after an attack by giant marauding apes to become part of a huge kingdom by the sea, establishing life in the village, a sympathetic view, and the rise of a lone hero, Noa (Owen Teague), who witnesses the defeat and capture, but then goes on a quest, accompanied by an intelligent human, Mae (Freya Allen) who is something of a mystery to the apes but has strong motivations of her own. Noa is taught wisdom by benign giant ape Raka (Peter Macon) and, at first trusted by Proximus (Kevin Durand), the leader of the dominating apes, collaborate with Mae, discover the remnants, still active, of giant military installations..

Yes, there will be a revolution combining the apes’ intelligence, lost human technological powers, an interesting view appearance from William H Macy as a retired intellectual, and then the uprising, the combat, the ingenuity, and a wonderful range of special effects.

For most audiences, enjoyable, interesting, and quite a deal to reflect on.

1. The 10^th film? 56 years after the original? The initial impact, the creativity of the world of the apes, the place of the humans, and the discovery of where the planet actually was?
2. The franchise in the 21^st-century, the trilogy with Caesar? This beginning of a new trilogy?
3. The opening explanations, the virus and its spread, the effect on the apes and their intelligence, the decline of the humans? The different cultures of the apes? Caesar and his leadership, law, heritage? Small villages? Proxima’s and his attempt at a kingdom?
4. The opening, the three apes, the Eagles, the quest for the eggs, the care for the Eagles? Noah and his climbing abilities? His relationship with the other two? The return down, Noah and his parents? Respect for the law? The lifestyle? The glimpse of the human and the impact?
5. The invasion, the cruelty, deaths, the breaking of the eggs? Noah, his parents? And the abduction of the villagers? His being left behind, his decision to search for them? The encounter with the human, tentative, suspicions, communication, the mystery about the woman, the revelation of her name, Mae?
6. The range of scenery throughout the film, the mountains and trees of the village, the open plains, desert, the coast?
7. The encounter with Raka, size, benign, age and wisdom, the Heritage of Caesar? Instructing Noah? The response to Mae? The travels together, a genial journey? The attack, the death of A rocker?
8. Proxima’s, large, crown, the henge apes, the brutality? The capture?
9. The ambitions for the kingdom by the sea, the range of captured tribes, imprisoned, the atmosphere of the sea and its turbulence, the wall breaking the flood, the remnants of human technology? Telescope and Noah’s fascination? Proxima’s and his using Noah? The technology to break down the rampart of the installation?
10. Macy, the human presence, his room, the books, his acceptance of the situation, his advice to Noah and to Mae?
11. May, revealing more of her background, enlisting Noah to help, the infiltration into the installation, its vastness, her turning on the power, Macy and his warnings against an uprising?
12. The revolution, the oppression, Mae and her success with the installation, the contact with the humans, the fact that there could be a revival of human intelligence?
13. The final battle sequence, Noah and the confrontation was Proxima’s? May and her interventions? The dilemma is, the destruction of the sea wall, the flooding, the apes and their abilities to climb, the final steep climb to safety?
14. The destruction of the kingdom? At the opening to what would happen to the villages and their escape, the return home…?

HOUSEKEEPING FOR BEGINNERS/ Domakinstvo za Pocetnici

North Macedonia/Australia, 2024, 107 minutes, Colour.

Samson Selim, Anamaria Marinca, Dzada Selim, Mia Mustafi, Alina Serban.

Directed by Goran Stolevski.

Here is a drama which invites its audiences to become more and more involved – despite a rather raucous beginning which some might find a bit offputting. After all, this is a film set in North Macedonia, one of the now many countries in the area which used to be called Yugoslavia, an area which is noted for zest of life despite the many conflicts. And, we can note that the writer director, Goran Stolevski, was born in this country but migrated to Australia in his teenage years, all his film education in Australia. And, this is his third film in two years, You Are Not Alone, setting North Macedonia and Of an Age (winner of several Australian film awards) set in Melbourne.

The title gives some indication that this will be a domestic story – but also an indication that all will not be smooth sailing. What the film does is to initially introduce us to a range of characters who live in this one household, mainly women, one man and a newcomer young man, also a teenager and her half sister, aged five or six. After we identify the characters, some at the centre, some at the edge, become aware of their interactions, especially during a rowdy meal. But, then some of the characters come into sharper focus, the complexities, one with a terminal illness, her two daughters, quite a number of tensions. Gradually we become much more involved with several of the characters, some with stronger motivation and moral strength than we might have anticipated, others being forced into facing themselves and challenged to be better.

Part of the complexity of the household is that several of the characters are in same-six relationships, the two men, the owner of the house and the terminally ill mother. But the issues are universal.

The death of the mother raises many emotional questions, the mother herself strikingly dramatic, instantly upset often in smashing mood, demanding that her partner assume the role of mother to the children. Which means asking the older gay man, extremely unwilling and self-centred, to take on the role of father, and to make this legitimate by an arranged marriage.

Veteran Romania actress, Annmaria Marinca, is a powerful presence, sometimes sternly strong, other times weak, as a woman who takes on responsibility for the household and the children. Samson Selim evokes some curiosity but then our sympathy has the young gay man seeking some kind of refuge in the household then responding well to the demands and the crises.

In fact, one of the most striking characters is the young little girl, absolutely full of verve, happy at play, shrewd in observing what is going on, certainly drawing the audience attention and sympathy in contrast with her older half-sister who can be extremely irritating (to household and audience) and precipitates quite a number of crises.

But, step by step, the characters move beyond their limited horizons, prepared to take on responsibilities – leading us to a satisfyingly pleasing ending.

1. An arresting title? Picture of the household? Amateurs at housekeeping?
2. The setting, North Macedonia, the director and his early life there, his returns there, empathy for the place and characters? Yet critique? The director and his Australian perspective?
3. The background of Yugoslavia, the wars of the 1990s, the separation into the different countries, their independence, interconnections, rivalries, religious differences?
4. The introduction to the characters, the visit by Ali, age 19, gay, Internet connections, his camp style, singing, the partnership with Tony, his encounter with Mia, her age, full of life, playing, singing? Introduction to Dita and Suada, in the doctor’s office, the people waiting, the doctor chatting about football on the phone, callously ignoring the patients, Suada and her outbursts, destructive? The revelation of the terminal illness, the personal relationship with Dita? Her being the mother of Mia, and her half sister, Vanessa? The boarders in the household, backgrounds, raucous?
5. The meal, everybody at the table together, interactions, jokes, taunts? Enabling the audience to get hold of each of the characters? Liking them or not?
6. Then the development of the interactions, getting to know some characters better, others on the periphery? Liking the characters or not?
7. Dita, managing the house, her work, income, the colleagues at work? Social concerns? The change at home, dealing with scab slander, her illness, on the computer to find alternate therapies, Suada and her emotions, throwing the laptop over the railing, the others recovering it?’s wider and her concern about the children, relationship with each, wanting Dita to be the mother, Toni to be the father, her trying to persuade me about this, Mia’s reactions?
8. Her death, the funeral? The issue of parenting, Toni, his work, the relationship with Ali, then, Dita putting the pressure on him, the visit to Ali’s town, city, Gypsies, human trafficking, Suada’s mother, language difficulties, interactions, friendly, but Dita taking the children back?
9. Toni, forced into the agreement, Ali getting the documents, his contacts, the signing of the documents, Dita forcing Toni, getting dressed, going to the local official, the marriage consent? The celebration?
10. Vanessa, her issues at school, the fights, boyfriends, the story of the boyfriend going to Malta, her phone, similar cover to that of Ali, Toni picking up the wrong phone, Toni looking at it, the photos of the naked men, Toni and his violent reaction? The fact that it was Vanessa’s phone?
11. Dita and her work colleagues, happy that she was married, the celebration, the invitation, Toni unwilling, their going, his upset and creating a scene?
12. With Vanessa, the clashes with Dita, calling the police, everybody having to clear out of sight, Toni dressed up, the happy couple, nursing Mia?
13. Vanessa, running away, the group going back to the village, Ali there after the falling out with Toni, his helping them to find Vanessa, the human trafficking?
14. The return, Vanessa calmer? The contrast with Mia, her continued vitality, play, dolls, singing, bonding with our Lee, the balloons?
15. Everybody at the concert, Mia and her performance, the whole group enjoying the situation, some pleasing reconciliation and hopes?

LUBO 

Italy/Switzerland, 2023, 175 minutes, Colour.

Franz Ragowski, Valentina Belle, Joel Basman, Noemi Besedes, Cecilia Steiner, Philippe Graber, Filippo Giulini, Christophe Sermet

Directed by Giorgio Diritti.

This is an ambitious film, running to almost 3 hours. It is a film in three acts, so to speak, the first act in 1939, German-speaking Switzerland, the second act in Italian-speaking Switzerland and Ital wrecked at the mother at the mother y, 1951, and the final act taking place in the same areas in the early 1960s.

The film opens arrestingly with a comic performance by a travelling Gypsy (Yenisch) family in the town square and a happily entertained village audience. The main actor, along with his wife and three children, is Lubo Moser, played by popular German actor, Franz Ragowski. But, it is 1939, the Swiss wondering about Hitler’s ambitions, their neutrality, their safety, calling up all men as reserves, suddenly taking Lubo, and, according to Swiss legislation, taking his children into a state system, education, adoption, for many decades, a Gypsy Stolen Generation.

With the themes of 1939, the role of Switzerland, the Nazis, military, stolen generation, a great number of themes have been introduced to the narrative. And, there are many more themes, including murder, theft, trade exploitation, impersonation, seduction, and Lubo’s continued search for his children. And, there are even more themes in the final part of the film, especially in terms of family relationships, crime and justice, reconciliation.

Which means then there is a great deal to entertain as well as to challenge. With the sprawling nature of the story, it sometimes moves too quickly from one theme to another, at other times delaying, not always satisfying in execution even though the themes continue to be of great interest.

There is always the challenge of the character of Lubo himself, his entanglement with an Austrian Jew, his finding a new life Italian Switzerland, establishing himself, the different means to search for his children. And, it would seem that he finds some peace with a young woman who has a son, who works as a hotel maid. Given the complexities of Lubo’s life, his background as a Gypsy, his trying to re-create himself, and moral judgements about his behaviour, there is always the challenge of audience sympathy with him or not.

But difficulties are always round the corner and this idyllic experience with the young woman and her pregnancy cannot last.

The film ends with information about the exposure of the system for taking the Gypsy children, some with dreadful adoption situations, cruelty, deaths, immigration, and finally, legislation repealing the system.  From Wikipedia: Das Hilfswerk für die Kinder der Landstrasse (literally: "the aid organization for the children of the country road"), more commonly known as Kinder der Landstrasse, was a project implemented by the Swiss foundation Pro Juventute from 1926 to 1973. The project aimed to assimilate the itinerant Yenish people in Switzerland by forcibly removing their children from their parents and placing them in orphanages or foster homes. Approximately 590 children were affected by this program.

1. The title and tone? Lubo is a character, the stages of his life, tragedies, search for children, justice?
2. A film in three acts, 1939, Switzerland, fears of war? 1951, is impersonation, search for his children, relationship? 1961, emerging from prison?
3. A film with many themes, Gypsies (Yenisch), stolen generation of children, education and adoption, persecution of the Jews, murder, theft, impersonation, trading, seduction, manipulation, responsibility and justice?
4. Lubo in 1939, to play in the village square, the captured bear, Lubo and his wife, the children, the applause, money collection, on their way? Held up by the military, the demands on Lubo, the taking of his children, hearing of the death of his wife in the struggle? Life in the military, in the snow on watch, the camp, the authorities, the approach by the Austrian, Lubo and his motivation, the jewels of the money, carrying the bag’s, the Austrian weary, Lubo killing him, taking the smuggled goods, his escape? Setting himself up, a new identity? Audience response to the fact that he has brutally killed the Austrian?
5. 1951, Lubo and taking the name of the Austrian, wealthy, in society, the suspicious wife, her husband, the jewels, her infatuation, the affair? Lubo and his search for his children? The Pro Juventute organisation, their aims, purity of race, taking the Gypsy children, re-education, adoption, hardships and farms, stories of suicide, migration? The official, her charm, her attitudes, the infatuation with Lubo, the relationship? Lubo and his abandoning them? His falling in love with the maid, her work, her son, her being pregnant? His love for her being genuine? Life together? The police investigator, Lubo and his moving, hiding, his being arrested?
6. 10 years later, the release from jail, his writing letters to the young woman, her son burning them? Her giving birth, Hugo? Lubo on leave, going to visit, discovering the young woman had died, the story of her son, his being helped by the charity organisation, working in the shop, the later revelations of sexual abuse, Lubo confronting the owner of the shop? The young man grown up, hostile to Lubo? Lubo seeing his fiancee, her more sympathetic approach? Is wanting to see Hugo, the older brother and his protection? Lubo and his going to see the police officer, giving his documentation about the disappeared children, the abuses? The police officer, going to the authorities, the hesitant reaction?
7. The final information, the abuse of the stolen generation, the consequences? The repeal of the law?
8. The film many themes, moving from one to the other, sometimes horrid, sometimes delayed? But the overall impact?

ONE FOR THE ROAD

Germany, 2023, 115 minutes, Colour.

Frederik Lau, Nora Tschirner, Burak Yigit, Godehard Giese.

Directed by Markus Goller.

No mistaking the meaning of this title. Some years ago, there was the Danish film on a similar theme, Another Round. Drinking. Alcohol. Excess.

Audiences may not want to spend two hours with an alcoholic, especially if he is rather unsympathetic. However, over the decades, there have been a number of significant films about alcoholism, alerting audiences, sometimes holding up a cinematic mirror for those with alcohol problems. We can remember The Lost Weekend, I’ll Cry Tomorrow, Days of Wine and Roses…

We are immediately introduced to Mark, at a bar, hail fellow well met, known to the barman, raucous, singing, and deciding to drive home. The police, denials, beer cans in the car, Mark claiming just to be parking the car before he walks home! Not believed – losing his license for three months and having to join a therapy group, called roadworthiness but about the drivers rather than their cars. So, the question, will he manage, will he give up the drink, will he get his license back?

We go immediately into one of the therapy sessions, a very earnest facilitator who later admits to past  alcohol problems, who challenges Mark whose only motivation for being there is to get his license back, but the facilitator, and a joke for the members and, perhaps, ourselves when we hear that his name is actually Dr Buhz! But the doctor keeps insisting that he is trying to elicit an interior motive, something that the driver will admit. We get glimpses of others in the session but the main character interacting with Mark is Helena, a primary school teacher, certainly with alcohol problems as we see.

Mark is in his midthirties, has a very strong reputation as projects manager on building sites, some scenes of him in action. He also has a close friend from school days, Nadim, who has settled down and tries to support Mark, but, very embarrassed, ignores him and then has to try to reconnect the bond. But Mark has made a bet with him that he will keep off the alcohol. And, the audience knows, no chance.

Mark does endure some days, 27, off the drink, even taking up swimming as a means of self-affirmation, succeeding in laps. But, there is torment, there is temptation, there is a longing.

And this is compounded by his growing association with Helena, their sharing stories, making no attempt to give up the drink. As they bond, and as Mark fails, their lives become even more raucous, Helena making a mess of her career at school, he growing neglectful on the building site, his bosses realising that they have covered for him for too long, demanding that he get himself in order.

While all this is something of an ordeal for Mark, perhaps it will be for some audiences as well, those who will find the film something of a mirror, others who have had to work with alcoholics, audiences who have to spend time with the film reflecting on the realities of the issues.

Frederick Lau gives a completely convincing performance as Mark, when sober, and, especially when drunk.

1. The title and expectations? Jovial title?
2. German perspective on alcoholism, therapy? Universal themes?
3. Audience attitude towards drinking, alcoholism, consequences, psychological, social, need for therapy, possibilities for giving up alcohol?
4. Mark and his story, seen at the bar, jovial, singing, drinking, in the car, the police, license and registration, the cans in the car, his excuses about parking, losing his license for three months?
5. Having to go to therapy, the theme of roadworthiness for the drivers, the facilitator and the joke on his name, the members of the therapy group, market’s motivation, to get his license back? The encounter with Helena? The focus on the other member of the group, his explanations, the stages alcoholism and reasons, his identifying with them all?
6. Mark and the sessions with the therapist, to find the inner reason for giving up alcohol, the facilitator and his own story, Marie films, Mark and his swimming, the rivalry in the pool with the older man, the boys asking him, his explanation of his moods?
7. Mark and his long friendship with now Dean, from school days, now Dean and his settling down, wife, house, the party in the celebration? Nadeem and his concern about Mark, talking with him, the bet (and the irony of being naked with his comment running around Berlin and the reality at the end)? Nadeem ignoring him, going out to meet him, Mark upset and abrupt, Dean and his attempts at continued support and friendship?
8. His story, respected project manager, seeing him at work, his friends, the issue of the narrow pipe, his drinking, late for an appointment, going out with Helena, on the roof, the flooding of the project, the confrontation by his boss, not able to overlook is drinking anymore, urging him for therapy and then reapplying?
9. Helena, primary school teacher, her drinking, her excuses, her friends, pretending to be pregnant, the response of the school, then the gossip, her being exposed? Her continued drinking, not making resolutions, meeting up with Mark, drinking with him, talking with him, the time for sexual relationship past, her overall effect on Mark?
10. 27 days, without drink, the effect, moods, craving, meeting a group of young men, the urging him to drink, his giving in, completely given over to their celebration, the consequences?
11. The session for therapy, the facilitator and his explanations of the different kinds of alcoholics? His sessions with Mark?
12. Mark, the final challenge, keeping to the program, the support of 19 – and the hopeful ending and iodine naked with his sign in the train?
13. The effect of an audience spending almost 2 hours with an alcoholic, his not being entirely sympathetic, his frustrating behaviour, for himself, for the audience? Therapy? Hope?
14. This kind of film holding of a mirror, especially for any alcoholics in the audience?