Displaying items by tag: Peter Malone's Movie Reviews

JOYLAND

Pakistan, 2022, 126 minutes, Colour.

Ali Junejo, Rasti Farouq, Alina Khan, Sawat Gilani, Salmaan Peerzada, Sohail Sameer, Ramiz Law.

Directed by Saim Sadiq.

Joyland is an unexpected film from Pakistan, screened with success and awards at Cannes, experiencing censorship problems in Pakistan itself, ultimately released there with some cuts – some surprising episodes even for the main audience, episodes which were probably cut.

There are traditions in various parts of Asia and the Pacific where a trans-person, male to female, is seen as someone sacred. There is something of this background in this film but presented in a far more earthy fashion.

Very strong framework for the film, showing a Pakistani family, the dominating patriarchal presence of the father, his expectation of his two sons, of his two daughters in law, of neighbours. One son is married with several children, his wife pregnant, their hoping for a son. The other son, the focus of the film, Haider, does not have a job, works at home around the house, his wife having a job as a beautician and adviser. Then the patriarch decrees that the son should work, that the wife should stay at home.

The focus then goes on to Haider and his friend getting him a lead to a dancing troupe, backup to a trans-woman, Biba. She has a strong personality, also dominating, sometimes at the mercy of the entrepreneur of a club, sometimes outwitting him, able to dance during a power failure with Haider encouraging her and the patrons, mainly male, shining light with their phones. Haider then becomes very attached to Biba, a sexual encounter which alienates Bibafrom him.

The other part of the plot is the complication about Haider’s wife, her pregnancy, her mental decline, her death and the consequences.

The film draws its audience in, observing the intense life of the family, sometimes sympathetic, sometimes alienated, and also dramatises the world of the trans-dancer, acceptance and non-acceptance.

1. The title? Tone? The theme park and its title?
2. The reputation of the film, screening in Cannes and winning awards? Banning in Pakistan? Released with cuts? International acclaim?
3. The city of Lahore, the atmosphere of Pakistan, urban, neighbourhoods, homes, celebrations, the streets, Joyland and the rollercoaster, the musical score?
4. A film about family, patriarchal, the presence of the Father, his dominating, controlling his sons, influence on his daughters-in-law, hopes for grandchildren, boys, presiding at meals, criticisms, especially of Haider? His neighbour and staying the night, her son and his arrival, judgement and condemnation? His 70^th birthday, the cake in celebration?
5. The next generation, the two boys, the older and his marriage, his wife pregnant, managing the house, cooking, the traditional role? The contrast with Haider, the relationship with Mumtaz, as not working, his duties at home, housekeeping, his father, her having the job, beautician, the preparation for the wedding, the lights going out, everybody holding the torches, her success? The pressure on Haider to have a job, the pressure on Mumtaz to stay home, her reactions? Her sister-in-law and their bonding? But the gradual effect on her, some alienation from Haider, his absences from home, the job? The outing with her sister-in-law and the rollercoaster? The test, her pregnancy, a boy, her reaction, not telling her husband, wanting to leave home, packing, her return? Her decline, her drinking the substance, her death?
6. Haider’s story, age, not having a job, at home, his wife at work, the changes situation, his needing a job, his friends? The issue of the theatre, dancing? His hesitations, the encounter with Biba, attracted to her, the rehearsals, his awkwardness, improving, Biba relying on him in times of difficulty, his performance, his persuading her to dance when the lights went out, the audience holding their phones for light? The effect on him, the dancing, with his friends and discussions, homely night late? His father’s reactions?
7. The issue of transition in Pakistan, worldwide? Biba, transition to female dancer, the men and their curiosity about her, her reactions? The domination, demands on the manager of the theatre, financial issues, relying on Haider? His attraction, spending time with her, her response? The sexual issue, his taking position, her reaction, ousting him? Issues of his orientation?
8. Sequence of the large poster cut out, transporting it, into the house, on the roof, the neighbour seeing it in reporting, the family reaction?
9. The death of Mumtaz, everybody gathering, the puzzle, the mystery of her death, pregnancy, the loss of the child? Upsetting the grandfather? Haider and his brother, the interactions, the future?
10. The ending with regrets, Haider and his memories, the first encounter with Mumtaz, their bonding, the proposal, the possibilities for a happy future… But not?

EINSTEIN AND THE BOMB

UK, 2024, 78 minutes, Colour and Black and white.

Aiden McArdle, Andrew Havill, Helena Westerman, Rachel Barry, Simon Haines, Leo Ashizawa, James Musgrave, Simon Markey.

Directed by Anthony Phillipson.

In world cinema, 2023 was the year of Oppenheimer, the Manhattan Project, the background to the project, Los Alamos, the dropping of the bomb on Hiroshima and Nagasaki. Although a minor presence in Christopher Nolan’s award-winning film, Albert Einstein’s influence is strong, scientists admiring him, the theory of relativity, the splitting of the atom, Einstein’s concern about Germany having nuclear power and his letter to President Roosevelt, but not a at Los Alamos, considered a security risk. He was played by veteran British actor, Tom Conti.

This documentary, in fact, a document-drama, was produced by the BBC studios and distributed by Netflix. Audiences watched it in the aftermath of Oppenheimer. It offers a brief overview of Einstein, as a person, as German, as Jewish, as a scientist and mathematician, his career. For many audiences, this is an opportunity within a brief running time to focus on Einstein and his 20^th-century influence. However, quite a number of bloggers expressed great disappointment at the brevity of the film, brief treatment of some issues, especially with the title focusing on the bomb and no mention of the atomic bomb until 20 minutes before the ending of the film. Perhaps they were expecting and Einstein equivalent of Oppenheimer.

A note at the beginning indicates that the spoken and written words attributed to Einstein are all authentic, spoken and written by him.

Important for this kind of documentary is the range of film footage available. And, a great deal is inserted throughout the film, even back to Einstein in his early years, the time of World War I, his science career in the 20s, the crisis in the 30s and his having to leave Hitler’s Germany, his taking refuge in England, his making a transition in sailing to the United States, taking up his position at Princeton. There are only glimpses of his wife in footage and photos. But, there is sufficient footage to build up something of an image of a Einstein himself.

But the film opts for the drama aspect of docudrama, with Irish actor Aiden McArdle playing Einstein – and he had played Einstein also in the 2005 television movie, Einstein’s Big Idea, exploring the background of E=MC2 and the consequences for the splitting of the atom as well as situating Einstein’s exploration in the context of other scientists including Faraday.

McArdle is made up to look like Einstein, short, pudgy, wild hair… The main sequences for the drama focus on Einstein’s leaving Germany in 1933, his being supported by British Parliamentary Commander, Oliver Locker Lampson, staying in the hut in Norfolk, with two female bodyguards who bonded with him. There is a sequence where sculptor Jacob Epstein comes to sculpt his head.

The documentary uses the device of having a date and then tracking backwards or forwards indicating the background to the particular aspect of Einstein’s life or career that is being focused on, scientist discoveries in the 1900s, World War I, American tours, his speech and the Albert Hall affirming his Jewishness, his later life in the US. There are also scenes of Hitler, denunciation by Goebbels, the burning of books, Krysstalnacht…

As regards the bomb, the film devotes 20 minutes to Einstein’s wariness of German developments, his letter to Roosevelt, the aftermath of the bomb, the repercussions on his sensitivities, his work for peace.

Not an equivalent of Oppenheimer but an 80 minutes introduction and overview of the life and work of Einstein.

A THOUSAND AND ONE

US, 2023, 117 minutes, Colour.

Teyana Taylor, Aaron Kingsley Adetola, Aven Courtney, Josiah Cross, William Catlett, Terri Abney, Delissa Reynolds, Amelia Workman, Adriane Lennox.

Directed by A.V.Rockwell.

This is a first feature film by A.V.Rockwell who both wrote and directed. She brings a persuasive female sensibility and sensitivity to this film.

There have been many films about African-American children growing up in New York neighbourhoods – Boyz in the Hood. However, this one has a very striking difference. This is not a film about street violence, gangs, criminals and hardships. Rather, it is the story of a mother devoted to her young son, home life, education issues, his maturing into early adulthood.

And, the film boasts a two-to force performance from singer and video performer, Teyana Taylor. She plays the mother, recently released from jail I Rikers Island, her young son in hospital after a fall from the house where he was in foster care. She abducts him from the hospital, the first finding accommodation with friends, then settling down, meeting up with lucky, a friend from the past (William Catlett), marriage, a father for her son, Terry.

Teyana Taylor’s performance is very strong, in the early two in her early 20s in the first section, young, inexperienced in emotions, brash. Later she will look much older, warn, still assertive, dominating. And this is true of the last section, the convincing poor performance of change over the decades.

There are three time faces in the screenplay. It opens in 1994, the prison release, the abduction, setting up the household, very young Terry, quiet, his life before him. His played very persuasively by the young Aaron Kingsley at a taller.

The next time is 2001, but not focusing on 9/11. Rather, Terry has now grown up a bit, early adolescence, friends at school, experimentation with drugs, some silly reactions to his mother, but receiving a lot of support from Lucky. This section is rather brief.

In, 2005. Terry is almost 18, played convincingly by Josiah Cross. There is still the issues of relationship with his mother, the significance of lucky and his influence, his dying of cancer. There are also education issues with one of the local teachers encouraging him to do special exams in the past, qualifying him for higher studies, and the issue of college before him.

But, there is the complication of his falls identity, the false name and documents arranged by his mother long since, his legal situation, his family situation, the relationship with his mother. The issues are not solved by the final credits but there are hopeful indications.

1. The title? Children, parents, adoption, abductions…?
2. The New York settings, the neighbourhoods in the detail, streets, apartments? Shops? Schools? Hairdressers? The changing neighbourhood, pulling down buildings, ousting tenants…? The political background, the quotations from the various mayors, their commitment to the changes in the city…?
3. 1994, 2001, 2005, the look of each era, styles, clothes, technology developments…?
4. A drama on African-Americans in neighbourhoods – but family and relationships situations, not a story of violence, gun violence in the streets? In fact, universal stories?
5. The opening, Rikers Island, the views, the prison, prisoners leaving? Inez leaving, aged 22, having to make her way? Her personality, assertive, short fuse, determined?
6. The episode with Terry, foster care, his falling from the window, his injury, hospital, Inez going to see him, bonding with him, the toys, her taking him?
7. Inez, the phone calls, looking for friends, connecting with Kim, her mother hostile, Pea, Terry playing with him, bonding?
8. Inez, talent as a hairdresser, the client and her success, finding a job, having to work, accommodation? Setting up?
9. Terry and his story, young, quiet, somewhat bewildered, fostering, and happy, with Inez, bonding with her, her demands on him? With Pea and playing?
10. Lucky, his background, attraction to Inez, moving in, bonding with Terry? The marriage and the wedding, happiness? Everybody celebrating? Kim and her mother?
11. The legal situation, Inez arranging documents, deciding on a false name for Terry, the papers and her hiding them?
12. 2001, Terry at 15, Pea at 15, Simone at the diner and the attraction, her reactions to them? Terry, school, clever? Hanging out with Pea? The issue of his intelligence, Miss Tucker and her recommendations, his sitting for the test, discussions with lucky, his achievement? Yet the issue of staying at home?
13. Inez in 2001, looking older, more determined, bonding with Terry, yet severe, demanding on him, lucky and his going away, the later revelation of his child and the other woman, Inez inviting them in the funeral?
14. Lucky, bonding with Terry, the talking, encouraging him, basketball? Lucky and dinners, the tensions, his frank talking to her?
15. 2005, Terry almost 18, his prospects, Lucky, cancer, the hospital, Inez keeping vigil,, the talking, his death, the funeral?
16. Inez, older, harder, happy, exasperated?
17. Mr Tucker, Terry’s future, wanting the documents, Terry finding them, falls, issues of felony, the social workers, Inez leaving the house, returning talking to Terry, her disappearance?
18. Terry, his future, the effect of his upbringing, Inez as mother, Lucky as father, prospects?

INSPECTOR SUN: THE CURSE OF THE BLACK WIDOW

Spain, 2022, 88 minutes, Colour.

Voices of: Ronnie Chien, Iain Batchelor.

Directed by Julio Soto Gurpide.

Here is a different animation film. The novelty of its characters can be an entertainment for children. And, the novelty of its characters may also offer some tantalising entertainment for adults.

While Inspector Sun like an Oriental Policeman, in fact he is. He is from Shanghai, 1934, which offers its own intriguing atmosphere and history. While he is related to the police chief, he has a knack of solving difficult cases although his fellow officers dismiss his success as his being lucky. And, the evidence of his character, his rather haughty attitude towards everyone else, his skill in finishing off sentiment is that other people are saying and receiving the plaudits for their ideas, he is not really an initially likeable character.

Coming back to the animation! This is not an Asian production. Rather, it is from a Spanish studio. The animation is very bright, colourful, a lot of action, a range of eccentric characters. And, while Inspector Sun is suspended because, though he captured the criminal, he lit a match which caused an extraordinary fireworks display and the destruction of the factory. He is off to America.

If this brief description has sounded attractive, what is next can be considered a considerable Spoiler. If you don’t mind the Spoiler, then read on.

This review has neglected to note that all the characters are insects, though there are some humans in the background just as there are insects in the background of human stories!).

So, all ranges of insects, and their being humorous caricatures of humans in their appearance, dress, style, remarks. In Wikipedia review states this is anthropomorphism.

Most of the action takes place on the most luxuriously interior design plane on its way to San Francisco, a mysterious death, lively wood-be apprentice detective, a master criminal, and an intriguing plot which can turn ordinary insects, cocooned, into a swarm of criminals. Which gives the opportunity for the plane swerving through the streets of San Francisco, flying towards the Golden Gate which is under construction…

So, a different animation, and with the voice of comedian Ronnie Chang as Inspector Sun.

(One of the writers is Rocco Pucillo, Pucillo in fact means flea!)                          

1. Animated entertainment? Younger audiences? Something different for older audiences?
2. A Spanish production, Spanish studio and style of animation, voice cast, English voice cast?
3. Style of animation, the different styles of insects, blend of realism and stylisation, human characters, costumes and decor, the period, Shanghai, the plane, San Francisco and the Golden Gate bridge in construction? The musical score?
4. The focus on Inspector Sun, his relationship with the chief inspector, his reputation, -like rather than skill, his foppish style, dress, manner of speaking, taking advantages of situations? Interactions with the scorpion, his summaries, taking the words out of the mouth of the police, their hostility towards him? Self-confidence, confronting the scorpion, the match and the flame, turning the tables, the fireworks, the capture of the criminal and his imprisonment? Called to task, dismissed? His decision to go on a holiday?
5. Janie, lively, admiring Sun, wanting to be his assistant, her persistence, chatter, making him lose his flight, on board the flight to San Francisco, Stowaway, having to stay in his room, her words of admiration? The situation, the Black Widow and her husband, his death, the investigation?
6. The range of insects, the visualisation, voices, parallel to human behaviour? The flight, smuggling? The scorpion, the loyalty of the swarm? The creation of the swarm, the other insects, the power, in their cocoons, transformed?
7. The flight, the variety of characters, comic, serious, activities on-board?
8. The Inspector, the investigations, the captain and his self-assertion, the confrontations, the turbulence, the landing?
9. The scorpion, his swarm, swooping through the air, the plane going through the streets of San Francisco, Golden Gate, the confrontation, Janie and her interventions, everybody cocooned, including the Black Widow?
10. The final confrontation, in the air, the transformation of everybody back to normal?
11. Inspector Sun as comic, pompous, achieving?

BROTHER OUTSIDER: THE LIFE OF BAYARD RUSTIN

US, 2023, 83 minutes, Colour.

Directed by Nancy D.Kates, Bennett Singer.

Bayard Rustin was a significant figure in the US, the 20^th-century figure, campaigner for Civil Rights, a master organiser. However, in more recent times, he has seemed to have faded from the American memory. His life, 1912-1987.

With the making of the film, Rustin, and actor Colman Domingo playing him, receiving an Oscar nomination, and the film streaming on Netflix (as does this documentary) brought him to more prominence.

While Rustin presented an overview of his life and career, there was a particular emphasis on his role in the organisation of the 1963 March on Washington. In fact, there is more detail of the organisation and its dramatic effect in the film than in this documentary. It is certainly present, the visuals, his presence, Odetta and Mahalia Jackson singing, the presence of Martin Luther King, and his iconic speech. But, Rustin stands back, behind Martin Luther King. This documentary praises the role of Rustin in the organising of the March and mentions that King’s speech is the icing on the cake.

We are presented here with an extensive biography of Rustin, but with the great advantage of having much footage of him, the civil rights movements prior to 1960, his campaigning in 1959 against French nuclear tests, his being influenced by such leaders as A.J.Aste and A..Paul Randolph, and a great deal of footage with each of these men. The other advantage is so much footage of Rustin himself, his speeches, ranging from the 1940s to the 1980s. And, especially, noted as a singer, a number of excerpts of his singing, especially from protest songs and Negro spirituais. The cumulative effect is a portrait of Rustin and his American times.

Rustin was a gay man, confident in his orientation, A.J.Aste having some preoccupations about this. But, 1953 saw a significant event in Rustin’s life which had some damning consequences on his career and reputation. He was arrested in Pasadena, California, Inezsociation with homosexual cruising. This caused a difficulty for Martin Luther King – but also an opportunity for politicians who attack King, indicating that he had sexual relationship with Rustin. This critique of Rustin had great influence in the 1950s, even in the African-American community.

However, Rustin was urged to come back to the US from Africa (protesting France’s nuclear tests) for the March on Washington at the time of the 1960 presidential election. Working with Martin Luther King, King then becoming wary, eventually reconciliation, Rustin entrusted with the organisation of the 1963 March.

While this documentary does give some attention to his work, there is, as mentioned, more in the film about him. However, it is a climactic event in this documentary, Rustin wondering whether the crowds would come, their eventual arrival, the impressive visuals of the gathering, the singing, the speeches.

The latter part of the film is interesting in contrasting Rustin’s perspective on progress with that of such activists as Malcolm X, Hughie Newton. Scenes of debate with Malcolm X and his wanting the African community to be separate from whites, Rustin advocating the difference between protest, which can be full on, and politics which inevitably requires compromise. He insisted that African-Americans be part of the political process. This was dramatised in the opposition to the Vietnam war, Rustin rather reticent of criticism, relying initially on Lyndon Johnson and his sympathetic promotion of civil rights. Comments are made that he was on Nixon’s list of enemies – and he gives a vigorous speech happy to be on the list and condemning Nixon.

In the latter part of his life, his active cause was for gay and lesbian rights, protests, campaigning.

Throughout the film there are interviews with people commenting on his sexual orientation, some of his friendships, the testimony of one of his lovers and the breaking of the relationship, the young man in the latter part of his life giving testimony for him.

Throughout the film there is a great deal of commentary from talking heads, insights into the attitudes of the times, commentators, African-American political leaders, Rustin’s nephew.

This documentary is certainly very informative, creating a lively portrait of Rustin – but, to see his life and causes played out dramatically, it is worth watching the feature film.

CARGA MAXIMA/ OVERHAUL

Brazil, 2023, 95 minutes, Colour.

Thiago Martins, Raphael Logam, Sheron Menezze, Evandro Mesquita, Milhem Cortea.

Directed by Tomaso Portella.

A Brazilian action drama, with a special appeal to those who enjoy cars and vehicles, speed and racing. This film is somewhat similar to the Spanish film of the same period, Centauro.

The central character is Roger, a driver, especially in competition with truck vehicles, aiming to win, impetuous, personal difficulties, pressure from his father, vehicle difficulties, financial difficulties. He works with his friends and a woman who is a competitive driver.

The key to the drama is his being approached by a criminal, to participating truck hijacks, dismounting the trucks and contents, speed driving them away.

Ultimately, there is a moral crisis in a sequence where Roger out which the criminals.

1. Title? Trucks in racing?
2. The Brazilian setting, towns, busInesses, racetrack, criminals, tracking busInezs? Musical score?
3. Roger and his story, his father and influence, age, experience, driving, competitive, the trucks, bonds with his friends, risks, Rainia and the rivalry?
4. The race sequences for action fans, the vehicles, speeds, techniques, machInez, racing?
5. Roger, his situation, the approach of the criminal group, the contact and his influence, the boss, decisions?
6. The drama of the interceptions of the trucks, the techniques, Roger and his driving, the locations, the highways, the mountains, dislodging the trucks and reconnecting?
7. Roger, the personal dilemmas, his friends, the bosses, discussions?
8. The buildup to the final confrontation, his decisions, techniques, deceptions, getting away with it? The repercussions for the bosses?
9. His rival, their friendship, bonding, the final race, his determination, overtaking her? Happy ending?

WIL

Belgium/Netherlands, 2023, 110 minutes, Colour.

Stef Aerts, Matteo Simoni, Annelore Crollet, Jean Bervoets, Jan Bijvoet, Pierre Bokma, Pit Borkowski, Jan Declier.

Directed by Tim Mielants.

The Forgotten Battle and Wil can be considered companion films, dramas of World War II taking place in the Netherlands, a focus on the city of Antwerp.

Dramas of World War II continue to be made, quite a vast number of films, ranging over the world. There have not been so many dramas of the Netherlands – there was a surprising film, Betrayed, 1954, with Clark Gable, Victor Mature and Lana Turner, alerting audiences to the war in that part of Europe.

The forgotten battle is that of the river Schelde, late in 1944. The film focuses on the German occupation of the Belgian town, a small underground group, young man taking photos of the Germans, and intentionally causing an accident with the death German soldiers, his arrest, torture, giving information. He is the son of a local doctor. His sister is concerned, close to members of the resistance, offering to take key map to the Canadians who are attacking the Germans, her being captured, her friend, wounded, floating on the boat and discovered by the Canadians. There is a grim battle sequence with the Canadians attacking, many wounded and dead. Then, with the aid of the map and strategy, there is the counter-attack.

Brought into the action of the British, a group of glider pilots, grounded near the village, encountering that is, one escaping and pointing the Canadians in their attack.

War scenes of staged, the audience gets a sense of the German occupation and harshness, and, with one Dutch soldier who had enlisted in the German army, a growing sense of disillusionment, is having to participate in the shooting of the hostages, his participation in the attack.

On the other hand, Wil takes place in 1942, a Belgian town occupied by the Germans, in full control, some of the collaborators in the town, the focus on young police, locals, the strength of their local command and his warnings to the observant, especially in his taught sequence.

Two young policeman are asked to accompany a German to arrest a Jewish family. There is some resistance, the German is killed and his body concealed in a drain. There are consequences for the two, very young, connections with the Resistance, codenames, meetings with the leader, veteran actor Jan Decleir, arrests and torture. They also help the Jewish family to be hidden, and a train journey, being captured.

The dilemma of story is, remembering the Stockholm Syndrome, how much occupied people can identify with the occupiers, moral issues, life and death, silence, support.

The film is ominous, challenging moral stances.

1. A World War II story? The city of Antwerp? German occupation? Local police? Persecution of the Jews?
2. Antwerp, the 1940s, the city, the streets, homes, police Academy, German occupation? Atmosphere of occupation, deprivation, patrols of the streets, roundup of the Jews? The musical score?
3. The title, the focus on Will, his age, his family background, his father working in the bureaucracy, the pressure from his mother? The friendship with A load? The local force, the young recruits, inexperience? Uniforms, drills, meetings? Gene in charge, his advice to the recruits, the singing of the song, observing?
4. The situation, the German soldier, asking for an escort, the two men going with him, his attitudes and arrogance, at the Jewish household, the entry, the husband and wife, the daughter, ousted? The treatment by the German? The young men and their reactions? The brutality, Will and his decision, wounding the German, his head wound, putting him in the hole? The aftermath, the secrecy? The psychological and emotional effect on them? The consequent behaviour, with the other police, with Jean?
5. Will and Load the German family, rescuing, concealing them, bringing them food? Arranging the documentation? Taking them to the train? The news of the train being waylaid, the execution of the family?
6. The anti-Semitic scenes, the cynical, the people fleeing, being chased? Violence?
7. Lode, age, personality, friendship with Will, as police, the effect of the experience on him? His family, Will and his visits, the encounter with Yvette, her strong personality, protective of her brother, threatening Will, the family and their welcome, Wills reserve? Cab load and ambiguity of feelings?
8. The German authorities, the missing German, the search, interrogation of the police, the rounding up of the Communist, the firing line, the officer in charge, cruel attitude, the killing of the Communist? The two young men, keeping quiet?
9. Will and his painting, the patron of the arts, the visit, his anti-Semitic attitudes, his Nazi connections, his offering Will the studio, being a patron? The outings, the bars, drinking? The experience for Will? A citizen of Antwerp that wanting the German supremacy?
10. The resistance, the young man and meetings, Will and the influence, meeting the Professor, his inspiration? Yvette? The bonding, the relationship, the effect on each? Going into action, deceiving the Germans?
11. The buildup to the confrontation, the German connection, the meeting with Will, his patron, the missing body of the German? The consequences? Threats to Will? To the family?
12. The confrontation with the arts patron, his death?
13. Will, the pressure from his family, from Yvette? The rest of the professor, his torture, giving up names, Will and his code name of Angel? The brutality of the torture sequences, the Gestapo, the torturer?
14. The rest of Jeanar, his resisting the interrogation, Will having to witness, his singing the song and urging Will to be quiet?
15. The continued occupation, the dilemma for the citizens, outward loyalties, the resistance? The role of the police? Will maintaining his presence in the police, the reaction of Yvette? The conscience dilemma?

THE FORGOTTEN BATTLE

Belgium/Netherlands, 2020, 124 minutes, Colour.

Gijs Blom, Jamie Flatters, Susan Radder, Jan Bijvoet, Tom Felton, Marthe Schneider, Ronald Kalter.

Directed by Matthijs van Heijningen Jr.

The Forgotten Battle and Wil can be considered companion films, dramas of World War II taking place in the Netherlands, a focus on the city of Antwerp.

Dramas of World War II continue to be made, quite a vast number of films, ranging over the world. There have not been so many dramas of the Netherlands – there was a surprising film, Betrayed, 1954, with Clark Gable, Victor Mature and Lana Turner, alerting audiences to the war in that part of Europe.

The forgotten battle is that of the river Schelde, late in 1944. The film focuses on the German occupation of the Belgian town, a small underground group, young man taking photos of the Germans, and intentionally causing an accident with the death German soldiers, his arrest, torture, giving information. He is the son of a local doctor. His sister is concerned, close to members of the resistance, offering to take key map to the Canadians who are attacking the Germans, her being captured, her friend, wounded, floating on the boat and discovered by the Canadians. There is a grim battle sequence with the Canadians attacking, many wounded and dead. Then, with the aid of the map and strategy, there is the counter-attack.

Brought into the action of the British, a group of glider pilots, grounded near the village, encountering that is, one escaping and pointing the Canadians in their attack.

War scenes of staged, the audience gets a sense of the German occupation and harshness, and, with one Dutch soldier who had enlisted in the German army, a growing sense of disillusionment, is having to participate in the shooting of the hostages, his participation in the attack.

On the other hand, Wil takes place in 1942, a Belgian town occupied by the Germans, in full control, some of the collaborators in the town, the focus on young police, locals, the strength of their local command and his warnings to the observant, especially in his taught sequence.

Two young policeman are asked to accompany a German to arrest a Jewish family. There is some resistance, the German is killed and his body concealed in a drain. There are consequences for the two, very young, connections with the Resistance, codenames, meetings with the leader, veteran actor Jan Decleir, arrests and torture. They also help the Jewish family to be hidden, and a train journey, being captured.

The dilemma of story is, remembering the Stockholm Syndrome, how much occupied people can identify with the occupiers, moral issues, life and death, silence, support.

The film is ominous, challenging moral stances.

1. The title, the focus, and its significance for ousting the German occupation of north-western Europe?
2. And setting, the Balkan town, occupied, streets, offices, Gestapo headquarters, homes, shops? The local countryside, the water? The German fort? The Canadian headquarters, the attack? The musical score?
3. Action in England, the glider pilot, their training, manoeuvres and turning, personalities, friendship, into the war, the speeches, William and his father, the authorities? The flight to Europe, being downed, the group, the wounded leader, carrying him, in the boat, the shelter in the house, decisions, the confrontation with the Germans, the death of the leader, William and his shooting? His escape, his partner reluctant? Joining the Canadians, bonding with them, with Bill, participation in the attack, the aftermath, the assault on the Germans?
4. Marina is, Dutch, winning the Germans, the training, being wounded, hospital care, the German officer, no legs, disillusionment, supporting Marina’s, killing himself? Marina is transferred to the town, the desk job, relationship with the commander, his observations, touches of disillusionment, the pang orders, his warning Teun to her brother and the torture, St battle, shooting the hostages and his it, the machine gun fire, the retreat, defending Teun, his being wounded, her tending to him, his death?
5. Dirk, 17, it is, throwing the stone, and the windscreen, the killing of the Germans? Some of the doctor, the two Tuen, arrested, his father pleading against the death multi-, imprisoned, tortured, giving information, the arrest of the resistance, in the truck, his father being him leave, shot?
6. Tuen, her work in the office, up with a view to the Germans leaving, destroying documents, her friend Jana, the resistance? The issue of Dirk’s photos, strategic value, discussions with Janet, opening her brother’s release, giving them after his death? The response of the resistance, the explanation of the strategy for the Canadians? The situation to get access for British ships to Antwerp Harper?
7. The request for the map, Tuen taking them, the wounded resistance leader, the appeal to the women, Chewing her green, going with Janet, under cover of dark, the boat, Janet wounded, but with the maps, floating away, due and being captured, held?
8. The Canadians finding the boat, the maps, the plan to strategy?
9. Success against the Germans, the retreat, Turin in prison, Marina is helping her, wanting her assailant, his being wounded, attending him? And her moving away with the troops towards liberation?

FALLEN LEAVES/ Kuolleet lehdet

Finland, 2023, 81 minutes, Colour.

Alma Poysti, Jussi Vatanen, Janna Hyytiainen, Nuppu Koivu.

Directed by Aki Kaurismaki.

Technically, the title should be translated: Dead Leaves. And, as so many songs are played throughout the film, a range of popular and familiar songs, local Finnish songs, with lyrics which correspond to the characters and action, audiences might have been expecting the 1950s song, in English Autumn Leaves (and memories of Nat King Cole, with Edith Piaf singing it in French). In fact, this is sung during the final credits and the information given that it is originally a French song – and Dead Leaves.

But, Fallen Leaves does justice to the two central characters and their relationship.

This brief film, just 80 minutes, comes from celebrated Finnish director, Aki Kauarismaki, a dominant figure in the cinema from Finland, along with his brother, Mika, ensuring that world cinema was aware of Finland from the 1990s to the present. At first, especially with his eccentrically titled films and videos, Leningrad Cowboys, he communicated a wry Scandinavian sense of humour and irony. But, as the years passed, he started to embrace more serious themes, films in competition in festivals like Cannes, winning the Grand Jury Prize and the Ecumenical Award in 2002, for The Man Without a Past.

While the director kept his wry tone, he moved into more serious films over the last 20 years, social concern films, with the influx of refugees from the Middle East into Europe in the mid-2010s, his 2017 Other Side of Hope, and Finland’s response to these refugees was irrelevant and telling drama.

Compared with these films, Fallen Leaves is much smaller, more straightforward, minimalist in its cinematic style. It introduces us to two lonely people, Ansa working at the supermarket, checkout, shelf-checking, going home alone at night. And there is Holappa, construction worker, depressed, a drinker. While the screenplay shows details of each of their lives, it gradually brings them together, at a karaoke bar, at a cinema (where we see posters of films that the director obviously admires, their watching Jim Jarmusch’s, The Dead Don’t Die, discussions under a prominent poster of David lean’s version of Noel coward’s Brief Encounter).

There are some sad moments, searching, new discoveries, hopes, falling out, new resolutions. The leaves might have fallen but, here, they are not dead.

1. The work of the writer-director, for more than 40 years? Emblem of Finnish cinema? The initial ride comedies, observations on Finland, the change to more serious themes?
2. The title, the song, Autumn leaves, made during the final credits? The tone?
3. Finland in the early 2020s, Helsinki, apartments, workplaces, supermarkets, building sites, the British cinema, diners, hospitals? Authentic feel?
4. The range of music, the range of songs, Schubert, Tchaikovsky, Rock, contemporary songs, mambo Italiano…? Placement throughout the film, setting a tone? And lyrics, especially the said once, illustrating the feelings of the two?
5. The director, love cinema, going to see the vampire film, Only The Dead I, the comments about breasts on and got it, the range of characters in the background, especially Brief Encounter?
6. The introduction to And the, at the checkout counter, her friend and the change when, at home, alone, the meal, the radio, commentary on Ukraine, music? Going out to the karaoke with her friend, noticing Holappa, not talking? Throwing used by goods into the rubbish, the security guard, her being held up, the baggage, the answers to the supervisor, is strictness, the other women, taking goods, their solidarity, walk out? The computer and €10? Going to the pub, employment, hard work, washing up, seeing the money deal, the owner being arrested, no pay? Her getting job in the building site, hard work? Alone?
7. Holappa, on the building site, sharing the building, is continued drinking, depression, his friend, their interchanges, persuaded to go to the karaoke, noticing Ansa, not speaking? The later encounter, going to the film, no names, giving her phone number, her sitting on the phone, waiting? His searching for the number, going back to the cinema, waiting, the number of rats, noticing? Eventually meeting, the invitation to dinner, her buying the actual plates and cutlery, preparing the meal, his arrival, bringing the flowers, the sparkling wine, the meal, his comment about the drinking, the clash about the drinking, his leaving, not taking orders, her not wanting an alcoholic – memories of her father and brother, the death of her mother?
8. The Gap, her disappointment, talking with her friend? Holappa and his drinking on the job, the mistakes, followed, moving out, talking with his friend?
9. Langley, by itself, the decision to stop drinking, pouring out the alcohol, earning Ansa, her accepting him, his getting the code looking the part, hit by the train? The answer and her looking out the window, forlorn?
10. A meeting the friend, giving him the contact for her friend? The news of Holappa in hospital? Her going to visit, the coma, reading, speaking, friendly with a nurse is coming out of coma, the clothes from the nurse, her meeting him, his crutches, and walking away – to a future?

KARDEC

Brazil, 2019, 110 minutes, Colour.

Leonardo Medeiros, Sandra Corvelino, Christian Baltauss.

Directed by Wagner de Assis.

One hand, this is a period piece, friends in the 1850s, Paris. On the other hand, it is the portrait of a French educator who became the champion of spiritism. And, it is a Brazilian production, spoken in Portuguese – English language productions having no difficulties in presenting French dramas with characters speaking in English but unusual to have them speaking Portuguese!

There is great attention to period, costumes, decor, the buildings of the time (and computer expert and imitating modern buildings from the locations). Five days of production in France, the rest in Rio de Janeiro.

For audiences coming onto this film without preparation, may be taken aback at the portrait of Professor Ravail, a noted educationalist of the period, putting into practice theories of education writers, especially the rapport between teacher and student, illustrated in an opening sequence. But, then a priest arrives, demanding to teach Catholic catechism, ousting the Professor.

Ravail was something of a Renaissance man, involved in all kinds of scientific surprises, financial issues. However, as the unusual opening sequence indicates, hands on the circular table, rising into the air and spinning, interested in the phenomena of seances and spirits, and a dramatic experience for himself, contact with a spirit and a sense of destiny in philosophising about spiritism, exploring the existential and some theological implications in his writings.

Leonardo Medeiros is genial as the professor, becoming known as Allan Kardec, his nom de plume. He bonds very much with his supportive wife who, when he is finally arrested, takes on his cause.

There is continued criticism from those who do not believe in this Spiritism, from government officials interpreting his reflections and is subverting law and order, continued for Spiritism from the church.

There is a significant scene with a General, his sense of failure, despair, standing on a Paris bridge, Professor trying to persuade him not to jump but handling it all in a rather cerebral manner – and, the General jumping.

For those interested in Spiritism in the 19^th century and its subsequent influence on a number of thinkers and writers, there will be much to appreciate. For those not interested, for those who are particularly critical and disbelieving, they may find it too much of propaganda.

So, it is something of a curiosity item.