Displaying items by tag: Peter Malone's Movie Reviews

THE TASTE OF THINGS/ La passion de Dodin Bouffant

France, 2023, 135 minutes, Colour.

Juliette Binoche, Benoit Magimel, Emmanuel Salinger.

Directed by Anh Hung Tran.

The title is a bit generic! But it does lead us in the way of food. Perhaps the original French title, La passion de Dodin Bouffant, which actually indicates the narrative of this story, seem too cumbersome for the English version.

Chef, menu, restaurant, gourmet, all words that lead us to France and French cuisine. And, for 135 minutes, this is a film, with extraordinary detail, about French cuisine. No idea here of just rustling something up for the evening meal!

What is immediately attractive about the presentation is that this is a period drama, an elegant 19^th century mansion, costumes and decor, a slower paced atmosphere, inviting the audience in, to become more quiet, to observe, to wonder…

In fact, for the first 30 minutes of the film, there is a detailed step-by-step preparation of a meal – an ordinary meal in this household rather than a banquet even though the dishes prepared would serve beautifully at a banquet. This is the household of Didon Bouffant who is a master chef. And he is assisted, for over 20 years, by Eugenie, obviously in love with her but her refusing his proposals. Eugenie is seen gathering the vegetables in the garden, then that half-hour in the kitchen, such preparation of each of the ingredients for the meal, the vast fire stove, the utensils, the attention given to preparing fish, meats, vegetables, sauces, precision with tastes and the time for cooking…

And, of course, beautiful desserts.  We feel we are there. And there are still more meal preparations to come. And the guests savouring the meals. And a celebration for Eugenie herself.

Obviously, this is a film for audiences who value food, who appreciate preparation and cooking, who have a discriminating sense of taste. For audiences who do not, especially with fast-food habits and taste to match, this film will be a challenge – or, perhaps, too detailed, even boring.

The film was written and directed by Vietnam-born, Ahn Hung Tran, directors of Vietnam themed films like The Scent of Green Papaya, Cyclo. The screenplay is based on a book by Marcel Roufe (1877-1936, drawing on his own experiences of that period). There had been a French movie for television of his book in 1972.

Juliette Binoche has been wonderful in films for over 30 years and brings an extraordinary charm and strength to Eugenie, an older woman, cooking her life, working with Dodin in the kitchen, supporting him in his meeting this with business associates from the area, but not wanting to sit and eat with them though she has strong friendships with them. Dodin is played by veteran actor, also charming, Benoit Magimel.

There is a pleasant subplot, the assistant cook and her younger sister helping out, and Eugenie’s discovery that the young girl is gifted with all kinds of culinary talents, and the desire for her to become an apprentice in the kitchen, her parents initially wary, but the young girl eager to learn.

And for the Romantics in the audience, the gently-pleasing relationship between Eugenie and Dodin, genteel, restrained, and his growing concern about her health.

So, what else can a reviewer say, except that the film is so beautiful to look at, the cast is charming, and the food, preparation, cooking, serving…Parfait!

1. The tone of the English title? The essence of the French title?
2. French sensibility, food, cooking, gourmet? Audience response?
3. The period, 19^th century style, pace, costumes and decor, the mansion, the interiors, the garden? The focus on the kitchen, the detail, the dining room? Eugenie’s room? The musical score and tone?
4. The situation, Dodin, his ability as a chef, cook, social status, his associates, his work in the kitchen, his hosting the dinners, his relationship with Eugenie, in love, the proposals, her refusals, the quiet intimacy between them? The Prince and his visit, the program of the eight-hour dinner? The issue of Eugenie’s health? The staff in the kitchen, the assistant, her niece, the talent, hope for the future?
5. Eugenie, age, experience, longtime cooking, the relationship with Dodin, 20 years, love, refusing the proposals? Seen in the garden picking the vegetables, her work in the kitchen, meticulous attention to detail, with the assistant, with the young girl, appreciating her talent, finalising the meals, their being served, her not joining the guests? Her quiet life, her health, her fainting, collapses, medical attention? Her death? And the final reprise of the end of the film with her being with Dodin?
6. The first 30 minutes, the meticulous preparation of the dinner, so much detail? Audience response?
7. The further work in the kitchen, Dodin and his working with Eugenie, the assistant, the approach to the parents of the young girl, their eventually bringing her, her skills, her ambitions, going to work in the kitchen?
8. The background of the director, Vietnam, his move to France, his sensibilities?
9. For audiences who love food and cooking? The impact for those who tend to be observers than experts on food?

THE KINDERGARTEN TEACHER

Israel, 2014, 119 minutes, Colour.

Sarit Larry, Avi Shnaidman, Lior Raz.

Directed by Nadav Lapid.

An offbeat Israeli film – which was remade four years later in the United States as a star vehicle for Maggie juvenile as the kindergarten teacher, a winner of awards and will reviewed.

The setting is Tel Aviv – and later sequences in the resort town of Eilat,

The central character is kindergarten teacher of two decades, married, a son in the Army, the daughter in school. The scene is set in the meal sequence with her husband, her explaining one of her students who is able to compose poetry, a five-year-old, whom she sees as something of a child wonder in the vein of Mozart.

The film shows the young boy, his background, his wealthy restaurateur father, his mother having abandoned the family, an uncle who is a poet and considered a failure by the family, and the boy brought to school by nanny who is an aspiring actress.

There are scenes of the children and the routines in the school, play, naps… At first the little boy seems withdrawn, then a vigourous scene of play with the school friend, his coming out of himself more, the presentation of a play and the characters of the Maccabees. And then the boys poetry, going into something like a creative trans, pacing up and down, speaking his poems, written down at first by his nanny, and then the teacher collecting them – and a final sequence where at the beach, the boy walks up and down in an out of the water, the teacher copying down the poem in the notebook.

The teacher intervenes to promote the boy, after being really cooled and praised at a session of a righteous course, her approaching the father of the boy who does not want his son to be a poet, gets the nanny fired because she is using the boys poetry in her acting auditions, decides to present the boy reciting his poems that he is ridiculed, then a decision to abduct the boy, taking him to Eilat.

Separate Larry gives a determined performance as the teacher. We are asked to identify with her, share her experiences, her infatuation/obsession with the boy and puzzling about the abduction, his wanting to report her to the police, her giving him the phone number and the eventual arrest.

Israeli commentators on the film see it also has an attack on narrow policies of the Israeli government as regards the parts.

1. Israeli film, comment on Israeli society, 2014, government, arts, poetry, Eric policies, protest?
2. Television, homes, school, atmosphere? A light, the hotel? The musical score, songs and chants, the Chanukah song?
3. The credibility of the plot, the trial genius, poet, the links with Mozart? A five-year-old, his vocabulary and poems, concepts? The routine of his walking up and down when composing? Credible?
4. The teacher, her background, relationship with her husband, some in the Army, daughter at school? Two decades of teaching? With the children, the ritual of arriving with good morning, and the activities in the playground, activities in the classroom, the naps? Her observing the children?
5. Observing Yellow, playing with his friend, hard on him? The poetry, her fascination, themes, taking it to the poetry group, adverse comments praising comments? Later taking the of the poem about the bullfighter the reactions?
6. Walking with You have, the name Agar, is restaurateur father, mother gone, his nanny, her taking him to school, the conversations with the teacher, using the boys poems for her auditions – and the teachers denouncing her to his father and other authorities, getting fired?
7. At home, with her husband, sexuality, talking, meals, the celebration for their son and the Army visiting?
8. The boys background, the busy father, his uncle and poetry, is uncle despised? The teacher going to see the uncle, the discussion about poetry, his offer of help? Going to see the boy’s father, his being busy, successful, not wanting his son to be a poet, wanting him to be successful in practical enterprises? The firing of the nanny?
9. The teacher, her meetings with the boy, the donee giving her the text of problems, her collecting them, the beach scene and her writing down the poems as the boys spoke?
10. Her wanting him to be acknowledged, the Mozart comparison, organising a recital, preparing him with questions, his recitations, getting dressed, on stage, the chair, the poems, the previous poet repeating the lines dramatically? The bad reactions, throwing things at the stage? The teacher’s reaction, shielding the boy?
11. At the bar, the encounter with the chief protester, the verve in the dancing?
12. The decision to take the boy, packing, the journey, going to that, the hotel, the poem, the sea, writing it down?
13. The culmination of the drama, the boy and the phone, to say that he had been abducted, the teacher in the shower, calling out, indicating the phone, the number, calling the police, to say she was unarmed?
14. The arrival of the police, the rescue and carrying the boy through the holidaymakers at the hotel? The taking of the teacher?
15. The credibility of the plot, the boy and his poems, the teacher and her obsession, the abduction, giving him up? The futures?

LORD, GIVE ME PATIENCE/ SENOR, DAME, PACIENCIA

Spain, 2017, 95 minutes, Colour.

Jordi Sanchez, Rossy De Palme, Megan Montaner, Sylvia Alonzo, Eduardo Casanova, David Guapo, Salve Reina, Bore Buiila, Andres Velencoso.

Directed by Alvaro Diaz Lorenzo.

This comedy was a very popular hit in Spain in 2017. It has very favourable comments from Spanish viewers on the IMDb. Whether we so successful beyond Spain is a good question. Many of the references are particularly local and their intentions and irony may go over the heads of foreign viewers.

This is a heightened story of a dysfunctional family. The father is a banker, very conservative as seen by even refusing friends London’s, but put to the test with the behaviour of his children. Veteran Rossi day Palme, in so many of Almodovar’s films, plays the mother, an engaging character, good listener to her children, supportive but trying to moderate her husband’s views, suddenly killed in a car accident.

However, she does not disappear from the film! Main plot of the narrative is a journey to a northern river to scatter her ashes. Her portrait is on the – and there are many dialogue sequences as she speaks from the to her devoted but sometime desperate husband.

His oldest daughter seems a sensible enough type, but is married to a husband from Catalonia, supporting Barcelona in football or is the father is fanatical about Madrid – and hostile to catalyse and

Basques. Her husband is ordinary enough sometimes seems to be a bit thick. And she has not told her father that she is pregnant – and, when he finds out, he has a dread of a Catalan granddaughter and her football loyalties. He has known his son is gay but has refused to admit it, quite homophobic, and dismayed when his son has a black partner, Basque of Senegalese origin, an opportunity for racist comments. The other daughter, though the student heart and a painter, has teamed up with Leo, and many might call a book head, thinking that he is a radical protester but putting his foot in it and trying to save himself all the time. Off they go on a north, held up by the police, who are causing global problems, but the head of the police sharing football perspectives with the father – and called on later to help in the search for of his daughters.

Which means that there are all kinds of tangles, arguments, the daughter trying to break off with Leo, his making a fool of himself while out paddling and having to be rescued. They have already met the rescuer when asking directions and the young daughter is immediately infatuated by him. And the breakup goes badly.

There is also one of the strangest spruce characters in Spanish movies. On the pastoral level, he gives good advice to the father, Even quoting Pope Francis homosexuals, “Who am I to judge?”, Sympathetic to the black friend, ready to have funeral payments on PayPal. Later it is discovered, patronising clubs, having free meals and drinks for his 20 years of ministry. He does turn up at the end at the funeral ceremony, not charging the father.

The father chokes on an almond but is saved by the friend – and the priest explaining that if the sun was not going, he wouldn’t have had the boyfriend, and the father would, instead, be dead!

Lots more shenanigans, all kinds of reconciliations, good advice from the mother from the urn.

It’s the kind of story that, of course, could be replayed in any other country.

SCOOP

UK, 2024, 102 minutes, Colour.

Gillian Anderson, Rufus Sewell, Keeley Hawes, Billie Piper, Romola Garia, Amanda Redmond, Conor  Swindells, Jordan Kouame, Richard Goulding, Alex Waldmann.

Directed by Philip Martin.

Pre-review comment about words and changing meanings. Perhaps we think of scoop in connection with ice cream. One definition of the word is: a utensil resembling a spoon, with a short handle and a deep bowl, used for removing dry or semi-solid substances from a container. But, for quite some time, Evelyn Waugh used it for the title of his 1938 novel, scoop as: a piece of news published by a newspaper or broadcast by a television or radio station in advance of its rivals.

Many will remember the 2019 BBC interview with Prince Andrew and his connection with sexual predator, Jeffrey Epstein, criticisms of his behaviour and friendship, photos of the two, public interest especially at the time of Epstein suicide in jail. And, there are accusations against Prince Andrew. The Prince, and the Palace, agreed that he could be interviewed on the prime BBC program, Newsnight. It was meant to be a vindication of Prince Andrew. He spoke confidently but the consequences were disastrous leading to his retiring from royal functions and losing his honours.

This is a very interesting look at the background of getting this interview to air. It is a focus on Prince Andrew himself and not any analysis of Jeffrey Epstein. There have been many documentaries on this subject. Rather, the initial focus is on the brashly self-confident producer, Sam McAlister (Billie Piper), working outside expect to norms and procedures, taking initiatives to the sometimes disapproval of her colleagues. She had connections, was alert to opportunities, to meetings, phone calls, conversations. And we see in some detail how she was able to persuade Prince Andrew’s staff, especially his very loyal assistant, Amanda Thirsk (Keeley Hawes) as well as the BBC authorities.

The decision was that skilled interviewer, Emily Maitlis (Gillian Anderson) would front the interview. She is presented as confidently idiosyncratic. But she prepares, works carefully on the questions, and we see in some detail sections of the interview, her timing, her probing, and Prince Andrew (Rufus Sewell looking very much like the Prince) offering his answers. Pleased at the end of the interview.

However, the public response was very negative, the public not believing his comments about Epstein and his friendship, staying with Epstein in New York, the accusations of the young woman against him, and his remembering taking his children for a pizza, his comments that he did not sweat at the time…

While this is an interesting film with a perspective on members of the British Royal family, it is very much a film about the media, enthusiastic and enterprising producers, BBC politics, procedures and protocols, astute interviewers, and the power of television and public opinion.

1. The title, the world of media, scoops, significant stories, sensational stories, investigations, public exposure?
2. The film based on actual characters and events? Audience awareness of the characters, of the events? Jeffrey Epstein and his sexual abuse? Ghislaine Maxwell? Prince Andrew?
3. The focus on the interview with Prince Andrew? The film not trying to explore Jeffrey Epstein and his career crimes, suicide? The situation for Prince Andrew, the arrests of Jeffrey Epstein, his suicide? The photo from 2010 in the park? The situation for the media, for Buckingham Palace, for an interview, Prince Andrew and the media, the world understanding him? The backfire?
4. The film’s commentary on the media, the BBC and its aims, serious, wider audiences? The press, television, photojournalists – and the opening with the journalists trying to photograph Jeffrey Epstein, his house, people coming in and out, the young women over the years, Prince Andrew, the pursuit in the park, getting the best position, successfully getting the photo? Its being published? The effect on the Royal family, Prince Andrew, his staff?
5. The portrait of Prince Andrew, reversals performance, made up like the Prince? His mannerisms, way of speech? An opportunity for the audience to see Prince Andrew and understand him better – or worse? His staff, Amanda and her long devotion, admiration for the prince, his reliance on her but seeming not to notice? Employing the press agent, the discussions about his appearance on television, the scenes of his public work and charity? People not attending? The suicide, the pressure on the Prince? His consciousness of his mother? Memories of his mother coming his hair in the past? The decision to go on television, the meeting with Emily Maitless and Sam McAllister, the presence of the Princess Beatrice, her frank comments about her father and reputation? His agreement for the television interview?
6. Sam McAllister, the film based on her book, her role as producer, determined, the background of her mother encouraging her, her son and his girlfriend, and her care for him? The role of the BBC, the prospect of sackings? Her way of producing, going out, the criticisms from the other members, the contact with Amanda, at the palace, going out for a drink, the issue of Jeffrey Epstein, her discovering more, Prince Andrew, with Emily meatless and the other produces? Her not being included, her mother’s advice, going forward? Involved? Her continued presence?
7. The BBC, the program, Newsnight, Emily Maitlis and her reputation, personality, dog, the walk in the park, changing attitudes towards Sam? The meeting with the prince, the decisions, the BBC officials, the Director at the Opera, the go-ahead? Her preparation, the staff in discussions about the questions, the device of having her ask the staff the question and testing it, the Prince and sharing answers to his staff? Raising the issues? The protocols, the table, the room, distance apart, what to wear?
8. The probing of the issues, Jeffrey Epstein himself, his way of life, the island, mansions, the girls, the trafficking? The encounter with Prince Andrew? The Bill Clinton references and Emily Maitlis angry at Monica Lewinsky’s treatment and misogyny? Mention of Trump? The arrest, the case, imprisonment? Ghislaine Maxwell and the princes friendship? The contacts, the parties, the dinners, 2010, the Prince staying at the house, breaking ties? The photo of the Prince, Virginia Jgiuffre and her testimony, the Prince and his memory and denials?
9. The actual interview, based on the real interview, the audience getting the chance to see Emily Maitlis, thinking, probing, questions, giving the Prince space to speak as Sam recommended? The responses of the as one, confident, hesitations, excuses, the issue of the dates, the pizza, his daughters, the sweating? His satisfaction with the interview? And the palace?
10. The preparations, the promotions, the night itself? The audience? The immediate responses, online responses, the condemnations of the Prince?
11. The reaction of the palace, the Queen, his being relieved of his duties?
12. The film and the probing of the Jeffrey Epstein case, abuse, victims, the final comments?
13. The film and the Royal family, problems, public relations?
14. The film as illustrating the role of the media, journalists, producers, scoops and ratings, reputations?

FREMONT

US, 2023, 91 minutes, Black-and-white.

Anaita Wali Zada, Greg Turkington, Jeremy Allen White, Hilda Schmelling, Siddique Ahmed.

Directed by Babajk Jalili.

Anyone who has visited San Francisco may remember the BART, Bay Area Rapid Transit, and the name, Fremont, to the south of the city. And this is where this film is located.

In fact, most of the film stays within the confines of Fremont but, at the end, it ventures out into the California deserts. And the filmmakers have opted for black-and-white photography.

A lot of the action takes place in a Fortune Cookie factory, handmade cookies, the staff inventing the wise sayings inside. This is where Donya (Anaita Wali Zada) works, a good friend in her co-worker, on good terms with the cheerful manager (but not so much with his wife), going home to her apartment, but stopping on the way for a diner meal, friendly with the manager as they watch television together. A quiet life.

But, Donya is a refugee from Afghanistan, a translator working with the Americans, getting out of the country, her family still there, something of a lonely figure but a strong figure. Which means that she is a challenge to Americans (and to citizens of any country where Afghans have fled to escape the Taleban), trying to find a new place to settle, memories of the past, the challenge to her identity. And she finds it very difficult to sleep.

She wants some sleeping pills and has a consultation visit with the psychologist. We find it very interesting to see her approach, her determination, the personality of the psychologist, his ways of dealing with his clients – and his promotion of Jack London’s White Dog as a symbol for their situations.

When the elderly writer of the sayings collapses at work, Donya is given the job. And she decides to include a phone number in one of the fortune cookie’s and to wait and see what happens.

She does get a reply and she decides to go out to visit the person who replied who tells her about a deer for her. There are some unexpectedly comic touches when she arrives – and receives a literal statue of a deer. But she stops at a garage on the way, her car needing some attention. She meets the quiet mechanic (Jeremy Allen White), goes to a diner and he follows, some conversation, and she then drives on.

But, she returns. He is very quiet. As an intense look. It affects her. And we are left with Donya out there in the desert, the weight of her life in Afghanistan, the months in the United States, her wondering and our wondering what her future will be.

1. The value of small budget-independent films? Quality filmmaking? Opportunities for filmmakers and performers? Exploration of social issues? Distribution and challenge?
2. The title, the Bay Area of San Francisco, the suburb, the confined view, the factory, apartments, the travel into the California countryside, the small towns, diner, garage? A particular world? In black and white?
3. The background of Afghanistan, from the 19th century and occupations, Russia in the 20^th century, the Taliban, 9/11, the Americans, international troops, occupation, progress, the retreat of American forces, the coming of the Taliban, rigid rule, suppression of women, sharia law, many fleeing, the deaths?
4. The reality and symbolism of the Fortune Cookie factory, the texts being composed in the factory, the personal wrapping?
5. Donya and her story, the initial impact, seeing her at work with the fortune cookies, conversations with Joanna, the Chinese owners, the old lady and her death, a cheery husband, the severe wife? A context for looking at Donya, her apartment, unable to sleep, conversations with the neighbour, taking his appointment at the psychiatrist, the receptionist, the doctor, her insistence?
6. The revelation of her story, family, as a translator for the Americans, a desk job, supplying information and technical translations? Her family thinking her a traitor? Her being able to escape from Afghanistan, other translators and their deaths?
7. Her finding herself in Fremont, eight months, the memories of the past, unable to sleep? Friends with her neighbours? Conversations with Joanna, her promotion to writing the fortune cookie sayings? Her skills, putting the message and a phone number, Joanna phoning her, the reply, seeming authentic, the signature with the Deer? Donya and her deciding to go to meet the man, a literal deer statue for the shop? Her reaction?
8. The meals, at the diner, the owner, the conversations, watching the television together?
9. The sessions with the psychiatrist, his initial reluctance, his explanations, her return, laconic, giving the information, filling in her background? His responses? Her wanting sleeping pills? His use of the novel, White Dog, reading of the passage, his being moved, the parallels of the part wolf, outsider, finding a place? The effects of the therapy?
10. The drive, the oil in the car, the mechanic, his offering to help, a loner, his explanation himself, being alone, wanting to talk, the diner, offering the coffee, her return, the cup of coffee, the quiet attraction? Her leaving, getting the deer, the return, giving the mechanic the deer, the next cup of coffee? And Donya’s future?
11. An opportunity in the 2020s to reflect on the plight of Afghanistan, the rule of the Taliban, the many migrants fleeing Afghanistan, the countries receiving them, welcome or not, adapting, future?

THE LESSON

UK, 2023, 104 minutes, Colour.

Richard E.Grant, Julie Delpy, Daryl McCormack, Stephen McMillan, Crispin Letts.

Directed by Alice Troughton.

There are certainly lessons in this drama but they are not the core. Rather, the characters involved are those who have to learn lessons – and do.

This is a British film, but set in the world of literature, creative writing, the screenplay divided into chapters. There is a prologue where a young man, Liam, Daryl McCormack (Good Luck to You, Leo Grande) is being interviewed about his writing – and, this will be reprised in the epilogue, the tentatively having become the self-confidently.

Liam is talented, gets the opportunity to go to a large country estate owned by the celebrated writer, Sinclair (Richard E.Grant), successful, seen being interviewed, ultrasensitive, walking out, certainly a man of moods. At home is his French wife, Helene (Julie Delpy). She is supportive of her husband, and businesslike. But they have hired Liam as a tutor for their teenage son, Bertie (Stephen McMillan), somewhat erratic in his studies but being pressurised by his father for forthcoming exams and qualifications.

For a while, the audience will be with Liam, intrigued by the family situation, memories of a talented dead son who committed suicide in the mansion pool, Sinclair writing into the early hours of the morning, the seeming detachment of Helene, and a butler who is the essence of formality.

But, we become more and more antagonistic towards Sinclair, his whims, self-importance, ambiguous relationship with his wife, as well as mixed responses to Bertie and his studies, his writing, the ups and downs of his interactions with Liam.

Then, there is a surprise when Sinclair seems to be very friendly with Liam, even inviting him to read his latest manuscript. Liam invited to show his own manuscript to Sinclair. The results are rather disastrous and lead to quite some dramatic complications, Liam expressing positive criticism of the final part of the novel, Sinclair, upset, denouncing Liam as having no talent.

What follows is quite intriguing, the revelation of some truths, a liaison between Liam and Helene, and the raising of the issues about the dead son.

Very British in tone, interesting plot developments, and a lot of ironies in the lessons that the characters have to learn.

1. The title? The tutor and his coaching? The novelist and his teaching everyone lessons? And the experience of the tutor and its being a lesson for him?
2. A British film, British atmosphere, affluent family, the country mansion, interiors, subsidiary buildings, the grounds, the pool? The world of literature, author interviews, television interviews? The literary atmosphere? The musical score, the classics?
3. The prologue and the division into chapters, epilogue? The cumulative effect?
4. The interview with Liam, his novel, the interviewer asking the origins, the cut and the flashbacks, the epilogue and the final question and Liam’s response?
5. Sinclair, his being interviewed, his manner, humorous, condescending, superior, the influence of events in his work, upset, walking out? Replay of some of the scenes? And the theme that authors steal from great works?
6. Liam, his background, accent, qualifications, studies, agency, the tutor? Going to the Sinclair family? The encounter with Helene, contracts, nondisclosure and the later use of the contracts? The encounter with Bertie, his age, studies, talent, parents expectations, preparation for interviews and exams? Liam arriving, Ellis, the reception, the perfect butler, Liam and his accommodation outside the main building? Ellis, no familiarity?
7. The sessions with Bertie, outside, initial hostilities, the discussions, literature, the to-ing and fro-ing, Bertie gradually mellowing, the influence of his father, Liam and daring him to go into the pool?
8. Sinclair, returning home, working throughout the night, the windows, Liam observing, observing Sinclair and Liam working through the night, asleep? Observing the sexual encounter between Sinclair and Helene? The meals, formalities, the playing of the classics? Liam being excluded from some meals? Ellis and his preparing the coffee?
9. Liam the quotations, his memory, word associations, remembering further texts? In this important for the drama with Sinclair’s novel?
10. Felix, the dead son, prior to the family, the story of his suicide, drowning? His literary abilities? Silence about him?
11. Sinclair, his computer, Liam and his fixing the computer, Sinclair’s reliance on him, the conversations, the new novel, Sinclair giving Liam the manuscript to read, Liam and his own writings, Bertie taking his text, Liam asking Sinclair to read it? Liam’s return, his comments about the novel, the two thirds excellent, the failings of the final third? Sinclair’s angry response? Ridiculing Liam as having no talent?
12. Sinclair’s absence, Liam talking with Helene, his approach, the sexual encounter, the consequences?
13. Liam, his anger with Sinclair, supporting Bertie, Bertie’s absence in London? His deleting the manuscript from the computer? Taking the text? The discovery that Felix had written the first two parts? His father appropriating them? His anger about his own manuscript, tearing it up, throwing it in the pool?
14. Sinclair’s return, the disappearance of the manuscript, Helene’s reaction, Liam and his searching the computer? Sinclair driving away, the search? Return, Liam and the truth, the confrontation between the men, Liam outspoken, the struggle, falling into the lake, Sinclair turning his head and drowning himself?
15. Helene and the consequences, protecting everyone, Ellis and his retrieving the body, subservient to Helene, the scenario, the deaths, the police, Liam to leave, his packing, at the gate, the police arriving?
16. The epilogue, his having written a novel, the interviewer, looking into the gallery and Bertie present and encouraging him?

THE BEAUTIFUL GAME

UK, 2024, 125 minutes, Colour.

Bil Nighy, Micheal Ward, Valeria Golino,, Kit Young, Callum Scott Howells, Tom Vaughan Lawler, Leo Hamilton, Susan Warlomo, Christina Rodio.

Directed by Thea Sharrock.

Even though this is a soccer (football, a.k.a. in the UK, The Beautiful Game), it is much more than just a sports film – although fans will enjoy the different matches and the play.

But there is much, much more to the film then the soccer, essential though it is.

Did we know that since 2001 there has been the Homeless World Cup, where teams of homeless men and women representing their country train, have a coach, can apply to participate in the annual competition, a small group going to the host country, small sides, limited playing time, but a competition nonetheless?

Here the competition venue is Rome (always an attractive location). The focus is on a UK group, a group of men, though the American side is a team of women, coached by Mal, a thoughtful Bill Nighy, Nighy at his most likeable.. We learn the homeless stories, addiction, gambling, child neglect… But these men are on the moral mend, especially through the team.

The film has opened with children playing football, a young man watching them, joining in the kicking, but the audience suspecting that he has a chip on his shoulder. He is a bitter former professional, Vinnie (Micheal Ward), with emotional consequences. Mel watches him, invites him to join the group which he reluctantly does. He shows he has great skills, especially with his feet on the ball. However, his relationship with the rest of the men has very strong ups and downs.

Then, the team is ready, and off to Rome. Audiences who enjoy Rome will find plenty to their liking. (The screenplay has been written by Frank Cottrell Boyce (Dog Millionaire), a Catholic, often including Catholic themes in his films, like Millions about being a saint. He introduces some God talk, especially through one of the most exuberant characters in the film, a South African nun, the coach and sponsor of their team, delayed at passport control in South Africa because of visa problems for one of their members from Zimbabwe, but her persuading the official to let them arrive, arriving late, arranging a match with the English team, wearing her habit and veil, and gleefully calling on God for help!

The main teams we see are Japan, US, Italy and, as noted, South Africa. The matches have their excitement, the audience taking sides, especially when we realise that one of the English team is Syrian, a refugee barber, and the Italians have a hostile Syrian on their side. There is drama with the American team, a young woman determined to become a professional, the matches, some defeat, but a final reward for her.

In the meantime, Vinnie goes off by himself at times, refuses to share a room with one of his team who admires him, a former addict who lapses.

This is a very likeable film, and Mal is a very good man. There are some complications for Vinnie, his coping with his past, having to step up to some self-sacrifice – and finally, happily, learning why Mal has supported him so much.

A film of compassion blended with sports enthusiasm, an invitation to feel with others, hope for opportunities and second chances.

1. The title, football, soccer, UK name, beautiful?
2. The football audience, soccer audience, the other football codes? A sports Mfilm? More?
3. The Homeless World Cup? Since 2001? Its scope? The teams, limits, the times for the matches? International? The players coming only one time in their lives? International perspective?
4. The film and its outreach to the homeless, the reasons, addiction, neglecting children, gambling, thief? And the refugee barber from Syria?
5. The International preparations, the focus on the UK, the team from Japan and the girl in charge, her age? The men, vagrants, the look? South Africa, the nun, boisterous leadership, the team? The US, Rosita and her ambitions?
6. Gabriella, coordinator, knowing everyone, observations, comments, encouragement?
7. Vinny, the introduction, with the children, playing, intervening, the criticisms? Mal Bradley observing him, intervening, praising him? Vinny, the loner, in his car, the courier jobs, not available, visit, child, wife, clashes? Is History of playing professionally? His bitterness? The challenge?
8. Mal Bradley, his character, his years as a scout, his years with the Homeless team, bonding with each of them, encouraging, training them? The personal interactions with each?
9. Vinny bitter, scoring goals, special technique, Cal and his skills, reactions, training together?
10. The team, Nathan, simple and kind, revelation of his addiction, not able to be at home, the concern of his mother, the phone calls? Friendly with Vinny? Vinny not wanting to share the room with him, condemnation of Nathan as an addict, a loser? The effect on Nathan, the methadone treatment, neglecting it, having to go home, his apology to Vinny?
11. Kevin, the background of his gambling? Jason, naivete, the attraction towards Rosita and their encounters? Cal, skills, the story of neglecting his son in the car? Aldar, the war in Syria, Kurds, refugee, barber? And his giving the haircuts to the team?
12. The troubles, the spirit, the variety of teams? The South African team, held up with passport control, the introduction of sister, personality, the habit, boisterous, leading the team, prayer, God language? Insisting at the passport desk? The achievement, arriving in Rome, late for the match? Approaching Vinny, the agreement to the game? South Africa winning? The previous points for the UK because of their absence? The American team and their play?
13. The visualising of the matches, the techniques, tactics, the scores?
14. The spirit of the games, teamwork, opportunities, Rosita, her scholarship? The Italian team, the Syrian refugee, the final kicks, handshaking with Aldar? The Japanese loss, but the tour of Rome and their seeing beautiful things? Wanting one goal, getting more? The UK team and the visit to the Trevi fountain and tossing the coin, Mal and the memories of his wife and honeymoon?
15. Vinny and the clashes, not sharing the room, by himself, the request to play for South Africa, his achievement, the medals? Alienation from the team?
16. The ending, his arriving late, the reconciliation?
17. Mal telling them to the truth about scouting him, and his reaction, happy to have been scouted by Mal?
18. And the range of happy endings – touching the heart?

RIPLEY

US, 2023, 8X 56 minutes, black-and-white.

Andrew Scott, Dakota Fanning, Johnny Flynn, Margharita Buy, Kenneth Lonergan, Elliot Sumner, Maurizio Lombardi, Bokeem Woodbine, John Malkovich, Fisher Stevens.

Directed by Stephen Zaillian.

Tom Ripley is the literary creation by crime novel writer, Patricia Highsmith. Over the decades, he has had many incarnations, Alain Delon in the 1960s, Purple Noon, Dennis Hopper in the 1970s, The American Friend, strikingly in 2000, Matt Damon in The Talented Mr Ripley, John Malkovich in Ripley’s game, 2002. (Wikipedia indicates quite a number of other films, especially from the 1950s to the 1970s.)

This time he is played by Irish actor, Andrew Scott, completely convincing. And this time Dicky Greenleaf is played by Johnny Flynn and Marge by Dakota Fanning. There is a strong supporting cast of British, American and, especially, Italian actors.

It is a television series of eight episodes. This gives the screenplay enough time to offer sequences plenty of time to develop, sometimes giving the impression of events happening in real time.

But, one of the key assets for the film is its black-and-white photography, often described by reviewers and bloggers as “pristine” (clean and fresh as if new; spotless). Comments cannot do justice to the clarity of the black-and-white, some of the cities of Italy enhanced by the quality of the photography.

Tom Ripley is a conman. Tom Ripley is also a psychopath, not just a sociopath who can smile and charm but is self-absorbed, but is also criminally insane, and unscrupulous murderer. Every actor who plays Ripley has to be persuasive with charm but yet able to show the in the madness, the unscrupulous narcissism.

Ripley has offered the opportunity to go to Italy by wealthy American businessman, played by playwright Kenneth Lonergan, to persuade his son Dicky to come back to the US. Ripley takes the money, visits Dicky, sees the lifestyle, enviously and vicariously starts to live it, overcoming any suspicions by Dicky, but not by Marge. Which leads them to Ripley is murdering Dicky, covering the murder shrewdly, Tom becoming Dicky in the comfortable life in Rome, then in Venice. And, he is always one step ahead though there are many close calls.

The screenplay for this series has been written by veteran writer-director, Steven Zaillian, celebrated writer of many significant films from Schindler’s List, Gangs of New York, the Irishman.

1. The work of Patricia Highsmith? The different versions of her Ripley stories?
2. Ripley, a conman, psychopath, his success, an amoral character?
3. The previous versions and comparisons? The value of the television series, eight episodes?
4. The decision to film in black and white, the striking photography, “pristine”? Of the locations, towns, the beach, Naples, Rome, San Remo, Palermo, Venice? The musical score?
5. The pacing with eight episodes, some action in real time, the strong attention to detail for developing the plot?
6. The casting, Andrew Scott embodying Ripley?
7. The introduction, New York City, the petty conman, his character, seeing him in action, the summons by Herbert Greenleaf, his wife, business interests, the proposal about his son? Ripley being tracked down by the private detective, the conversation? Explanations of Richard Greenleaf, Dickie and his leaving, settling in Italy? Ripley accepting the mission, the money, the travel to Italy?
8. The town, Atrani, life there, the coast, Dickie, his age, lifestyle, wealth, relationship with his parents, alienation, dabbling in art? His relationship with Marge? Her writing a book? Her devotion to him? He to her? Is reading the manuscript and giving suggestions, her response? Ambiguous attitudes towards Tom?
9. Tom, his arrival, ingratiating himself, his schemes, revelation of the truth about his mission, bonding with Dickie, not with Marge? Freddie and his visit, Tom’s dislike? The invitation to Cortina and its consequences? The lifestyle in the town, Tom, emulating Dickie, caught wearing his clothes and Dickie’s off-hand response?
10. Tom writing to Herbert Greenleaf, money issues? The father and his letters, dismissing Tom, urging Dickie to be suspicious? The decision to go to San Remo, hiring the boat, Tom, calm, waiting for the moment, malevolent, killing Dickie, taking his ring, all the effort to come to shore, the body overboard, the rocks on the boat? The later recovery, the police investigations, the reports in the media?
11. The details of Tom’s life, in the town, the various characters, learning Italian, the banks? The train rides? The hotels and reception? The feel of Italy in 1961?
12. Tom, his skills at evading detection, going back to the town, Dickie’s clothes, typewriter? The smuggler and the previous proposition to smuggle, selling the boat? American Express in Rome? Tom becoming Dickie, his clothes, manner? Settling in Rome, expensive hotels?
13. The various letters, the importance of the typewriter and its flawed letter e, Freddy’s visit, Tom and his coping, levels, the plan to kill him, the alcohol, the blood on the floor, taking the body, the elevator and its not working, dragging him down the steps, in the street, the car and his working out which one, holding him up, the witness walking his dog and the later visit to the police? The details of the drive, repeated several times, the via Appia, the taxi drivers, going back to retrieve the passport, his settling back at the apartment? Cleaning the blood? The importance of the landlady, her kindness to him, showing him the apartment, her receiving the police?
14. Inspector Ravini, the visits, Tom and his calm during the interviews, the blood on the path? Marge, the visit, his meeting her in the cafe, her telling Ravini and his not believing her?
15. The character of Ravini, the interviews, Tom on the edge, Max and his relationship with Freddie, wanting to meet Dickie? The media reports, suspicions on Tom? On the newspaper, the visualising of the articles, the pressure? Then on Dickie? The finding of the boat, the bank fraud and Tom fixing the signatures? The various phone calls from the bankers? Tom cashing the money? Getting the permission to go to Palermo
16. The twist, Tom and the media and photos in Palermo, moving hotel? The decision to leave, the false clue about Tunis?
17. Tom, in Venice, alive, revealing the visiting, Marge and her visit? The art world and the dealer? Marge intruding? Herbert Greenleaf arriving, the dangers, exposure, the private detective and his arrival, accusing Tom? The further discussions, speculation, the forged letters, the money to the landlady, the ring, the assumption that Dickie had killed himself?
18. Tom, the art dealer, the Picasso, getting a new name and passport?
19. Marge, publishing the book, the irony of Ravini seeing the photo of the actual Dickie?

AFTER DEATH

US, 2023, 106 minutes, Colour.

Directed by Stephen Gray, Chris Radtke.

We have all heard or read about near death experiences. But, do we know what they really are, what they really mean? After Death begins with a definition – so, a review starting with some definitions.

Near-death experiences (NDEs) have been a source of controversy within academia and the public. NDEs occur in 10% to 20% of patients who have come close to death and consist of vivid, subjective experiences that occur during life-threatening emergencies.  (Google definition)

A near-death experience (NDE) is a profound personal experience associated with death or impending death, which researchers describe as having similar characteristics. When positive, which the great majority are, such experiences may encompass a variety of sensations including detachment from the body, feelings of levitation, total serenity, security, warmth, joy, the experience of absolute dissolution, review of major life events, the presence of a light, and seeing dead relatives. When negative, such experiences may include sensations of anguish, distress, a void, devastation, and seeing hellish imagery. (Wikipedia definition)

Here is a documentary from Angel Studios, Distributors of Sound of Freedom, Cabrini, His Only Son, and for the television series, The Chosen. It is a documentary with many interviews. However, some of the interviewees have died and so an actor presents their opinions, audiences assuming that they are seeing the real person, especially Dr Michael Sabom. And, at the beginning, some of the death and neo-death experiences are dramatised, a plane crash, surgery, and, as the survivors of the experience tell their stories, these again are dramatised.

Very striking are the imaginative representations of the experience, cosmic, transcendent, colour, light and darkness, dramatic movement – a tribute to the special effects.

The film opens with the incidents and some interviews but raises issues of scientific verification, attempts at analysis, statistics, registration of near-death experiences.

There can be three main responses to all this material: favourable and accepting, an open-minded attempt at objective consideration, finally scepticism and hostility. After Death has been extraordinarily successful with audiences who are favourable and accepting, the responses on the Internet movie database, almost 200 blogs, are highly enthusiastic, some audiences seeing the film more than once, many overwhelmed by their experience.

Most of the experts, who have written books on the subject, some lecturing widely, describe the experiences in great detail, moving very much towards God language, some focusing on Jesus, and most speculating on what heaven is like or could be like. And, by the end, many of them are quite evangelistic and their enthusiasms.

On the other hand, some of the professional critics have been quite scathing and dismissive. They question the science. They are not impressed by the religious fervour. They consider all this a show.

Which means then that the film offers an opportunity for open audiences to listen to testimonies, to evaluate their credibility, to respond to their enthusiasm (or not). But, by the end, audiences will know that there are many experiences as people approach death, have experiences of being declared dead. But, as the film stresses, those who experience a near-death do not come back from the dead, as some seem to think, but they experience a resuscitation.

A film to challenge belief, scientific method, the reality of experiences which are beyond the normal.

MACBETH

UK, 2024, 150 minutes (including 15 minutes intermission), Colour.

Ralph Fiennes, Indira Varma, Ben Allen, Ewan Black, Jonathan Case, Stefan Rhodri, Ben Turner.

Directed by Simon Godwin.

Macbeth is one of Shakespeare’s most popular plays. And, there have been many film versions, from Orson Welles, from Polanski, and, more recently, from Justin Kurzel with Michael Fassbender and Marion Cotillard, and from Joel Coen with Denzel Washington and Frances McDormand. All striking in their own way.

This production is a stage version, captured for film, a way of immersing the audience in the action, stylised as it is, but the camera able to bring us closer, even through extreme close-ups, of the characters, a focus and view of them sometimes more intimate than for the theatre audience.

The setting is contemporary, Macbeth and soldiers in more familiar military uniform, the weird sisters (rather than witches) looking bizarre but less sinister, and Lady Macbeth usually in simple white dress. The impact for the audience means that they are not looking at a cinematic spectacle, with a play opened out in realistic fashion. Rather, the emphasis is on the characters and the language.

In many ways, this version is worth seeing because Ralph Fiennes’ interpretation of Macbeth is often very different from what we have seen in the past. At first sight, weary from battle, Macbeth seems very ordinary despite his rank. He is stirred by the words of the weird sisters, moved by ambition, yet firm companion with Banquo, and returning home to his wife.

But, this version of the play could also be called Lady Macbeth. As played by Indira Varma, she is a steely personality, sometimes softer in appearance, but soon moving into grim determination, masterminding the plot, the action moving quickly, the murder of Duncan and its consequences, her trying to hold things together with Macbeth’s bizarre behaviour at the banquet, and her final mad decline.

One of the great advantages of this performance is that the cast speak their lines, making the iambic pentameter seem like conversation – although, there are always the moments of declamation, contrasting with the quiet meditative delivery of so many of the famous lines – tomorrow, and tomorrow, and tomorrow… All the actors speak their lines with commendable clarity.

Malcolm is a more memorable character here. Banquo is strong. Seton is more significant. So are the murderers sent by Macbeth to destroy Macduff’s family. And, of course, the final confrontation with Macduff.

Response will depend on audience familiarity with the play, the scenes that they value, their expectations on how they will be presented, any dramatic and unexpected twists.

And back again to Ralph Fiennes’ presentation of Macbeth, seemingly already maddened by the intrigue against the King, mental morality challenged, sanity beginning to go awry. And Fiennes presents Macbeth with all kinds of unexpected erratic behaviour, actually moving through most of the play stooped, bent from the waist, sometimes walking, sometimes running, even sometimes jigging. And his face goes through all kinds of expressions, giggles, mad laughs, even poking out his tongue and pulling faces. Not quite the solemn Macbeth we are used to.

Which then builds up to the climax, an ingenious presentation of troops holding branches so that Burnham Wood can advance on Dunsinane.

So, an unusual vision of Macbeth himself – and, a performance by Indira Varma of Lady Macbeth that will stay in the memory.