Displaying items by tag: Peter Malone's Movie Reviews

HER NAME IS A NANNY NELLIE

Australia, 2023, 78 minutes, Colour.

Directed by Daniel King.

A significant contribution to documentaries focusing on Australian First Nation’s history and issues.

Below is the official statement from the director, Daniel King.

The issue is statues being made of aboriginal men and women and children, to be exhibited in the Australian Museum. Descendants of Nellie Walker, make contact with the Museum, with experts, who are working on the statues made, adapting them for a more contemporary perspective on the subjects, more respect for them.

The point is made that with the assimilation policy, it was assumed that full blood aboriginal men and women would disappear, so that the statues, artificial and stylised, would be Museum reminders of the past.

The film is very emotional with two women in their quest, the memories, research, discussions with curators, discussions with artist and restorers, respectfully bringing to life their ancestors, the reality of their lives, the withdrawal from exhibition until a more balanced and respectful display was possible.

“Statues are made to honour Gods, and people of historical importance, to remind us of values to honour. In 1925 the Australian Museum statue made a statue of my mum’s great grandmother. But she wasn’t being honoured. She was made because of how she looked. She was made as an object to be studied. But she wasn’t just an object to be studied. Her name was Nellie Walker. She was an Aboriginal woman who lived for 67 years, under the Aborigines Protection Board, who loved and bore three children, but who had then taken away.

In 1925 the Australian Museum put 3 statues on display; naked but for possum skins, and nameless. Now my mum Irene wants them back on display, with their names, and stories. She will retrace Nanny Nellie’s life, from the Museum’s archives, to key places in her life. It will culminate when the statues are unveiled again in the Museum. This is a documentary about reclaiming our history, to change how we remember and represent, to give the nameless names.”
                                                          Daniel King

TIME

UK, 2023, 3X 60 minutes, Colour.

Jodie Whitaker, Tamara Lawrance, Bella Ramsey, Siobhan Finneran.

Directed by Andrea Harkin.

The initial series of Time, written by Jimmy McGovern (cracker, priest) focused on a men’s prison, Sean bean is a prisoner, the impact of life in prison, his relationship with his wife and family, with Stephen as a guard, compromised with drug dealing in the prison.

In the second series, the focus is on a women’s prison, again written by Jimmy McGovern but with a female collaborator. The tone is very different from the first series. The atmosphere in women’s prison is certainly very different from the atmosphere in a male prison.

The film focuses on three central characters. Jodie Whitaker plays a mother who is convicted of fraud, trying to support her children, and, on release, again committing fraud and sentenced to prison. She is middle-aged, working class, tough yet vulnerable, an alcoholic mother, hearing her children will be taken into care, her oldest child hostile to her.

Tamara Lawrance plays a mother convicted of murdering her child, attacked by the other prisoners, and, at the end of the film, explanations given about her life with her husband, the pressures, her decision. In the prison, while she is attacked, she also is supportive of a young pregnant prisoner and helps in the delivery of her birth.

The third character is played by Bella Ramsey (The Last of Us), young, drug addict, taking drugs in prison, discovering she is pregnant, and this changing her whole perspective on her life, her relationship with her boyfriend, pusher, and her having to make decisions about giving him up to the law and the possibilities of getting her baby back.

Also in the story is the prison chaplain, a nun played by Siobhan Finneran, who has her own story (a relationship with a priest) but who is a good listener to each of the prisoners, runs discussion groups, sometimes has a powerful influence on the prisoners.

Quite a moving and insightful experience, perspectives on women in prison.

1. The impact of the first series? Men’s prison? Transition to women’s prison?
2. The title, doing time? Indication of days, sentences?
3. The screenplay by Jimmy McGovern, his career, television series, films? The insights of the first series? Cowriting here with a female writer? Sensibilities?
4. Three parts, three central characters, crises and resolutions, interactions?
5. The visuals of prison, add in the countryside, the range of buildings, the exteriors, the roads, the gardens? The interiors, brooms, the common room, the cells? Visitors room? Court sequences? The musical score?
6. The credibility of the stories? Women’s stories, their psychology, women’s crimes? Murder, drugs, fraud? Issues of violence? The range of characters, race, culture? The interactions, violent, verbal, angers, taking hostages, humiliations? The overall credibility?
7. The authorities, and then guardian to remote, the guards? The women, treating the prisoners, the rules, likes and dislikes, helps and hindrances?
8. The character of the chaplain, Catholic background, none, counselling, the capacity for listening, setting up the groups, the effect of the groups, the interactions with Orla, with Kelsey, with Gabi, and Gabi’s story, reluctant? The invitation is the group? Her own story to Gabi, the priest, the relationship? Her effect as a chaplain?
9. Orla, single mother, the three children, her own alcoholic mother, trying to manage, the need for money, the commitment of the fraud, the arrest, her reactions, the sentence? The cell, with the others? The visit of her mother and reprimanding her mother? Her mother’s promises to help the children? The three children, Kyle and his resentment? Phone calls to her mother, the contacts, her failing, the issue of custody of the children? Released, the repeat fraud, her return? The relationship with Kelsey, helping her? The relationship with Gabi, initial antagonism, the help? The siege situation, the knife at the throat of the prisoner, her frustration to make representations to the authorities? The help of the chaplain? The new sentence? Kyle, his birthday, the phone calls, his not coming, ashamed? Finally leaving, the tent accommodation, the meeting with Kyle, the promises?
10. Gabi, accused of the murder of her baby, race issues, the way she was treated in prison, the various attacks, slicing her, the humiliation of her clothes in the shower? Her relating with others, reserve? Her sponsoring of Kelsey, helping with the birth of the baby, the baby called Daniel after her own baby’s name? A caring person? The relationship with the chaplain, discussions, going to the meetings, the women’s reactions, condemnation? Telling her story, the flashbacks, the relationship with a husband, the birth, depression, the crying baby? Killing the baby? The final meeting, her story, the group hearing it, the final promises? And her being the facilitator for the chaplain to tell her story?
11. Kelsey, her age, on drugs, her attitude, going to prison, taking the drugs, their being smuggled in? The relationship with Adam, the drugs? Discovering she was pregnant, the decision to change, take no drugs, the possibilities of being a mother, the months passing, the treatment by the others, the difficulties of the birth, Gabi sent helping? Calling the baby Daniel? Adam and his visit, smothering smuggling the drugs, her being arrested, the cell, the possibilities for the future, the anguish and letting the baby go? The various threats? The court, her giving up Adam, his threats, the return of the baby, the applause as she left prison?
12. Gabi, the visit from her husband, his next marriage, the visuals of the past, his treatment of Gabi, of the child?
13. The drunk mother, receiving the card, her son, the other woman and her motivation for sending it? Her son hating her? The division of the chaplain, the meeting for restorative justice and reconciliation?
14. Images of Justice, punishment, care, rehabilitation?

FERRARI

US, 2023, 130 minutes, Colour.

Adam Driver, Penelope Cruz, Shailene Woodley, Gabriel Leone.

Directed by Michael Mann.

Ferrari. Italian cars. Racing and drivers. Company rivalries over the decades.

This is a film by veteran director, Michael Mann, noted over the decades for such films as Thief, Heat, Miami Vice, Public Enemies. On the one hand, there is the important focus on Ferrari himself, an initial black-and-white prologue showing him as a racing driver before World War II, his skills, his engineering talent, his establishing racing rallies after World War II. On the other hand, there is his personal drama.

For those enthusiastic about racing cars, competitions, the details of drivers, selection, training, actual racing, competitiveness, there will be much to enjoy with the frequent racing sequences.

For those not so enthusiastic about racing cars, attention might well wonder during some of the long racing sequences. They will have to concentrate on the drama.

Enzo Ferrari is played by Adam Driver, a tall and sombre presence, not often laughing let alone smiling, intense on cars, racing, business. He has married before the war, Laura, a very strong and unexpected performance by Penelope Cruz. Enzo and Laura are credited with establishing the Italian racing culture after the war. They had a son but he had succumbed to illness and died just before this film opens, 1957. While alienated in the relationship, there is still some passion, but Laura tends to the business and Enzo is living with Lena (Shailene Woodley) and the young son whom Enzo hopes will inherit the business.

There are quite some complications about the business, rival Italian companies, American financial interests, Ferrari influence on media, depending on Laura for financial support.

Some commentators have mentioned The Godfather as a comparison with this film, the focus on family, business, intrigues, power situations (but not the ruthless violence).

Depending on audience involvement with Ferrari and racing, the interest in the family situations might not compelling.

One aspect of racing that this film does not shirk in any way is the potential for accidents, an initial sequence showing a skid, the racing driver ejected from his car into the air and crashing. And, towards the end, in the racing of the Mille Miglia there is an appalling accident, filmed graphically and shockingly, the star driver having a tyre punctured by an object on the road, skidding into a number of the fans, their being struck down, close-up.

For Grand Prix and competition enthusiasts. For non-fans, a caution.

1. Based on a true story, characters? The actual Enzo Ferrari, his history, the situation in 1957, his company, marriage, relationship with Lina, his son? The Mille Miglia, the accident?
2. The film for an audience who loves racing cars, machines, memories of the 1950s, competitiveness? The human story and drama for those less interested in racing cars?
3. Modena, the city, homes, garages, historical buildings? The countryside in homes? The atmosphere and look of the 1950s, costumes and decor, television, the media? Racing cars? Europe in competitiveness?
4. The visualising of the races, the training, the testing, editing and pace, subjective angles for the audience, the races themselves, excitement? Dangers?
5. The initial accident, the driver thrown into the air, the crash? The race and the different crashes? The final disaster, the puncture of the tire, the hurtling of the car, the killing of so many spectators, the visuals of the bodies lying by the roadside?
6. Adam Driver as Ferrari, his age, the prologue and the newsreel of his driving, his company, set up with Laura, the competitions? 1957, the issues of money, Laura managing the business, the difficulties, prospects, financial advice, the breakdown of his marriage, with Lina, the son? Prospects of sale, negotiations with Ford, with attack on companies?
7. Enzo and Laura, the happy years, the death of their son at a young age, the visits to the cemetery the break, their discussions, the moment of passion, Laura and the business tangles? Enzo with Lina, his life with her, the secrecy, Laura not knowing, Paolo, his hopes in him, domestic life, the father-son relationship, the issue of getting the autograph from the driver? Lina, her character, their meeting during the war, her pregnancy, love, understanding, support? The move into Modena?
8. The range of drivers, checking the drivers, their personalities, qualifications, personal lives and relationships? Enzo and his somewhat detached manner, aloof, a man of ideas? Supervising?
9. The personalities of the drivers, the business associates, the variety of skills, personal lives?
10. The race, the buildup, choice of drivers, explanations, presentation to the media, the phone call from the businessman, Enzo setting the issue up but denying all responsibility and knowledge?
11. The drama of the race, the visual styles and editing? The horror of the accident, the driver, the mangled car, the number of spectators killed? The response of the media, the attack, scapegoating Enzo? The television interviews?
12. The examination of the car, the discovery of the puncture to the wheel? The discussions with Laura, her cashing the cheque, his feeling bitter, her explanations, not wanting him to be a scapegoat, lending him the money to fight the future?
13. The final information, the death of Laura, the death of Enzo, Lina and Paolo, Paolo and his place in the company? The success of the Ferrari company?

PAIN HUSTLERS

US, 2023, 123 minutes, Colour.

Emily Blunt, Chris Evans, Catherine O'Hara, Andy Garcia, Jay Duplass, Bryan D'Arcy James, Amit Shah, Chloe Coleman.

Directed by David Yates.

Here is a drama that focuses on the opioid crisis in the United States (and beyond). This is a fictionalised drama about a young woman, Liza, working in the club, with an ill daughter, who is propositioned by a businessman in the club, makes contact with him, looking for a job. She is played by Emily Blunt. He is played by Chris Evans.

Liza is shrewd, fabricates an education background, auditions well, especially with the founder of the company, Jack Neel, played by Andy Garcia. The company is just starting, producing drugs, looking for outlets, promoting the drugs with doctors, offering them benefits.

The drama shows how easy it is to be caught up in the enthusiasm of big profit, underestimating the moral approaches of the company directors. Liza find she has a flair for influencing doctors, a talent for plausible explanations. The film has an interesting supporting cast led by Catherine O’Hara who plays Liza’s mother who becomes involved with Dr Neel as well as becoming a member of the sales staff.

Ultimately, there are moral issues, doctors and their downfalls, arrests, exposures, court cases, prison.

Since 2020, the opioid epidemic, the proliferation of oxycodone and fentanyl, have become key to some documentaries, a television miniseries, other fiction films. The focus is on the Sackler family who developed the opioids with great business success but with moral challenges. Award-winning documentarist, Alex Gibney, probed this in The Crime of the Century. Celebrated photographer, Nan Golden, also made a devastating exploratory and accusing documentary, All the Beauty and the Bloodshed. Netflix also has a six part series, Painkiller, starring Matthew Broderick, a docudrama about the Sackler is. The theme was also present in the thriller, Crisis, with Gary Oldman.

Pain Hustlers is interesting and enjoyable as a drama – but, it raises the very important issues of opioids, medication, exploitation, financial interests.

(Direction by David Yates who made the last four Harry Potter films and the Fantastic Beasts series)

1. Based on true story and court cases? Other films on this theme?
2. The US, drugs, prescriptions, deaths? Investigations?
3. Florida, the atmosphere, homes, companies, officers, promotions, court? The musical score?
4. Liza Drake, agent background, living in the garage, her daughter, Phoebe, epilepsy? An exotic dancer? Her life and prospects? The encounter with Pete? The offer? Her being ousted and her car taken, at the motel?
5. Peter Brenner, customer, relationship with Liza, opportunist, his work for the company, with Jack Neel?
6. The company, Zanna, the situation, start-up, investors, money, drugs and marketing, contact with doctors on promotion?
7. Liza, meeting with Neel, Pete falsifying her resume, her qualifications? Jack Neel, accepting her? Setting a target, five days, her not achieving it, Phoebe and her seizures? The exploitation?
8. Dr Lydell, Liza and the meetings, listening to his discussions with the cancer patients, persuading him, invite him to speak, not a success? Pete and his continued persuasion, the growing number of clients, prescriptions?
9. The team, the range of recruits, the training, their mission, Jackie’s presence?
10. Exposure, Neel and his favours, Pete and the CEO recording discussions, the range of clients?
11. The role of Jackie, her relationship with her daughter, granddaughter, their interactions, the attraction to Jack Neel, the affair, sleeping with him, her becoming part of the team, her being fired?
12. Phoebe, the seizures, need for an operation, the situation, financial?
13. Liza and the death of her friend’s husband, hostility, the need for a further exposure?
14. Liza, her actions and decisions, taking the documents from Pete, Neel isolating himself, yet the exposure through the past emails?
15. The issue into more, its history in the US, the principals going to court, prison sentences?
16. Liza, 15 months in prison, getting out, with her mother, a new beginning?

WHEN POMEGRANATES HOWL

Australia, 2020, 80 minutes, Colour.

Arafat Faiz, Elham Ahmad Ayazi, Saeeda Saadat Andrew Quilty.

Directed by Granaz Moussavi.

This is a brief film with an Afghan setting, 2009, the American presence, the NATO presence, the threat of the Taliban and, the presence of journalists.

It was written and directed by Granaz Moussavi, Iranian born, living in Australia. Her previous film was My Teheran For Sale..

The screenplay is based on an actual incident, a NATO helicopter, a bomb, the death of two young boys. Filming took place in Kabul, capturing the atmosphere of Afghanistan during those war years. With locals participating, it has an authentic feel, homes and property, the streets, cart sales, and the contrast with fashionable shops.

At the centre is a young boy, Hewad, played with enormous test by Arafat Faiz. He is nine, his father has been killed in raids – and they use the word “martyred” – living with his mother, not wanting her to marry her brother-in-law who was present, and a very dominating grandmother who dotes on him. He is the breadwinner and so goes out after school to hire a cart and sell pomegranates, beetroot, balloons, as well as amulets specially made and with incense to ward off evil spirits for those who requested it. He is pushed on by other boys with their special space. But he moves around, selling where he can, paying off debts, bring home some money.

But, he has an ambition to be a movie star, having seen many Indian films. And the actor persuades us that he has a great desire to be an actor. He has friends, decides to audition them with role-plays in laughing, weeping, shooting each other falling dead…

An Australian photojournalist encounters him, takes photos, has them published in magazines around the world, introduces the boy to the camera, the boy taking photos of his family for the journalist. There are some tensions with bombings, and a shocking scene where Hewad is serving a group of women and girls who are participating in the dancing lesson, suddenly bombed, the women killed and wounded.

The journalist is wanting to buy some sneakers for his son, asks the boy’s advice and buys him a pair. He and his friends assemble, give up some payment, and are ready for the audition. Helicopter hovers overhead, and the boys are killed.

The journalist tries to pays respect to the family but is shouted at vehemently by the grandmother, the anguish of local people and their grief and anger at the presence of foreigners.

With a focus on the boy and the other children, this film is a reminder of so many fine films from Iran which feature children.

1. A story of Kabul, the 2000 is, the American presence, NATO, journalists, the Taliban, bombs and deaths?
2. Filmed in Kabul, the homes, the streets, the markets, the fashionable shops, the contrasts? Realistic atmosphere? Musical score?
3. The screenplay based on actual events, bombings, family members killed, the helicopters, the death of the two boys?
4. The writer-director, Iranian background, Australian background? Her perceptions of the story? Her interpretation of Afghan life in the 2000s?
5. Hewad and his story, age 9, his father’s death, at home with his grandmother and mother, little sister, his uncle’s presence, his not wanting him to marry his mother? School, friends? The breadwinner, hiring the cart, arriving late and the disputes about which cart to take, issues of money, shopkeepers, the demands? The cart, the pomegranates, balloons, beetroot, the sales in the street, the hostility of the boys wanting their space, his moving on? Late hours, coming home, love for his grandmother, her wanting him to go to school? The sadness of his mother?
6. Hewad and his ambitions to be a movie star, Indian films, the girl helping him drag the cart and promising her a mention? The friends, his talk, the movies, the auditions, the pretend camera, their laughing, their weeping, being shot and dying? His friendship with Navid, his assistant, and with the auditions, collecting the money from the boys?
7. The encounter with the photographer, Australian background, his interpreter? Hewad and his story, the promise of being photographed, getting the other boys ready, the journalist and the bombing, buying the shoes for his son, buying trainers for Hewad, his excitement? Hewad with the camera at home on the range of photos of his family?
8. Hewad, his personality, a lot of go, ambitions? The incense and the purification rituals, the women asking for them, his selling the amulets, going to the maker, marketing them, the woman at the door with only her arm outside?
9. The sequences of the women and girls dancing, bringing in the pomegranate juice, the joy and exhilaration? The bomb and deaths?
10. Playing in the square, the rehearsals for the filming, the helicopter, the dropping of the bomb, the two boys killed? The presence of the photographer, the outsiders in Afghanistan, some consequences?

THE IRON CLAW

US, 2023, 132 minutes, Colour.

Holt McCallany, Maura Tierney, Zac Efron, Harris Dickinson, Jeremy Allen White, Stanley Simons, Lily James, Michael J.Harney, Kevin Anton.

Directed by Sean Durkin.

A strong, tough title. And a reference to a wrestling technique, the strengthening of a hand, the shape of a claw, and descending, claw-like, on the head of an opponent. The signature of the wrestling family, the Von Erichs, but also a metaphor for the control of a father over his sons.

While this is a wrestling film with many wrestling sequences (someone remarking that they were not “fake” but “pre-arranged”, vividly bringing to life the moves, the tactics, the brutality, the theatricality, and the often wild enthusiasm of the cheering crowds.

This will appeal to wrestling fans. But, for non-wrestling fans, this is also a strong family drama. It is based on an actual family, the father a one-time champion but never receiving the final accolades, his surviving four sons and his domination of them, not only to follow his career path, but to be acknowledged, recognised as champions. (For audiences caught up in the family story, there is a lot of background information on the Internet.)

There is a black-and-white prologue, the success of Fritz Von Erich, a convincing performance by Holt McCallany, and his encouraging his little boys. Then a transition to 1979, memories of the death of a very young son, the four remaining brothers, strongly bonding, huge sense of family, devotion and loyalty to their tough mother, Maura Tierney, but relying on a sense of family support. Wrestling championship is expected of each of them.

The oldest of the four is Kevin, played by Zac Efron (a long way from High School Musical days). We see him train, devote himself to rigorous regimes, and success in the ring, and he is enjoying this way of life, almost a vocation. The next son, Kerry (Jeremy Allen White from The Bear) is away from home, training in football. After him comes David, Harris Dickinson, who is emerging with championship potential, is smarter than Kevin, more articulate, and favoured by his father to go on to greater things. The contrast is in Michael, Stanley Symons, who lacks the physical build of the others and is much more interested in music, playing in a band. But, he too will be caught up in the aura of wrestling.

This is not just a story of fame and fortune. The family is said to be “cursed” and, the drama focuses on the effect of the wrestling on each of the sons, pressures, health issues, suicidal episodes, injury and coma. And, always in the foreground, the relentless father, the demands on his sons, and in certain ways, he is the one who is cursed but does not recognise it.

At the end, as with films based on true stories, there is further information about the family and some photos. As a counterbalance to the wrestling, the training, the hard physicality, there is a rather ingenuous love story, Kevin encountering a fan, played by Lily James, who takes all the initiatives to break through his wrestling preoccupations that they might make a happy couple, happy family (and the end information tells us that they have been married for almost 40 years, happy children and grandchildren living with them).

So, for some audiences, the wrestling. For other audiences, the family story and the impact of a dominating and ambitious father.

1. The title, the hand, formation, iron, on the head of the opponent, blood? Symbol of the hold of the father over his sons?
2. True story, the popularity of wrestling in the US, professional wrestling, techniques, training, physical progress, moves, theatricality, not fake but prearranged, the commentaries, the media and television, the fans?
3. The 1970s, wrestling, the political background, scenes of Jimmy Carter, into the Reagan era?
4. The prologue, black-and-white, the father, his career, success, not winning the belt, encouraging his little boys?
5. The transition to 1979, the death of the young boy, his memories? The other sons, expectations? The father, his coaching, arranging bouts, contacts? Expectations of his sons, favouring one then the other? Fritz, his age, his relationship with Dottie, the long marriage, memories of their courtship, the bond between them, life at home, his personality? Dottie and her personality, restraint, keeping the house together? Meal sequences?
6. The focus of the film on Kevin, Zac Efron is physical presence, build, training, running, gymnasium, pushing himself? His ambitions? Loving wrestling, love for the family and the bonding? His performances? Success? His father’s ambition for him to win the award? His not winning it? Age? His bonding with David, David emerging as favoured by his father? Kevin’s reactions?
7. David, younger, taller, his physique, his determination, taking the microphone and speaking for Kevin? Training, success? The plans for Japan? His bringing up blood, the conversations with Kevin? The news of his death? The funeral? The response of the family?
8. Kerry, next in line, the football training, personality, his return, training, determination, the bouts, his successes, show bouts, exhilaration, the driving, the injury, the amputation, recuperation, trying the boots, practising with Kevin, failures and falls, depression, suicide?
9. Talk of the family curse, the deaths of the three boys, the curse effect on their father?
10. Michael, younger, his place in the family, different build, music, the band, their all escaping through the windows after their mothers forbidding them to go? Success with the band? His being brought in for wrestling, training, the bouts, the injury, coma, slow recovery, the meal table, mental limitations? Taking the pills, writing the note, wanting to go to a better place, his death?
11. The contrast with the romantic subplot, Pam as a fan, forward, talking to Kevin, bring him out of himself, his enjoying her company, her work as a vet, welcomed by the family, the wedding, her being pregnant?
12. The portrait of wrestlers, their personalities, names, press conferences, boasting, self-promotion?
13. The role of the media, promoters, Bill Mercer, working with Fritz, promotions, commentary, friendship?
14. The deaths in the family, the boasting of the champions on media, Kevin and his determination, to win, the years, the fight, his anger, the iron claw, being disqualified?
15. The final information, Kevin and Pam, almost 40 years married, the large family?
16. The contribution of the family to American professional wrestling?

RECON

US, 2019, 95 minutes, Colour.

Alexander Ludwig, Sam Keely, Chris Brochu, Franco Nero, Lochlyn Munro, RJ Featherstonehaugh.

Directed by Robert David Port.

Recon is based on a novel about a group of GIs during the Allied invasion of Italy. Perhaps, on the page, it plays more dramatically and plausibly than on screen.

One of the main criticisms of the film is that the expedition portrayed has all kinds of military limitations, making it implausible in so many aspects.

On the other hand, if the film is seen as a psychological drama, traumatic distress before it becomes post-traumatic distress, then there are some very strong moments.

Almost immediately, the dramatic and tragic situation is set up, the small group of soldiers, on the road, looking for Germans who are fleeing, shooting suspects, confronting a German officer and shooting him and the dilemma as to whether to shoot the woman in the wagon with him. He does shoot, several close-ups of the woman before she dies, her pleading, and images of the bullet in her head, images recurring throughout the film in the soldier’s imagination.

At the temporary headquarters, the group is commissioned to go out scouting to find Germans and the locations. Almost immediately, they find an old man with his wagon, an interesting presence by veteran Franco Nero, who tells them that the Germans are near. Some are suspicious of him but they follow his lead, into the mountains, trusting him to cross very long suspension bridge, only for one of the group to stand on a mine, lose his feet, die.

One of the questions an audience might ask is what supplies they have taken, no indication that they need food, sometimes a bottle of water, but they themselves are very noisy, a lot of the dialogue taken up with the bickering between two of the squad, a hostile and bigoted soldier, suffering exceedingly from a strong arm rash, and another soldier, often with a thoughtless remark, Jewish. The leader has to cope with this bickering as well as a drama of confrontation with a wolf, coming across death squad of Germans killing the locals.

The cheeky soldier is shot by a sniper, carried to safety by the soldier he bickered with, but eventually dying, propped up as a decoy in the same way they had found a dead German soldier. The leader keeps watch, tense, remembering the shooting episode. The soldier clashes with the Italian guide, not trusting him.

Eventually, they arrive back, their guide is found to have a map with partisan positions indicated, considered an enemy and the leader told to go out and shoot him. He is urged on by the suspicious soldier. But he cannot do it, remembering the initial shooting.

If an audience can bypass the defects in the realism, then it serves as a psychological drama of warfare and clashes.

1. The title, Italy, Americans, Germans, missions, crises?
2. The Italian setting, the Americans moving up Italy, pursuing the Germans? The base camp, encounters on the roads, confrontations with partisans, with Germans, shootings and killings, the recon expedition, through the forests, across the bridge? The musical score?
3. Memories of World War II, World War II films, comparisons with this film?
4. The initial encounter, the men, experience, training, personal attitudes, pressures? The wagons, the locals, the Germany merging behind the wagon, the confrontation with the woman, judging her as with the Germans, the confrontation, her plea, her being shot? And the replaying of her face throughout the film, haunting Marston?
5. Base camp, the command, the men, needing information, sending out the squad? Marson as leader? The personalities of the others? Clashes, bickering, taunts? Physical confrontations? Marson and his leadership?
6. The recon, comments about the military deficiencies of this presentation, set out, weapons, surveillance, loud and arguing? Unrealistic? Rather, a film about traumatic stress during an operation, leading to deaths, clashes, heroism?
7. The encounter with Angelo, suspect is a fascist, partisan, is offering to be guided, trust and lack of trust, his personality, speaking Italian, English, indications of his family, World War I? Is observing, his comments on the men and their clashes? Persuading them to go over the bridge? Accompanying, joint and his hostility? The concern for Ash? The return, the search, his having the map, the commander condemning him, telling Marson to shoot?
8. Tracking the Germans, Angelo telling them they were near, the long suspension bridge, the drama of the crossings, a sense of triumph, then the soldiers standing on the mine, going to get his foot, his death?
9. The character of Joiner, his bitterness, taunts, anti-Semitic, his arm rash and his continued scratching, taking off his jacket, despairing, Ash and his support?
10. Through the forest, the confrontation with the war? The discovery of the Germans, the death squad, the shooting of the innocent people, the tanks? The group watching?
11. The return, Ash and the sniper, Joiner and the previous hostility, helping him with the blood and the wound, carrying him? – And dying, set up as a decoy, along with the dead German soldiers they found?
12. Marson, tense, memories of the shooting of the woman, staying behind, to get the sniper, the decoy, the shooting, the Italian sniper? Marson’s reaction?
13. The return, the commander, his reactions, Angelo, ordering him to be shot?
14. Marson, the confrontation with Angelo, memories, unable to shoot him, letting him go? Joiner and his appeal? The commander?
15. A psychological drama rather than a realistic war movie?

BANDIT

Canada, 2022, 126 minutes, Colour.

Josh Duhamel, Mel Gibson, Elisha Cuthbert, Nestor Carbonell, Olivia D’Abo.

Directed by Arthur Unger.

An unexpectedly enjoyable action film.

A Canadian production, this is a story of a bank robber nicknamed the Flying Bandit. In the mid-1980s, he was able to rob 60 banks without detection. He was a young man in detention in the United States, escaping to Canada, finding an identity, discovering a talent for robbing banks after exact and minute observation of how each bank worked, the personnel,, timing, even going in disguise to discuss the running of the bank as if he were a supervisor.

And, with his many disguises and meticulous planning, especially for getting out of the bank, he could achieve the robbery within three minutes. At one stage, the robber, played with quite some charm by Josh Duhamel (a kind of tongue in cheek Bruce Willis role) makes a bet with the local bar owner who is also a fence for stolen jewellery, and played by Mel Gibson, that he can rob the bank across the street within three minutes. He does. He frequents the bar, sometimes disguised, sometimes as himself, which initially confuses the detectives on surveillance outside the bar.

But, he also has a personal life. Initially he pays a beggar on the street $20 for his identity card, assumes his name, takes refuge in the local house for the homeless, becoming very friendly with the woman on desk, Andrea, played by Elisha Cuthbert. They move in together, his not explaining the money coming in, having plausible reasons for his absences, going to various Canadian cities for the robberies.

And, in the background, the detectives, first wanting to arrest the bar keeper.

Eventually, Andrea discovers what her husband has been doing, actually helping him. And, they are able to escape to a small town for 18 months, Andrea giving birth to a daughter.

However, a special squad is formed to track down the bank robber and he is eventually caught, sentenced, serves a prison term. This information is given during the final credits – with the information that the bar keeper was eventually arrested and also served a sentence.

1. The title, true story, the Flying Bandit? Final information about the bandit at the end?
2. 1988, Robert, the smooth bank robbery, disguise, escape, decoys, Snydes in pursuit?
3. The back story, father in prison, mother gone, juvenile detention, the escape, going to Canada? Identity, the beggar and the card, payment, getting into the centre, Andrea and her leniency, his smooth talking?
4. Robert, decision to rob banks, the number, he is doing his homework, scouting out all the information, smooth talking, observation, discussions?
5. The range of robberies, their being listed and numbered, the personnel, the ladies and his charm, his return, pretending to be testing, friendly with the staff, getting the information? The various devices, ways of escape, his timing, the smoke bomb, dressed as a fireman…?
6. Andrea, her job, the shelter, outings with Robert, his charm, the living together, time passing, his absences, force explanations for his work? The money, the house? Her pregnancy, his enthusiasm about being a father?
7. The best about robbing the bank, Robert winning? Time passing, the invitation to rob the jewellery store? To make the money, Robert and Andrea to go to the Bahamas?
8. Snydes, detective, confrontations with Tommy, challenges, the bar, suspicions, the partner, the budget, talking with the chief, the project cafe, information, Robert and his car, his disguises, the one person?
9. Robert and Andrea disappearing, the house in the country, 18 months, Tommy’s visit? The truth to Andrea, her enjoyment of the money, accompanying him on the robberies? Her giving birth, love for the children?
10. The detectives in pursuit, the helicopter flight, giving them the slip? Their eventually catching him, surrounding him, in prison, ordering a pizza, interrogations, meeting Andrea? Not giving Tommy away? (Yet Diamond Dave giving Tommy away?)
11. The final information, Robert and his prison sentence, the interview with the actual Robert and his having no money, divorce from Andrea, Tommy and his jail sentence?

OKA!

US, 2011, 105 minutes, Colour.

Kris Marshall, Isaach De Bankole, Will Yun Lee, Peter Reigert

Directed by Lavinia Currier.

The short synopsis for this film runs: The story of Louis Sarno, an American ethno-musicologist who lived among the Bayaka Pygmies in Central Africa for 25 years.

The screenplay was, in fact, written by the director, a documentary filmmaker, with the collaboration of Louis Sarno himself.

British Kris Marshall plays Sarno, originally from New Jersey, seen in the early part of the film with some kind of terminal illness, forbidden to go back to Central Africa by his doctor, Peter Reigert, but the bulk of the film showing Sarno and his life and work in Central Africa with the Bayaka pygmy people.

The characterisation of Sarno is rather minimal. There is his distress in defiance of the doctor. There is his life in Africa, friendship with the local Pygmies, clashes with the local Mayor, Isaach De Bankole, who is trying to modernise his area, and welcoming foreigners into hunting elephants. He is opposed to Sarno. On the other hand, Sarno is welcomed by the local people. There are some incidents, his friendship with the local wise man, his antagonism towards the Mayor and the Chinese intent on shooting an elephant. He is strong on the environment.

But, the film is a blend of fiction and documentary, the documentary aspects of Sarno’s work predominating. We see him recording all kinds of local sounds, the sounds of the people, the music, the range of instruments, building up an extraordinary ethnological resource, published and considered one of the key books on Central Africa.

While the feature film aspect of the film (and Oka means “listen”) the more documentary aspects, the close-ups of Sarno and his work, the recordings, the flora and fauna of this part of Africa, the potential dangers are of more interest.

THE MURDER AT THE VICARAGE

UK, 1986, 102 minutes, Colour.

Joan Hickson, Paul Eddington, Cheryl Campbell, Robert Lang, Polly Adams, James Hazeldine, Norma West, David Horovitch, Ian Bramble, Rosalie Crutchley, Barbara Hicks.

Directed by Julian Amyes.

Agatha Christie’s novels were enormously popular in the 20^th century, many film and television series made. And, they continue into the 21^st-century, new Poirot films, continued streaming screening of Miss Marple stories and those of Poirot.

While Angela Lansbury and Margaret Rutherford did portray Miss Marple, the main screen presentations were by Joan Hickson, Geraldine McEwan, Julia Mackenzie. It is interesting that the stories with the latter two Miss Marples was somewhat updated, the films with Joan Hickson had the post-war atmosphere, the late 1940s, the 1950s, life in the village, costumes and decor, vehicles, religious observance, traditional values…

The murder victim at the vicarage is a very unpopular old-style Colonel from the village, with his alienated wife, his alienated stepdaughter, imposing himself on the vicar and demanding to examine the books and the finances of the parish. When he goes to do this, he is shot.

With so many people not liking him, and with the ladies of St Mary Mead all gossiping, a mysterious woman coming from Africa and looked after by the local doctor, there are suspects. However, a visiting artist who uses the studio next to the vicarage confesses. Then the wife of the murder victim also confesses, apparently each trying to protect the other because of an affair, but the timing is all out.

One of the pleasures of the film is seeing Yes, Minister’s Paul Eddington as the vicar. There are also some British character actors like Rosalie Crutchley and Barbara Hicks as gossiping ladies. And, again, David Horowitch is the Detective with Ian Bramble as his assistant.

But, as Detective Slade remarks, he expects Miss Marple to be there. He is much more cooperative with her this time and, when the assistant vicar seems to have attempted suicide, the Detective collaborates with Miss Marple in a set up for the murderer to reveal himself.

Miss Marple herself was part of the plot, working in her garden, noting the comings and goings and the times, noticing the rearrangement of the vicar’s office after the murder, especially the large plant in which the revolver had been previously hidden – and recording of a shot set up to confuse the timing of the killing.

Once again, intricate plot, and, this time, the murderer is in plain sight.

1. Popularity of Agatha Christie novels? Miss Marple? Joan Hickson’s portrayal?
2. The atmosphere of the 1940s and 1950s, post-war, village life, costumes and decor, cars, the church, churchgoing, morals, gossip? The musical score and theme?
3. Life in the village, the Vicar and his wife, proper, revelation of her pregnancy, his sermons, do-gooding, shock at the murder? The Protheroes, the colonel, his bombast, wanting to examine the parish books, tense relationship with his wife, stepdaughter, arriving at the vicarage, his murder? The artist, painting the daughter, gossip, the relationship with Mrs Protheroe? The maid at the vicarage, her boyfriend out of prison, meetings? Mrs West, from Africa, terminally ill, relationship with the doctor? Lettice as her daughter, the revelation? Lettice and her wanting to know her mother? And the various gossiping women of the town, their meetings, information?
4. St Mary Mead, Miss Marple, her presence, with the ladies, the information, her garden, observing the vicarage, the comings and goings, the time? Her suspicions? The encounter with Detective Slade and Detective West, the past memories, the discussions, the suggestions, their listening to her?
5. The artist and his confession, protecting Mrs Protheroe, then her connection protecting the artist? The inconsistencies with the time, their being cited at the vicarage and the studio, the hearing of the shot? The artist later visiting the rectory and discovering the body?
6. The resolution of the various subplots around the town, family relationships, the Vicar, Mrs West and her daughter? The doctor and Mrs West?
7. Miss Marple, at the scene of the crime, detective Slade’s observations, listening to her? Her suggestions, the assistant at the vicarage, his health, alleged attempted suicide, the phone call wanting to make a confession, the suicide note – and his wanting to confess stealing from the books? Hospital, recovery?
8. The role play, the deception, luring the murderer, the revelation of the artist, his relationship with Mrs Protheroe, Miss Marple explaining the timing, the change of the plant, hiding the gun in the plant, the recording in the woods for the shot, the artist changing the time, disabling the figures car, the false phone message?
9. Satisfying Agatha Christie plot, Miss Marple resolution, the unsuspected murderer?