Displaying items by tag: Peter Malone's Movie Reviews

MONOLITH

Australia, 2022, 94 minutes, Colour.

Lily Sullivan, Voices of: Erik Thomson, Terence Crawford, Kate Box, Damon Herriman.

Directed by Matt Vesely.

Monolith is a small budget Australian film. There is a monolith in the scenario, a small mysterious brick which appears and reappears. Memories of Stanley Kubrick’s 2001 A Space Odyssey and the vast monolith which appears in the prehistoric era, in the contemporary era and in futuristic space. It was a symbol of something transcendent which many interpreted religiously.

In this film, a young journalist who makes pod casts has been criticised and is trying to defend herself, making phone calls, investigating a mysterious situation. Her contacts indicate the presence of the brick, indicate some kind of psychological infection from contact with it, a kind of infection dream scenario, with apocalyptic repercussions.

The young woman is played by Lily Sullivan. The other characters in the film make only verbal appearances, phone, television. There are some flashbacks and the film shows the surrounding scenery of the house and, at the end, ventures outside. And here, the young woman’s alter ego also appears and there is confrontation.

However, at the core of the story is a domestic situation, the young woman remembering her ninth birthday, the presence of the brick, the jealousy of a young girl, the consequences for the young girl’s family and a phone call from the grown-up young girl talking about the situation, memories, as was the phone call from the father, his justifying his behaviour in the past – and the young woman realising that she has had a false memory of the past. And, so, the need to confront her other self.

This is something of a tour de force performance by Lily Sullivan and the film is both curious and intriguing.

1. An experimental film, the drama? Single set, the house, the interiors and rooms, corridors, the countryside views out the window? Action taking place on the computer screen, the birthday party, the musical score?
2. The cast, Lily Sullivan, on screen all the time, then her double self, the struggle? The range of voices? And The Interviewer on her ninth birthday and the issue of the brick?
3. The title, echoes of 2001 and the Monolith, crafted, a significant presence? Transcendent? In this context, the presence of the brick, size, shape, historical presence, ownership, cause of conflict in ownership? Finally called and brought up by The Interviewer?
4. The character of The Interviewer, anonymous, her age, family, connections? Privileged upbringing? Journalist, in doubtful repute, saving her reputation, the pod cast, her media abilities, those listening, those intervening and phoning?
5. The contradictions of her character, the good and the bad, a conflict? Trying to redeem herself, better her reputation?
6. The issue of the brick, the various phone calls, the science background, the woman phoning in, their experiences with the brick – and speculation of it being alien, power, cause of conflict, causing an illness, causing an epidemic, global consequences?
7. The contrast with the domestic explanation of the brick, The Interviewer at nine, her birthday, the gift of the brick, it being sent to her in the office, her interactions with the brick? Continued discussions with those calling in, especially her father, his memories, not wanting it to be further discussed?
8. The friend from the past, journalist, her photo, the phone call, her not wanting to talk, the family disputes of the past, ownership of the brick, her family being ousted? The Interviewer’s father condemnatory?
9. The growing desperation, her admitting the truth about the brick, her father’s condemnation of the young friend because of carving the antique furniture, The Interviewer and the singing of symbols, remembering the carving, taking the blame?
10. The buildup to a climax, her desperation, contacting those were favourable, their offering more information?
11. The appearance of her alter ego, the confrontation, conflict, the fight between them, The Interviewer conquering?
12. The resolution? What future?

WHERE IS ANNE FRANK

Belgium/Israel, 2021, 94 minutes, Colour.

Voices of: Ruby Stokes, Emily Carey, Sebastien Croft, Michael Maloney, Skye Bennett, Ari Folman, Rolf Prosser, Nell Barlow, Samantha Spiro.

Directed by Ari Folman.

The immediate answer to the question in the title (although no question mark appears) is that Anne Frank is everywhere, the text of her diary, the story of her life, the mementos in Amsterdam, and her influence in her story of a young adolescent, confinement to the house during the war, going to the concentration camp, the Holocaust and her death.

While there have been so many films, feature films like The Diary of Anne Frank, documentaries, speculations about her, the life of the confinement, the others confined in the house, her father and his survival, her mother and the death of her sister, this is a fanciful interpretation, especially as it is presented in animation, directed by Ari Folman who made the striking animation film, Waltzing with Bashir.

While there are sequences of the past, and in the family moving from Germany to Amsterdam, the outbreak of the war, the finding shelter in the attic, the members of the family moving in, her attraction to Peter, there is also a contemporary story.

There are many mementos to Anne Frank and the family in Amsterdam, especially the Museum. The fantasy of this film is that Anne’s friend in the diary, Kitty, is alive. And, she is on a quest to find out what finally happened to Anne. There is some mayhem in the city, the stealing of the actual diary, a group of young boys involved.

One of the young boys befriends Kitty, and there are many flashbacks to Anne as a precocious teenager, love of movies, reading, creating the diary, creating Kitty, dialogue with her. But, with Kitty searching for and trying to discover what happened to her, it is a way of reinterpreting the story for a 21^st century audience.

There is joy in Anne’s life despite the confinement, her confiding to her diary, her relationship with her father, to her older sister, Margot, a clash with her mother, but there is great sadness in the sequences of the train going to Poland, the camp, deaths.

At the end of the film, there is some earnest paralleling of the refugees coming from the Middle East to Europe in 2015, linking them with the experience of hostility, a parallel with the Holocaust in many ways.

1. The title, the focus on Anne Frank, so well-known throughout the world, for so many decades, her diary, the internment, her death in the concentration camp?
2. No question mark in the title? That Anne Frank is everywhere?
3. The work of the director, Israeli background, his animation feature on Lebanon, and the war, Waltz with Bashir? His skills as an animator?
4. The style of animation, bright colours, recreation of Amsterdam, the interiors of the apartment block, the attic? The trains, the concentration camp? The 21^st-century, Amsterdam, the cues for Anne Frank’s house? The custodians? The preservation of the diary? Peter and his involvement, pursuit?
5. The diary, the spill, the letters dissolving and going into the air, forming Kitty?
6. The film dealing with the familiar aspects of Anne Frank’s life, her age, lively, the movies, reading, relationship with Margot, devotion to her father, clashes with her mother? The war situation, coming from Germany in the 30s, settling in Amsterdam, their being taken in, the hiding place, the attic, the others coming in, Peter and his family, the dentist? The experience of the confinement? The visuals and sounds of the marching Nazi troops?
7. Anne, the writing of the diary, decision to create Kitty, the scenes with Kitty, the discussions, Kitty deciding to be Jewish, with red hair? Jewish support? Their travelling together, but Kitty not knowing of and’s death?
8. Kitty in the 21^st-century, the diary coming alive, out of the Museum, the pursuit, the encounter with Peter, his background, the other young people, the tourists and the centre, the theatre and other buildings named after Anne Frank? Kitty and her discoveries, understanding and, explaining her to Peter? Her appearing and disappearing? Peter continuing to look for her?
9. Kitty and her quest, bringing the diary to life, voicing Anne Frank, in the 21^st-century?
10. Kitty suffering, wanting to know what happened at the end, the travelling to the camp, with Peter, discovery of the truth? The sadness that the two sisters were trapped at the end, prevented to leave?
11. The Frank family, the father surviving and promoting his daughter and her diary, the mother in the camp and the reconciliation with her daughter, Margot in the camp and her death with Anne?

THE BEEKEEPER

US, 2024, 105 minutes, Colour.

Jason Statham, Emmy Raver-Lampman, Bobby Naderi, Josh Hutcherson, Jeremy Irons, David Witts, Taylor James, Phylicia Rashad, Jemma Redgrave, Minnie Driver.

Directed by David Ayer.

Yes, action star, Jason Statham, shows a certain expertise in beekeeping at the beginning of this film. But, he is much more. In fact, bees and beekeeping becomes a dramatic metaphor, frequently spelt out and quite explicitly throughout the film, for a clandestine very secret ops squad. With Jason Statham is the star, with a background of 57 films over 25 years, still maintaining top billing, audiences will know what to expect in terms of action, violence, heroics.

But, many older audiences will immediately identify with the action. On the day of writing this review, the reviewer saw on page 1 of the Melbourne Age, a heading: Thousands Hit by Fraud Scam. With venerable American television icon, Phylicia Rashad, so well remembered from The Cosby Show, sitting at her computer, suddenly getting a message that she is being hacked, responding to a phone number on her screen and, audiences identifying with her, becoming more tense as we (and not she) see a large team of generally young hackers, smug, greedy, affluent, completely amoral, sweet-talking her, giving her instructions, yet mocking her when she is not listening, and emptying her personal and charities account.

But, on her property, is Adam Clay, a very earthy biblical name for the beekeeper, who is indebted to her for her kindness to him. Of course, we are hoping that he will unmask this fraud team, wreak revenge on them. In fact, pretty quickly into the film, he does that, not just personal confrontations but firebombing the whole high-rise tower where they work. We see he has old connections with the beekeeper network.

But, this is only the beginning. He is led into even more avenging, and the characters behind the fraud and scamming have significant American political connections. He is violent in his avenging, the kind of combination, so popular in American films (as with Clint Eastwood, for instance, in High Plains Drifter) of Jews will Angel/Avenging Devil. And his principle for action is to abide by the law. But, when the law fails, justice, including punishment of which is the arbiter, is required.

It is a surprise to find Jeremy Irons co-starring with Jason Statham. He is the former head of the CIA and involved in the finances of an IT company, the owner of the company, played by Jemma Redgrave, has become President of the United States. And the focus is on her 28-year-old son, Josh Hutcherson, smug and smarmy, ultra-narcissistic, no consideration for anyone (except, sometimes, his mother). He is behind the scamming. The audience will find him loathsome. So does the beekeeper…

The film has a strong supporting cast led by Emmy Raver-Lampman, FBI agent, Phylicia Rashad’s daughter. There is also Minnie Driver as a Langley chief.

One hopes it is all highly far-fetched! But, given the emotion of the initial scam and the audience identifying with the drive for justice, action director, David Ayer, carries us along. So that we don’t have time to think about why they have no time for sleep, no meal breaks, no toilet stops, and how on earth the beekeeper could organise all the equipment that he uses, for fires, for weapons, for a final escape, and it all happening within a couple of days. Sequel likely. Very much willing suspension of disbelief!

1. The popularity of Jason Statham, as action hero, for more than 25 years? His screen persona, manner, appearance, age, British accent?
2. The title, Adam Clay, seen as a beekeeper, the scenes with the bees and the hives? His devotion to Mrs Parker, her care for him? Her episode at the computer, the warning, the phone call, the hackers, smug, greedy, disregard for her, mocking her behind her back, the passwords, her emptying the accounts? Her dismay, the consequences, shooting herself?
3. Clay, discovering the truth, his contacts, the information about the hacking company, his immediate action, within 24 hours, the gasoline, getting into the building, guards, his physical violence, going into the room for the hackers, confronting them, touches of violence, some escaping, the leader and Clay challenging him, pouring the gasoline, blowing up the building? Walking free?
4. Agent Parker, her story, her brother, proving herself, FBI? Her mother’s death? Her suspicions of Clay, meeting him, the arrest, harsh, the interrogation, no gunpowder were? Letting him go? Her wanting justice, his wanting justice? Issues of the law, application, limits? Vigilante justice? Her options? Clay’s options?
5. The pursuit of the case, Clay and is confronting with the leader, the car, his death in the river? Tracking down the other office, the smug group, the leader, confronting Clay? The same procedure, destruction?
6. Derek, his age, narcissistic, his dissolute way of life, control, his relationship with his mother, West willed as his minder, his CIA background, personality, issues of money, political connections? His phoning the CIA leader, her willingness to help, learning the truth about the Beekeepers, backing out? His ability to hire thugs, the attack on the beekeeping, destruction of the bees in the hives, burning down Mrs Parker’s house, but the confrontation with Clay, his destroying them?
7. The political issues, Derek and his mother, Pres of the US, his coming for the weekend, her devotion to him, spoiling him? The social, Clay and his infiltrating, preparation of weapons, for the getaway raft?
8. Derek, presumptuous, the money, control, his contacts, the shock of the destruction, the thugs and their deaths, political protection?
9. The buildup to the confrontation, Clay with West willed? Derek, with his mother, her learning the truth, her son financing her campaign, her decision to tell the truth, his reaction? Clay and the confrontation, Derek’s death?
10. Agent Parker, the apartment, their interactions, the pursuits, getting information, the FBI meetings, the commission to pursue the issues? The FBI, the social, death? Agent Parker and the personal response to Clay, letting him go at the end?
11. Clay, the final escape? The plausibility of the plot? Vigilante violence? Justice when the law cannot administer it?

BEL CANTO

US, 2018, 100 minutes, Colour.

Julianne Moore, Ken Watanabe, Sebastien Koch, Ryo Kase, Christopher Lambert.

Directed by Paul Weitz.

This is quite an unusual film, written and directed by Paul Weitz whose range of films includes American Pie and About a Boy.

The title indicates opera themes and, this is to the fore, an American diva, played by Julianne Moore, comes to a Latin American country to sing at a social for the elite. One of her greatest fan is a Japanese businessman played by Ken Watanabe. He arranges that he come to the concert on the pretext of offering an industrial plant to the President of the country though he has no intention of fulfilling the promise.

During the performance, rebels invade the mansion, wanting to take the President prisoner but he has not attended (staying home, in fact, to watch his favourite telenovella). The rebels make speeches about corruption in their city, are demanding the release of fellow prisoners, taking the guests at the party hostage.

Sebastien Koch appears as a Swiss mediator. And Christopher Lambert has a significant role as one of the hostages, provocative, but able to play the piano and accompany the singer when performance is demanded of her.

Women are released. The men have to stay. Time passes, the negotiator does his best, no co-operation from the government, soldiers outside the besieged building.

There is a planned that the Opera singer perform on a balcony, the people, for the media, a gesture for negotiations. In the meantime, the Japanese businessman becomes more involved with the singer. He has a translator who is attracted by a female rebel, teaching her to read and write, becoming emotionally involved.

There are suggestions of the Stockholm syndrome, the bonding in some ways between rebels and hostages, and a final football match.

There are some tension during the siege, the audience wondering what will happen, what could happen. Eventually, there is an attack on the mansion, the deaths of the rebels, the death of the businessman shielding the female rebel, the Opera singer returning to the US that to her career, with memories of this experience.

1. The title? Music? Opera? Song, divas? In the context of a Latin American uprising, siege, hostages?
2. The locations, the opening in Japan, business offices? Homes? The transition to Latin America, filming in Mexico, the city and the streets, the palatial house and interiors, the enclosed grounds, the background of the mountains?
3. The musical score, the Opera excerpts, Julianne Moore and the Opera singer’s voice?
4. The opening, the Japanese businessman listening to Roxanne singing, his love for the music, the travelling to Latin America, alleged opening a business, but not his intention, his deciding to go to listen to the singer? Welcomed, the reception, the guests, affluence, celebration, but the refusal of the president to go?
5. The businessman, the translator, the translator and his skills, moving comfortably with everyone? The interview with Roxanne? Her singing?
6. The invasion, the rebels, uniforms, masks, weapons? Taking control? Wanting the president? Motivations, the release of political prisoners, accusations of corruption?
7. The mayhem, the wounding of the host, the young rebel sewing his wound? Everybody on the floor, time passing, the businessman offering his coat to Roxanne as a pillow?
8. The extended siege, the personalities of the rebels, their backgrounds as teachers, their causes, commitment? Weapons?
9. The negotiator, from Switzerland, personality, skills, calm? Searched? Discussions? Negotiating the release of the women and the elderly? The musician, his need for tablets, his collapse, the decision to retain Roxanne, his being upset, going back, opening the door, the young rebel shooting him?
10. Outside, ambulances, the media? The reports on television? Local police, guards?
11. Roxanne being detained, seen as more valuable? The time passing, the various personalities, Simon, the farewell to his wife, the incident with the shaving and the loss of water, his ability to play the piano, accompanying? His excitement with the football?
12. The lack of water, attempted negotiations, the decision for Roxanne to sing, going up onto the balcony, Simon playing the piano, the effect? The water being turned back on? The delivery of the food? Roxanne being given a comfortable room, Carmen looking after her, the conversations?
13. Carmen, not able to read, talking to the interpreter, asking him to teach, the various meetings, the attraction, the night together?
14. The businessman, the attraction towards Roxanne, the mutual attraction, taking blame for being in Latin America, ultimately together, the interpreter arranging things, Carmen and her intervention?
15. Time passing, the Stockholm Syndrome, the bonding between captors and hostages? Especially playing football together? Symbolism of the soccer match? Their being allowed outside? The cause, to give up or not?
16. The rebel singing, his embarrassment at going off key, climbing the tree, people urging him down, Roxanne teaching him how to sing?
17. The invasion by the troops, the singer shot in front of Roxanne, the young man working in the garden, offered jobs by the hostages when they left, his death, the leaders? The businessman shielding Carmen and being killed?
18. The rescue, people led out, the effect of the experience?
19. A year later, Roxanne singing, the presence of the interpreter, her vision of the businessman?

OUTSIDE THE WALL

US, 1950, 80 minutes, Black-and-white.

Richard Basehart, Marilyn Maxwell, Signe Hasso, Dorothy Hart, Joseph Pevney, Lloyd Gough, Harry Morgan, Jon Hoyt..

Directed by Crane Wilbur.

A small supporting feature from 1950, a social justice focus on prisoners and their release into the community, and complications of the popular film noir of the period. Hence the title, Outside the Wall.

At the centre of the film is Larry Nelson, played by Richard Basehart, imprisoned at the age of 14 with the death of the guard in the juvenile home, an unintended killing by Larry. However, after 15 years, his request for release has been granted.

The screenplay is interesting in showing the inexperience of the world of a young man who has been in prison for 15 years, and, in that context, from 1935 to 1950. Some people pick up that he is an ex-prisoner because his beret which he throws away, he doesn’t know how to cross the street in traffic with lights, he does dishwashing jobs, is able to stop hold-up, is promised a job at a lab, capitalising on his work in prison, but decides to move outside the city.

All seems well, there is a nurse, blonde, something of a gold digger, played by Marilyn Maxwell. There is a nice nurse played by Dorothy Hart. The complication of the plot is a million-dollar robbery, masterminded by a former prisoner, killing hostages, and the prisoner himself coming into the hospital. Larry is suspected as being part of the robbery and so is persuaded by the mastermind to transfer money to his wife, played by Signe Hasso. There are attempts on the life of the prisoner in the hospital, but Larry uses his wits, with the help of the nice nurse, building up to quite a climax.

At 80 minutes, succinct enough, but an interesting example of the small supporting features of the time.

1. Brief supporting feature, 1950s style?
2. Combination of film noir elements with social comment about prisons and life after imprisonment?
3. The prison, the city, the streets, the hospital, labs, the diners? Outside the city? The musical score?
4. Larry Nelson and his story, aged 14, the conflict, the death of the guard, in prison, aged 29, granted release? The discussion with the Warden? Out in the world, lack of experience of the world, his cap and his being considered a former prisoner, throwing it away, ticked off about crossing through the traffic…? Going to the hospital, the receptionist asking for documents, the doctor being away? Going to the diner, the women, flirting, the drinks, seeing his money, his inexperience with drinking, knocked out, her taking the money, his reaction? Going to the diner, washing up, the hold-up and his intervening, overcoming the robbers? Decision to leave the city?
5. At the hospital, the encounter with the doctor, at work, diligent? The physical examination, Charlotte, the suggestiveness, blonde, eager for money? The encounters, the better friendship with Ann, her understanding, talking, advice? At the restaurant, Charlotte and the criminal?
6. News of the robbery, the deaths? Larry knowing the identity of the criminal? His being brought to the hospital, Larry not giving him to the authorities, the request that Larry transfer the money to the criminal’s wife, reluctance, acceptance, visiting the wife, her attitude, the thugs? The puzzle about his identity, their thinking he was the unnamed accomplice? Their following him?
7. Talking to Ann, bonding, not having had this experience with a woman before? The contrast then with Charlotte?
8. Explaining the situation to Ann, the criminal, his physical condition, the thug paying off Charlotte to visit him, their taking him through the window? Larry and his reaction?
9. Larry, his being abducted, interrogated? The plan, the money, Ann to go to the police, her being taken? The criminal’s wife and her wanting the money, collusion with the criminals? The manner and behaviour, the threats?
10. Larry, able to turn the tables, but wanting the criminal to exonerate him, his finally being persuaded? The criminals and their plan to turn on each other? The arrests?
11. The elements of film noir? The commentary on prisons and the experience of young prisoners released from jail?

SPIDER’S WEB

UK, 1982, 105 minutes, Colour.

Penelope Keith, Robert Fleming, Thorley Walters, Elizabeth Spriggs, David Yelland, John Barcroft, Holly Aird, Jonathan Newth.

Directed by Basil Coleman.

Spider’s Web was a very popular Agatha Christie play in the 1950s, popular in its time, but in retrospect, taking a lower place than The Mousetrap (and its playing continuously for decades in London’s West End) and the celebrated Witness for the Prosecution, filmed with a star cast in 1957.

This is a more modest story, taking place over one evening, all inside a home. There is a mysterious visitor, found dead, the daughter of the house imagining that she had killed him, her stepmother trying to protect her, calling in friends to get rid of the body (and there is a secret door and passage), the visit by the police and interrogations, fanciful stories told. There is also a mysterious lady working as a gardener, suspicious cook and his wife.

Spider’s Web was filmed in 1960 with Glynis Johns in the central role. This time it is Penelope Keith – this film made while she was starring in To The Manor Born and this performance in exactly the same vein.

Once again, Agatha Christie has ingenious twists the plot involving tenants living in a house at a very inexpensive rate, a mysterious desk and its contents, drug dealing, an international visitor flying in… And, the audience not anticipating the murderer but a full explanation of his actions and motivations.

1. The popularity of Agatha Christie novels and plays? The screenplay close to the text of the play? The play and its success in the 1950s? The 1960 film version?
2. The setting, the country mansion, Clarissa, her marriage to Henry, his diplomatic job, and stepmother to Pippa? Sir Rowland and her being his ward? Hugo the magistrate? Jeremy the guest? The setting up of the characters? The action taking place within the house, the main rooms, the secret door and hiding place? The musical score?
3. The cheerful situation, the arrival of Oliver Costello, surprise to see Clarissa, the argument about Pippa, his marrying his mother? His later return? His death? In the background of his drug dealing and the link with the owner of the house and the antique shop?
4. The group going to the club, dinner, leaving Clarissa with Pippa? Pippa and her dislike of Oliver?
5. Henry, arriving, his having to go out, the diplomatic situation, the pressure on Clarissa to have everything ready, the later crisis, his return, the wrong plane, eventual arrival?
6. Clarissa, making sandwiches, discovering the body of Oliver, Pippa and her statement, her book on spells, saying that she had killed Oliver? Clarissa getting her to bed? Clarissa phoning the friends, the return from the club? The dilemma, to the police or not, Henry’s situation Clarissa not ringing the police?
7. The sudden arrival of the police, the anonymous phone call, the Inspector and his assistant, the interrogations, Clarissa and the variety of stories she told? Shielding Pippa? The reaction of the friends? An account of their whereabouts?
8. Decisions about putting the body in the woods, the police, hiding the body? The police eventually finding the body? Each interrogated separately, inconsistencies of stories, the bridge and the arranged results, finding the ace of spades on the floor, the unmasking the stories?
9. Sir Rowland urging Clarissa to tell the truth, the explanations of Oliver coming, the servants hearing the word blackmail?
10. Pippa coming down, her dream, thinking she had killed Oliver, but not?
11. The issue of the phone calls and hanging up, the issue of the owner of the house, Miss Peake as the gardener, clashes with the servants? The cheap renting of the house, the surname Brown? The revelation of who Miss Peake was, and moving the body from the hiding place? The issue of the valuable antique?
12. The desk, the searches, the finding of the autographs? Looking at them again? The early remarks about stamps? The realisation that this stamp was valuable, murder?
13. The revelation, audiences not suspecting Jeremy, his behaviour, menace?
14. The resolving of the mystery, Henry and his return, everything back to normal?

VENGEANCE

US, 2022, 107 minutes, Colour.

B.J.Novak, Boyd Holbrook, Lio Tipton, Ashton Kutcher, Isabella Amara, Dove Cameron, J.Smith-Cameron, Eli Bickel, Issa Rae, Louanne Stephens, Clint Ovenchain, Zach Villa.

Directed by B.J.Novak.

Vengeance is an unusual film, written and directed by actor B.J.Novak who appears as the central character.

Novak portrays a journalist, interested in the human condition and also interested in the American character. He has an agent played by Issa Rae. He plans to do something substantial in writing and pod cast on this American preoccupation.

However, he is caught up in a complex plot, presumed to be the boyfriend of a dead singer in Texas, contacted by her brother, Boyd Holbrook, and expected to attend her funeral. He does, meeting the brother, using his wits in his speech at the funeral, but then welcomed into the eccentric family. He decides that they are perfect for his exploration, the young women eager for celebrity, the older generation of women, forthright in their comments, and all allowing themselves to be taped at the dinner table.

However, there is a mystery about the dead woman, her drugtaking, where her body was found, at the corner of three jurisdictions and so investigations neglected. There are the police, there are drug dealers, there is a DJ played by Ashton Kutcher who sees himself above the locals but is highly involved.

Many complications, violent attacks, exposure, deadlines for his contributions, and, finally, his taking justice into his own hands.

Curious and intriguing.

1. The title, the final vengeance, motivation?
2. The New York City atmosphere, world, the New Yorker, the media, what cast? The contrast with West Texas, the landscapes, the roads, the funeral, family life, the home, the rodeo, the Afterparties, the gangs and drugs, communes? The musical score?
3. The contribution of B.J.Novak, writer, director, actor? Giving a tone to the film?
4. A film of dialogue, issues, investigating the nature of the United States, Americans, presuppositions from New York City, presuppositions from Texas, stances reinforced, challenged, wider horizons opened? The limited attitudes, yet an openness?
5. The introduction, to Ben, talking with his friend, clubs, relationships, values, the night with the girl, the phone call, the death of Abilene, tie on the phone, his expectations, not just flowers but Ben’s presence?
6. The contact with Eloise, her role with the media, encouraging Ben, urging him on, recordings, listening, the pod cast, the various contacts, her response to the crises? The finished pod cast and her urging him to finish?
7. The funeral, Ty meeting Ben, the drive, talk, the revelations, Abilene, singing, the Minister, and getting by with subterfuge? Welcomed into the family, the meals, Ty and his friendship, Mason and his being called El Stupido, the two daughters, celebrity, the solicitous mother, the tough grandmother, the welcome of the table, his taping the family, their happy at being celebrities? The theme of Whataburger – because it was there!
8. The friendship, opening up West Texas to Ben?
9. The drugs, the drug dealer, suspect? The jurisdictions, the corner of the states, the sheriff? Call, his friendship, explaining the parties?
10. Quentin Sellers, educated, living in Texas, recordings, his philosophy of life, discussions with Ben? Later, the parties, the drug girl and her being dragged away, his giving Ben the recordings, then opening them, the clue and the help from Mason, driving Mason out to the confrontation, the confrontation with Quentin, the accusation, his nonchalance, the truth? The gun, then shooting him?
11. Ben, at the Rodeo, his backing the wrong team, the later explosion of the car, the group at the party, his going to the hospital, the family visiting him?
12. His revelation of the truth to the family, falling out with them, Ty hitting him?
13. Eloise, wanting him to pull out, that the investigation had finished?
14. The aftermath of killing Quentin, the discussions with the mother, her support, reconciliation? And his deleting all the conversations with the family?
15. A wry examination of the US in the 2020s?

THE BODY IN THE LIBRARY

UK, 1984, 150 minutes, Colour.

Joan Hickson, Gwen Watford, Moray Watson, Valentine Dahl, Frederick Jaeger, David Horovitch, Andrew Cruickshank, Ciaran Madden, Jess Conrad, Trudie Styler, Anthony Smee, Sally Jane Jackson, Raymond Francis, Ian Bramble.

Directed by Silvio Narizzano.

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…

This is quite a complicated story, a body found in the library of the local lord of the manor, his coming under suspicion, the anxiety of his wife, friend of Miss Marple, the going to stay at the seaside to try to understand the motivation for the murder.

In fact, the plot is quite complex, even to the identity of the body in the library and the revelation of an alternate plot. As always, there is the leading detective and his assistant, many interrogations, complex relationships, and, this time, quite ingenious plotting. This time the Detective is Inspector Slade, played by David Horovitch, humourless, looking down on Miss Marple. However, he was to appear in several more of the Joan Hickson stories, becoming more amenable as the films went on, beginning to expect her presence on the crime scene.

And, with these British television productions, very strong supporting cast of British character actors. Direction is by SilvioNarozzano, Canadian director working in England Who Is most famous film was Georgy Girl.

1. The popularity of Agatha Christie mysteries? Miss Marple? Joan Hickson?
2. The 1950s atmosphere, the rural villages, the seaside resorts, homes, mansions, the countryside, the hotels, affluence, the beaches? Quite restrained in manners? The musical score?
3. The atmosphere of the opening, the maid, the morning, discovering the body, Mrs Bantry, the Colonel, reactions, Colonel Melchett, police, the locals, Inspector Slack, the beginning of the investigations, the police procedures?
4. Mrs Bantry, phoning Miss Marple, her coming, looking at the body, the parallels with the village characters? The reputation, Melchett, Sir Henry Clitheroe Scotland Yard, the scepticism of Slack?
5. The identity of the body, the hair, the dress, time of death, Miss Marple questioning the dress? The irony of the revelation that it was not Ruby’s body?
6. Basil Blake has suspect, the visit, filmmaking, his style, the quarrel with his partner, the timing, his expressing sympathy for Bantry, rejected, the interviews with him, all the details, Slack’s conclusion? The revelation of the truth, his wife, the timing, the body in his house, in the car, the fibres from the rug, driving, seeing Bantry with the puncture, deciding to put the body in his library?
7. Mrs Bantry, upset, the rumours in the village, Bantry going to shop, people ignoring him, the man at the counter, and payment? The decision to go to the hotel, with Miss Marple, the management?
8. The suspects at the hotel, the manager and his information, Ruby as a dancer, demonstrations, partnering, with the young man, his car being stolen, the coach, tennis, dancing, collaboration with Josie, Josie as Ruby’s cousin, concerned, the timing, the identifying of the body?
9. Conway Jefferson, age, death of his wife, children, fondness for Ruby, intention for adoption, the money granted? Adelaide, widow, precocious son, caring for Conway, under suspicion, her financial situation of explanation, wanting to marry again, the man in waiting? Mark, the death of his wife, financial situation, looking after Conway, his exercise, medications? The revelation of his relationship with Josie?
10. The mystery of the missing girl, newspaper articles, Slack visiting the father, his explanations, her going out with friends, disappearance, the later interrogating of the girls, Miss Marple and her strict interrogation of the fearful girl, the discovery of the truth, the offer of the part in the film, Mark and Josie disguised, they’re killing her, the substitute body? And the taking of the young man’s car from the hotel, Ruby’s body, incinerating it?
11. The young man, mental limits, cycling, following the police, discovering the body, insisting, going to the police, taking the credit?
12. The range of flashbacks, the variety of stories, the consistencies and inconsistencies?
13. Miss Marple, the suggestions about heritage, Somerset house, her visit, the documents?
14. The background of Slack, Lake, their work, interrogations, theories, Slack and his intolerance of Miss Marple?
15. The gathering, the explanations, the complexities? The resolution?

PRISCILLA

US, 2023, 113 minutes, Colour.

Cailee Spaeny, Jacob Elordi, Ari Cohen, Dagmara Dominczyk, Tim Post, Lynne Griffin.

Directed by Sofia Coppola.

Soon after the release and popularity of Baz Luhrmann’s spectacular and glittery portrait of Elvis Presley, Elvis, comes this rather subdued portrait of his wife, Priscilla.

It is based on her memoir, Elvis and Me, published in 1987, the basis for so many films about Elvis Presley. The memoir, has now been adapted for the screen by writer-director, Sofia Coppola. In looking at Sofia Coppola’s career, we see that she has been continually interested in teenage girls and younger women: The Virgin Suicides, Lost in Translation, Marie Antoinette, The Bling Ring…

This is a rather subdued film in its tone, making quite a contrast between the personality of Priscilla and her celebrated husband. Cailee Spaeny won the Best Actress award in Venice for this performance. She has to be the somewhat timid schoolgirl, aged 14, away from the US, in Germany with her military parents, invited to meet Elvis, somewhat bewildered, then fascinated, and growing fascination. She has to deal with her parents’ reactions. But, then she has a visit to Graceland, and the family accept Elvis’s invitation for her to live at Graceland and go to school in Memphis. So, Priscilla from age 14 to 18.

Jacob Elalordi, much taller than Elvis in real life, shows us Elvis in his early 20s to age 30, cheerful, comfortable with the young Priscilla, respecting her in terms of sexual relationship, the marriage, the birth of their daughter. The Presley estate did not give permission for any of Elvis’s songs to be used so the soundtrack is not of him but of popular hits of the time finishing with I Will Always Love You (as Priscilla drives away from her marriage).

There are references to Elvis’s singing career, to the films, gossip about a relationship with Ann Margret. But, this is Priscilla’s film.

For a great deal of the film, Priscilla is left alone at Graceland, Elvis doing the bidding of Colonel Parker (who does not appear but there are many telephone calls and demands), lonely, glad to see Elvis, but the victim of his presumptions about male superiority and domination, even a touch of physical violence with apology, but, finally, his serious reading of the Bible and her negative reaction.

Early in the film, there is the introduction of Elvis and his pill taking, sharing this with Priscilla, indication of tragedy to come.

Many have appreciated the opportunity to see something of Priscilla Presley – but, for many audiences, it is rather low-key, not an energetic portrait.

1. Audience interest in Priscilla Presley? Elvis?
2. Based on an autobiography by Priscilla Presley, from the 1980s, her executive producing this film?
3. The focus on Priscilla, her background, in Germany, her age, the encounters with Elvis, the growing relationship, is respecting her, the visits to Graceland, her going to live in Graceland, her parents response, Elvis taking responsibility, enrolled in school, graduation (and cheating), the wedding, her pregnancy, her staying at home, Elvis absent, his domination when at home, his friends, the staff at Graceland in support, her isolation, need to be herself, Elvis and the Bible, her decision and leaving?
4. Audience response to Priscilla, aged 14, shy, in Germany, the military background, her isolation, education, the military officer and his invitation to meet Elvis, her continuing shyness, Elvis’s response, her responses? Audience sympathy for her at her age and inexperience? Audience response to her growing attachment to Elvis, her life at Graceland, the benefits and happiness, the hardships, the isolation, the magazines, the gossip, the issue about Ann-Margret, audience sympathy to her when Elvis was dominating, brutal? Audience sympathy with her decision to leave?
5. The screenplay and its focusing on pills, Elvis and his pill popping, sharing with Priscilla, the growing dependence?
6. The film as a portrait of Elvis, age, military, Germany, already his reputation, singing, style, public reaction, popularity, censorious religious responses, his films? His relationship with his father? Memories of his mother? Love for his grandmother? His response to a 14-year-old girl, over the years, having heard to Graceland, coming to live there, his concern about education, the humorous sequence of the nuns being photographed with him? His work, absences, the films, magazines and publicity, speculations, Las Vegas, and Margaret? His response to Priscilla about Ann Margret? Colonel Parker, not seen, the phone calls, his domination? Elvis’s presuppositions about male domination, his love for his mother, love for his grandmother? The continual presence of his entourage? His reading the Bible, insistence for Priscilla? Response to his shock at Priscilla leaving?
7. A portrait of Priscilla Presley, living for so many decades after Elvis’s death, her daughter (and her daughter’s death just before the release of the film and listed Marie’s criticism of the bad treatment of her father here)?

TWO TICKETS TO GREECE/ LES CYCLADES

France, 2023, 110 minutes, Colour.

Laure Calamy, Olivia Cote, Kristin Scott Thomas.

Directed by Marc Filoussi.

French audiences will have had travels on holidays in the Greek islands, Les Cyclades, so the title will be familiar. For those who live further away from Greece, it is probably safe and informative to have the present title.

Looking at the poster and/or seeing the trailer, it is clear that this is a “women’s picture”. There are three female stars, prominent. However, there are some men, but in much more subordinate roles, understood in relationship to the women. Surprisingly, the film has a male writer-director.

We are introduced to two school friends in their mid-teens, babysitters, not as responsible as might be, ousted, giggling together. 1989. However, now they have not seen each other for 30 years. During those 30 years, Blandine (Olivia Cote) has had a very serious life. She has married, has a 20-year-old son. She has a responsible job as an anaesthetist. However, her husband has walked out on her and has sent her an invitation to his next wedding. The son supports her, tries to move out of her melancholy. She asserts that she is all right, improving.

On the other hand, the very other hand, there is Magali, Laure Calamy, probably not even aware of the word, serious. She is ebullient, enjoying life, always a new opportunity, always a new man, and she has had 30 years of various partnerships, travels in different countries, but in no way daunted even in her 40s, still the way she was when a girl. Extrovert off the page!

Blandine’s son was going on holidays to Greece, to the island where the girls’ favourite film, The Big Blue, was filmed. When he can’t go, brainwave! Why not his mother going with her best friend from the past. But, Blandine has not followed up the initial contact, and there are ominous indications of tension, potential disasters.

Needless to say, but saying it, the holiday does not go as planned, definitely not, a range of accidents, daily fiascoes, clash of personalities.

Each day matters get more complicated, stranded on a small island, missing out on the hotel bookings, encountering surfers as well is German archaeologists. A strain for Blandine, bliss for Magali.

Something of a different tone when the exuberant British-born Greek resident, Bijou for (Kristin Scott Thomas) and her Greek partner welcome the guests. As something of a relief for introverted audiences, there are some issues raised, health issues, serious issues which offer some moments of depth of the film.

The tensions amongst the women may be understood when we realise that Blandine is strongly introverted, happily so, content and her unhappiness despite efforts to bring her out of it.. But, there is, finally for each woman, some kind of opening up for the future.

1. Expectations, travel and a holiday in the Greek islands, the central stars, the audience accompanying them, things going wrong?
2. 1989, the introduction to 2 young girls, babysitters, playing the music, drinking the wine, ousted by the parents? Their giggling together?
3. 30 years later, no contact? Blending son bringing them together, the Indian restaurant, Magali and her behaviour, playing to the gallery and everyone, planning but not following it up, the many phone calls, the situation of a holiday to Greece, recipe for tensions and disasters?
4. The portrait of Blandine, mid- 40s, the marriage, separation, the ex-husband’s new marriage, the invitation, her resentment? Her bonding with her son, his care for her, trying to bring her out herself, paying for therapy club activity and who pulling out, therapists, meeting up with Magali? Tall, solemn, her work as an anaesthetist?
5. The introduction to Magali, after 30 years, ebullient it and and beyond, extrovert off the page, appearance, talk, the restaurant, flirting, phone calls, the meal, memories with Blandine, her very life, sexual escapades, touches of irresponsibility, and Beaulieu aunt?
6. The trip, the interaction between the two, the firm introvert being tormented by the extrovert? The extrovert off the page and her assuming that the introvert should behave accordingly? The conversations, the issue of being over the top and stating this, Magali improvising, the scam with the tickets, their being stranded on the island, Blandine and her resentment, the comfort of the hotel booked, the lifts, the hotel, the genial proprietor, Magali and the music, dancing around, with the German archaeologists, ingratiating herself?
7. The room, the night, the next day, going to the beach, the story of the surfers, the encounter with Maxime, from Belgium, conversation with Blandine, seeming nice? Magali and the other surfers? The next night, the party, Blandine wanting to go back to the hotel, the sexual innuendo, Maxime driving back, the kiss? Blandine declaring no interest, the later sense of betrayal when Margulies spent the night with Maxime?
8. The ferry, wanting to go to the island where The Big Blue was filmed, nodding off, missing the stop? Staying at Mykonos, the contact with Bijou? Bijou, the vehicle, hair streaming, the same style of extraversion, bonding with Magali, the exchange of rings? Off-hand with Blandine? Going to the house, Dimitris, the relationship, his heart, the cooking, companionship? The outings, the parties? Going to the party next door, Magali interfering with the music, her being told off, ousted, her going to the beach, with Maxime?
9. Bijou, more serious, knowing what Blandine did for a living, getting her to look at the x-rays, the prognosis? The serious talk between them? Bijou and her going to the doctors, the verdict, her telling Dimitris?
10. Blandine eventually going to the hotel, the aftermath of the trip, the discussions between the two, Magali and her bluntness and criticism of Blandine, Blandine and her reactions?
11. The final visit to Bijou, the good news, the bond between the two women?
12. The flight home, her decision to track down Margulies, at the studio, not doing the television program and song, the children’s program, the discussions between the two, Magali calming down a little, doing something for someone else for a change?
13. The skateboarding, Blandine and her exhilaration, something extrovert, but something individual and personal, happy? Her future?