Displaying items by tag: Peter Malone's Movie Reviews

NOT A TAME LION

US, 2022, 119 minutes, colour.

Narrated by Kai Morgan.

Directed by Craig Bettendorf.

This is a documentary portrait of Yale scholar, John Boswell.

Boswell came from the American south, a military family which moved about, a mother who encouraged her children to explore the culture of the countries where they had been assigned. She had a talent for languages. And her son inherited this, fluent in 14 different languages associated with Biblical studies.

Boswell was familiar with the Bible but also moved into the area of Medieval Studies, producing a book on how children were abandoned in the Middle Ages. However, his research led him to investigate same-sex relationships throughout history, especially in the Middle Ages, and social attitudes and ecclesiastical attitudes towards homosexuality. He wrote four books and won awards.

This film has been made by long-time gay activist director, Craig Bettendorf, and narrated by actor, Kai Morgan who has worked in other Bettendorf films. The film was made and released almost 30 years after Boswell’s death.

As regards Boswell’s religious and faith stances, he was brought up as Episcopalian but studied theology and was influenced by Cardinal John Henry Newman and the theme of development of doctrine. He became a devout Catholic after studying the history of the church. He was a daily Massgoer.

But he was also gay, had argued philosophically and theologically for his stances on same sex equality, enabling him to be devoutly Catholic while disagreeing with Church teaching on homosexuality and living in a longtime partnership. Sadly, he died in 1994 of an aids -related illness.

John Boswell had a lively personality, attractive, drawing students to his lectures and to research. The director has interviewed three of his long-term friends and academic associates, reminiscing in great detail about John Boswell. And there is an interview with his sister, Patricia Boswell offering family insights, and British academic, Elizabeth Archibald, disciple, fellow student, writer on the Middle Ages and sexuality themes including incest.

John Boswell was a researcher, going to a great number of libraries, with access to many Vatican documents. He visited various monasteries, some hostility from the monks on Mount Athos because of his opinions on homosexuality, photographing pages of documents or getting his associates to do the filming, amassing a great deal of material on the issues. He was particularly interested in same-sex marriages, the status in the early church and Middle Ages, including the martyrdom of Saints Sergius and Bacchus, arguing for the acceptance of such arrangements, with blessings.

There are excerpts from John Boswell’s lectures throughout this documentary, lively presentations. His research was acclaimed and influential. However, there are a number of scholars who argued that he had not proven his theses, and some opposition from gay activists who differed in perspective on his stances.

This is a film about research in the 1980s and 1990s, a reminder of changing perspectives on sexuality in those decades, but introducing a range of research which demands serious consideration, both for and against.

THE MAN WHO SOLD HIS SKIN

Tunisia/Belgium, 2022, 104 minutes, Colour.

Yahya Nagayni, Dea Liane, Koen De Bouw, Darina Al Joundi, Christian Vadim, Wim Delvoye, Monica Bellucci, Saad Lostan.

Directed by Kauotha Ben Hania.

The writer-director of this film, Tunisian, visited the Louvre in 2011 and saw the human painting, Tim, the work of Belgian artist, Wim Devoye. She was intrigued, especially learning that Tim had been optioned and is contracted to sit at the whim of his owner, displaying the painting on his back.

So, based on a true story, this film is a fictionalised version, nominated for Oscar consideration, and featuring the actual artist, of Wim Devore, as the insurer in this film.

The setting is Syria, a young man in love with a woman whose family, wealthier, is in favour of an arranged marriage with a diplomat based in Belgium. Then civil war breaks out. The man is arrested, interrogated, and, with the help of his sister, is this able to escape to Lebanon. Working there for some time, he encounters an artist who admires his back, which the audience has seen prominently, and asks if he can use his back for a painting, a painting of the format of a visa. He agrees.

The consequences are a visa, travel to Europe, comfort, sitting in galleries displaying the painting. He has a social life. He does contact his mother back in Syria but is caught up with the comfort of his life. Then, he is auctioned, protest against the Civil War and human trafficking making a display, the man himself terrifying those of the auction with a prank that seems that he has a bomb.

When he is interrogated, the translator is the woman he loves, now married and living in Belgium, her husband jealous, attacking the man, destroying a painting, also arrested, and his wife pleading for the man to help him.

Freed by the artist, the man then contact his mother who has been injured during the Civil War and returns home.

An arresting story, freedom for artists and their choices, their canvases… But, questioning the person whose body is used for the art, ownership, echoes of human trafficking…

1. Based on a true story? Belgian artist? (The actual artist appearing as the insurer in this film, Wim Dell for a)?
2. The initial setting, Syria, 2010-2011, the Civil War, the repercussions? Sam Lee and his relationship with A beer, in the train, the proposal, the tension, the exuberance, the announcement, the dance? The reality of the situation, Sam RV and his family, work, appears family’s disdain, the arranged marriage with Ziad, his position in Belgium?
3. Sam, his experiences, arrest, interrogation, arranging with his sister, the escape to Lebanon on, crossing the border, settling in Lebanon on, his friends, work, contact with his family, the news about A beer’s wedding?
4. Jeffrey, the artist, his background, approaching Sam? The earlier shots of Sam’s back, preparation for the proposal? The proposal, Sam’s reaction, passport, going to Europe, the demands on him? The painting, the fees are on his back, the design, style, the effect on Sam?
5. Saw a, working with Jeffrey, her control, manner, relationship with Sam?
6. The exhibitions, Sam’s role, sitting in posture, head bowed, the display of his back? The media, museums, visitors?
7. The effect on Sam, the comfortable life, the hotel, finance, time, arriving, his dressing gown, the display?
8. Abeer, in Belgium, her marriage, her jealous husband? Sam and his difficulties, Serena taking his passport to control him? The issue of the option, his being sold? The protests by the Syrians at the auction, his appearing, fears of a bomb, the prank?
9. His interrogation, a beer as the translator, communication with her, her husband’s reaction, suspicions, coming to the Gallery, destroying the painting, the fight, his being arrested, a beer and her plea for Sam’s help, his hesitation, helping?
10. The issue of the option, the issue is identity, the parallel with human trafficking? Jeffrey and his letting him go?
11. The contact with his mother, life in Syria, her injuries, his sister? The decision to return to Syria?
12. The offbeat story, issues of art, issues of human exploitation?

ALIBI

US, 1929, 90 minutes, Black-and-white.

Chester Morris, Harry Stubbs, Regis Toomey, Mae Busch, Eleanor Griffith, Irma Harrison, Purnell Pratt, Pat O'Malley.

Directed by Roland West.

Alibi is a piece of American cinema history.

Released in 1929, there was also a silent version but this is an early talking. It is readily available on YouTube.

It received Oscar nominations in the early years of the Academy Awards, the best film, for Best Actor for Chester Morris, Best Set Design for veteran William Cameron Menzies.

For many this will be just a curio, a very early gangster film, proceeding the classics of the 1930s. It has a familiar plot, a prohibition gangster release from prison, teaming up with his old connections, organising a robbery from a garment warehouse, shooting a policeman, creating an alibi where he was at the theatre with his wife, the daughter of a police chief, but slipping out during the interval, the tickets providing the alibi.

There are a emotional conflicts, the daughter of the policeman friendly with both the gangster and another policeman, marrying the gangster without realising his evil intent, rejecting her longtime friend, another policeman.

A lot of the action takes place in a nightclub, there are frequent sequences of the dancing of the chorus line. In this context there is an undercover policeman, played by Regis Toomey, friendly with the girls, insinuating himself with the criminals, being used to provide information for the alibi, but the wife also wanting to telephone the police, the criminal is realising that they were being doublecrossed, the confrontation and a very long and emotional deaths scene for Regis Toomey.

There is a range of criminals, a boorish old-timer with business connections imposing on his long-suffering wife. And there is a chorus girl in love with the undercover policeman.

Ultimately, there is a confrontation, cowardly behaviour by the criminal, his being shot with blanks and fainting, and his being taken away, the police achieving their goals.

For tastes in the succeeding decades, even during the 1930s, this film will have seemed very old-fashioned. However, film students and commentators have a lot to say about the talent of the writer-director, Roland West, and his cinematic techniques.

LORD EDGWARE DIES

UK, 1934, 80 minutes, Black-and-white.

Austin Trevor, Jane Carr, Richard Cooper, John Turnbull, Michael Shepley, Leslie Perrins, C.V France.

Directed by Henry Edwards.

By the beginning of the 1930s, Agatha Christie had become a popular mystery writer and had introduced her Belgian detective, Her curl Poirot. Lord Edgware Dies was published in 1933 and filmed the following year. However, it was the third of the Poirot films made, alibi and Black Coffee in 1931 with Austin Trevor playing Poirot in each film.

They were popular films in their time, with the popular British filmmaking style and cast. However, 40 years later, Albert Finney embodied Poirot, followed by a number of films with Peter Ustinov and, then, as all Agatha Christie fans appreciate, David Sue Shea was Poirot in all of the novels and the short stories.

Here, Poirot is rather tall, and does not correct the comment that he is French! Commentators remarked that Henry Cooper, who plays Captain Hastings, was more the size and appearance of Poirot and Austin Trevor rather more like Hastings. And, as part of the dialogue, Hastings does matter good heavens! And Inspector Japp says Good Lord!

Within the 80 minutes, the film establishes an atmosphere, beginning in a nightclub, a singer offering an impersonation of a more famous singer, Lady Edgware who is in the audience. Lady Edgware wants a divorce from her husband, seeks the help of Poirot, he and Hastings interviewing Lord Edgware and finding he is willing to divorce his wife. There are complications with friends, some of whom advise and warn Poirot, and another hair to the Edgware fortune.

All the complications, all the clues, all the misdirections until a final denouement where Poirot gets all the evidence, especially from Lady Edgware has made, and a final confrontation.

A curio to look at now, but significant in the history of Agatha Christie films. Available readily on YouTube.

CJ7

Hong Kong, 2008, 88 minutes, Colour.

Stephen chow, Jiao Xu, Yuqi Huang.

Directed by Stephen Chow.

Here is a fantasy entertainment for young boys, 10 plus or minus, their fathers, and, by extension, girls and mothers in the family.

The film was written and directed by Stephen Chow who had established quite a reputation in Hong Kong during the 1980s and 1990s, films with a light touch. He achieved some international popularity in 2004 with Shaolin Soccer and, especially, Kung Fu Hustle. This film followed immediately – and there was a later animated version of the story.

This is a story of Dickie Chow, son of a building site labourer who wants more for his son than he ever had, sending him to an expensive school, but Dickie labouring under disadvantage with soiled sneakers, put down by the supercilious teacher, and bullying boys.

However, the key to the film is the appearance of flying saucer, landing in the rubbish tip, Dickie’s father finding a remnant and bring it home is a toy. However, it is more than that, shape-changing, with all kinds of powers, finally appearing as a small dog toy. And there is a sequence where it transforms Dickie’s life, special glasses for passing exams, special powers for high jump, superstrength confronting the bullies… And then he wakes up and the contrast in real life is very different.

Audiences were surprised at the time, as were many who did not realise it as they watch the film, that Dickie Chow is played by a young actress, Jiao Xu, who has had a successful career. Chow himself plays the father.

There is a blend of realism with the sequences fantasy. There is a particular perspective on the widower father and trying to bring up his son, to better his son, while working on a building site and being the butt of comments from his boss. However, there is also the friendly and charming teacher at school.

So, entertaining sequences but a message about honesty and integrity no matter what our situation underlying the whole film.

1. Entertaining and instructive for the young audience, boys 10 plus or minus, father’s?
2. The town, the neighbourhoods, the expensive school, its grounds, classrooms, corridors, playing fields? The hovel homes? Supermarkets? The building sites? Hospital? The musical score?
3. The story of Dickie Chow? Audience surprise that he is played by a young actress? Her being convincing as Dickie? Age, the death of his mother, his father uneducated, working on the building site, the hard work, pushing the wheelbarrow and falling back, the attitude of the boss, ticking him off, yet paying for his wife’s funeral rites, criticising the school, the taunting that Dickie cheated at maths? A context for Dickie going to school?
4. Dickie, bright personality, the bullying students and the clashes, his dirty sneakers, not allowed to play, defending the big girl, her standing by him at the sports, the big bully and the fighting? The wealthy young boys and their taunts? The effect on Dickie, his father urging him not to fight, being proud of being poor, his declaring this in the classroom as his ambition?
5. Miss Yuen, at school, kindly, interest in Dickie, discussions with him, about his father, the encounter with his father, helping Dickie, the father and his gratitude, the accident, Miss Yuen her helping Dickie?
6. Dickie, the boys and their toys at school, comparisons, at the supermarket, his wanting the toy, creating the tantrum, the aftermath with Miss Yuen, surly with his father, wanting the fan for sleeping? His father hard on him, the beatings?
7. The father, going to the dump, collecting things, the lamp, its not working, examining the television, the flying saucer and its departure, his bringing home the toy? Dickie and his playing with a toy, the bouncing ball?
8. Father and son watching the television, witness to the flying saucer?
9. The toy, at school, C1 as the prize toy, Dickie calling the ball CJ 7, playing with it, its contortions, power, the electric fan, emerging as the doglike toy, its powers?
10. Dickie and the toy, going to school, hundred percent in the test, defying the teacher, the arrogant teacher and his putting down of Dickie and not wanting to touch him, the enormous high jumper leap into the stratosphere… And defeating all the boys and their bullying? The big bully and his confrontation with the big girl? His pride?
11. The contrast with the reality, the poop, in the classroom with the boys, the teacher, the sports, continued pooping, Dicky being hosed down, changing his report, 100%?
12. The truth, his father’s disappointment, the effect on Dickie? The toy, losing its power, becoming a toy, around his neck?
13. His father, on the building site, the collapse, the fall, hospital, his death?
14. The final fantasy, CJ 7 and its power, and reviving his father? The boys excepting him, Miss Yuen and her help, a happy future?

THE RATES OF TOBRUK

Australia, 1944, 96 minutes, Black-and-white.

Grant Taylor, Peter Finch, Chips Rafferty, George Wallace, Joe Valli.

Directed by Charles Chauvel.

Australia made very few feature films during World War II. There had been quite some activity, especially with director, Ken Hall during the 1930s but from 1939, resources were poured into the war effort.

Veteran husband and wife team, Charles and Elsa Chauvel, had moved into filmmaking in the 1920s. During the 1930s they tackled historical themes and First Nations themes in Heritage and Uncivilised. However, they were able to make a feature film, supporting the war effort, going back to the exploits of World War I, the lighthorsemen and the charge of the Sheba, the film 40,000 Horsemen.

The Chauvels researched the deploying of Australian troops in North Africa, the fight against Erwin Rommel and his advances through the desert, the Australians being settled in the Libyan town of Tobruk, besieged for many months, digging in, literally, and dismissed by the British broadcaster from Berlin, Lord Haw Haw, as rats. However, the nickname was taken as a badge of honour and the Australians in Tobruk have always been remembered as the Rats off Tobruk.

After preparing the screenplay and making it authentic, companies and the government provided the support for the filmmaking, desert scenes on the beach of Cronulla, Tobruk scenes built at Camden, and the final PNG sequences in Queensland.

Grant Taylor and Chips Rafferty had appeared in 40,000 Horsemen and were joined here by Peter Finch, British but growing up in Australia, appearing in radio drama and some films. Included in the cast were to comedians of the period, George Wallace who had appeared in his own films, very broad slapstick humour, and Joe Valli, with some eccentric humorous sequences.

A seriously abridged version, 68 minutes, was released in the US in the early 1950s and dismissed. The story was taken up by Hollywood in a sequel to film about Rommel, The Desert Fox with James Mason, The Desert Rats.

The film illustrates the Australian outback and stockman in the opening sequences (seen to advantage in 1946 with Chips Rafferty in The Overlanders), some touches of romance with Australian male reticence, a lot of mateship during the war, not underestimating the wounded and dead, and a continuation of the war during the film’s release in 1944 in Papua New Guinea.

1. The impact of this film in 1944, World War II, the memory of Australian action in North Africa, the siege of Tobruk? Heroism, the blocking to the blitzkrieg Nazi attack, stopping Rommel? In the aftermath of the soldiers transferring to the war in New Guinea?
2. The impact of the film decades later, a record of the events, a tribute, lest we forget, a portrait of Australian men at the time, Australian humour, vernacular? And changes since?
3. The work of Charles and Elsa Chauvel, perspectives on Australian history? 40,000 Horsemen in World War I? For the war effort? This film and the war effort, an Australian production collaboration in a time when there was little Australian film production?
4. The opening, the atmosphere of the stockmen, out with the cattle, the vast distances, the movement, the different terrains, passing through properties?
5. The focus on Bluey, his leadership, on Peter from England and his observations, writing, taking notes, on Milo as the stockman, cheery, recognisable Australian image? Their friendships, the work?
6. Bluey and the meeting with Kate, her expectations, the Australian male reserve, attracted, manner of speaking, the touch of detachment, her response? Peter and his observing the relationship, later the letters, writing letters, fostering the relationship with Bluey? And the romantic ending, Bluey and the war experiences, the effect on him, his return, Kate waiting for him? The marriage?
7. News of the outbreak of the war, enlisting, the three finding themselves in Africa?
8. The Australian locations for Libya, Tobruk, the desert, the Sydney Beaches, the Tobruk headquarters, Queensland locations for new Guinea?
9. The situation in Africa, the attack of the Germans, defeating the British, the Allies? The role of the Australians, in Tobruk, the siege, over six months, the Australians holding, the impact of the battle sequences, the German advance, the defence, the strategy with the tanks, letting them through, capturing them? The prisoners of war?
10. The situation in Tobruk, digging and the underground, the attacks, deaths, wounding, the military hospital, Peter being wounded, in the hospital, the encounter with Mary, the nurse, her being evacuated, correspondence, and the later bar sequence and the singing the song, Mary? The range of wounded men, Milo, rescuing Bluey, the head wound, in the hospital? The camaraderie amongst the men?
11. Moving around Tobruk, the buildings, shops, souvenirs, the bar? The ordinariness?
12. The comedy and the film, George Wallace, his screen persona, broad comedy, the barber, at work, wanting a transfer to Greece, friendship with the trio, the sequence of the officer falling asleep, George’s concern about him? The impact of the humour today, of its time?
13. The comedy in the film and Joe Valli, Scotsman, the dialogue, imagining the birds, chasing them, his reappearing in the barbershop, the attempted shape, finding the birds?
14. The role of the Rats of Tobruk, Lord Haw Haw and his broadcasts from Berlin, ridiculing the Australians and their style, calling them rats, and this becoming distinctive for them?
15. The final time in North Africa, the fighting, Peter and his being wounded, the men gathering round him, his death? Leaving his manuscript?
16. The sudden shock of Milo’s death?
17. The return to Australia, the tickertape parade through the city? The commentary about the heroism? And listening
18. Transition to the war in New Guinea, the Japanese, the jungle in the mud, the Japanese on the rockets, Bluey and the combat fight with the Japanese, his being rescued by the “Fuzzy Wuzzy” Angels”? The war continuing?
19. And the happy finale with Bluey and Kate?

FAMILY SWITCH

US, 2023, 106 minutes, Colour.

Jennifer Garner, Ed Helms, Emma Myers, Brady Noon, Lincoln Sykes, Theodore Sykes, Rita Moreno, Matthias Schweighoferr, Vanessa Carrasco, Cyrus Arnold.

Directed by McG.

For many, this scenario can be referred to as the Freaky Friday syndrome, a relationship between adults and children, parents and sons and daughters, in a situation where roles are reversed, an exchange of bodies. Here, it is a family switch – father becoming son and vice versa, mother becoming daughter and vice versa and… The baby into changing with the family dog and vice versa!

This is an entertaining variation, more or less what we expect – only more so because of the triple switch.

The first half hour spends time, as expected, establishing each of the central characters. Dad is played by Ed Helms, rather easy-going in his manner, part of a band, keen on music, a bit non-descript. By contrast, Jennifer Garner is the efficient mother, a business executive promoting an architectural plan, a forceful personality. Emma Myers is CC, final year at school, top soccer player, friends at school, feeling that her mother is trying to control her life and not acknowledge how important soccer is to her. Brady Noon is Wyatt, mid teens, love of science and knowledge of science, something of a nerd, about to be interviewed for entry to Yale.

On their way to the Griffin Observatory Los Angeles, they encounter Rita Moreno in a van, offering to tell their fortune and future. They decline, rush to observe a special alignment of the planets, break one of the lenses, squabble, and the inevitable wishing that each were in the other shoes. And that what happens, baby and dog and all.

In many ways predictable, but that is what we can expect from this type of situation. Sports daughter has to explain the project to the executives – but realises that her mother should having encouraged team spirit for a successful presentation. Mother then makes a complete hash of playing soccer even when the national talent scout is present. Dad’s interview with Yale is a disaster. Son gets the opportunity to explain himself to a girlfriend, humanise himself a little. And, baby and dog are left with trainer, Rolf, dog walking on hind legs only, baby slurping in the dogfood basin!

The audience is teased a bit when they finally get back to the Observatory, have a substitute lens, it breaks as well, the fortuneteller observing them – and her explaining that what was broken had to be fixed and that is their family life! Explanations, admissions, and love all round.

1. The Freaky Friday, vice versa scenario? Parents and teenagers, baby and the dog?
2. The Christmas setting, and the alignment of the planets? Context for goodwill?
3. The American family, the parents, the teenagers, the baby, the dog? The first 30 minutes establishing each character and anticipation of the reversals?
4. Travelling to the Observatory, the encounter with Angelica, her offer to tell the future, encouragement?
5. The squabbles, the telescope, the breaking of the lens? Each wishing to be the other, the transformation? The immediate effect?
6. The reversal for Jess, her daughter’s body, the look, style, clothes? The soccer match, the talent scout coming, her going on the field, awkward, touching the ball, and not accepting the final goal but helping the injured player? And CC with the parents, calling out, giving advice, the reaction of the coach? The consequences of not getting chosen?
7. The reversal for CC, in her mother’s body, eating all the ice cream and being sick, the nature of the promotion pitch, the scenes of Jess going to the office, her rival, her associate? The nervousness of the presentation, her being sick? The entrepreneur walking out, staying? Failure? The writing of the cards and the spilling of the coffee…? The next day, CC going as her mother, talking to the staff, their working as a team, the emergency phone call, leaving, the team and its success?
8. Bill, becoming his son, the interview for Yale, his botching it with his music ideas, they comment on his middle to low intelligence, the encounter with Ariana, putting in good words for his son?
9. Wyatt, becoming his father, serious minded, the discussions, watching the interview about Yale? The subject of bullying in the school? Being the leader of the band?
10. The family, together, trying to cope, the issue of the band, persuading build to come back, the taunts from the crowd, Ariana’s support, the singing of the song, the verve, response?
11. The comedy with the baby and the dog, the reversal, the baby acting like the dog, the dog on hind legs, going to see Rolf, his having to deal with the situation, the comedy with his coping?
12. The persuading of the scientist to make the lens, Wyatt giving up his scientific treasure? The lens, the issue of driving, taking the new car, the terrible drive, the collapse of the car, Angelica giving them a lift, the breaking of the lens, finding the actual lens, the alignment, no change?
13. Angelica, her advice to fix what was broken? The family broken? Coming together?
14. Each hearing good comments from friends about their opposites? The talent scout coming and CC getting the second chance? Wyatt staying home and bonding with Ariana? Jess becoming Partner? Bill and his being a good father?
15. The morals of these reversal stories, empathy and understanding?

REVOIR PARIS/PARIS MEMORIES

France, 2022, 105 minutes, Colour.

Virginie Efira, Benoit Magimel, Gregoire Colin, Maya Sansa, Amadou Mbow, Sofia Lesaffre.

Directed by Alice Winocour.

The title rather suggests nostalgia, visits to Paris, recollections… There is some truth in this but not in the way that we might have expected.

Writer-director, Alice Winocour, was affected by the terrorist attacks in Paris in 2015, her brother being one of the victims. This film is her tribute to those who died, those who are injured physically and psychologically and emotionally,, an expression horror at the terrorist attacks and their violence, and an exploration of the consequences of these traumatic experiences, especially in blurred memories, attempts to reconstruct the past, to deal with some feelings of guilt for surviving, but also a search, a quest, to find people who had helped others to survive.

The central character here is Mia, played by the French actress, Virginie Efira, who has been so prominent in many French films for the last decade. She plays a woman who was at the targeted restaurant, writing, aware of some of the other guests, especially Thomas (Benoit Magimal) with a group celebrating a birthday. But, then the attack, some memories of taking refuge in the toilet, others helping her, surviving in the rubble.

In the aftermath, Mia is disturbed, becomes more alienated from her partner, Vincent (Gregoire Colin), unable to relate to people, disturbs about her memories and her lack of memory.

She begins a quest to search for the truth, returning to the restaurant now repaired and functioning again, meeting a woman who is coordinating gatherings of the survivors, enabling them to talk, to ask questions, to remember – and a startling incident where one of the survivors, an older woman, suddenly bursts into an attack on Mia, accusing her of locking the toilet door and preventing others to hide in safety. (And, rather movingly, the woman calming down and apologising for her anxiety and falsely accusing Mia.). Mia also encounters Thomas who has been injured. Again, talking, support, reminiscing, trying to fill in the details of what actually happened.

But there is also the important theme of the people working at the restaurant, in the kitchen, many of them from Africa, many of them illegal immigrants, not necessarily known by name but rather by face, fleeing after the terrorist attack, even to other countries. But Mia is determined to find the man working in the kitchen who she realises protected her, saved her.

It is emotionally satisfying to share this journey and quest with Mia, the support she found in the group, especially a young girl whom she befriends, Thomas, various members of the restaurant staff that she asked to help to identify her protector and, ultimately, reuniting with him.

The terrorist attacks made headlines throughout the world. However, we need stories like this one to be aware of the consequences of the attacks, the pain of the aftermath, the need for healing.

1. The title, memories, revisiting memories, recovering memories?
2. Paris, 2015, the terrorist attacks, violence, consequences?
3. The city of Paris, familiar settings, homes and apartments, gatherings? The restaurant, the attack, the violence, subsequent restoration and meetings?
4. Memories, strong, clouded, the brain, deleting memories, blurred, the psychological needs for dealing with the violent memories?
5. The focus of the story on Mia, her family background, her work, ordinary life, relationship with Vincent? Her being at the restaurant? The visualising of the attack, the experience, her behaviour, at the table, writing, going to the toilet? The kitchen? The blur?
6. The dramatic impact of the accusations by the woman who accused her of locking herself in and preventing others to come to safety? The audience shock? Mia’s shock? The later apology?
7. Thomas, the party at the restaurant, Mia noticing him? His place in her memories? Meeting him, the hospital, his injuries? Sharing with him, discussions?
8. The group of survivors, the group, the coordinator, the gathering at the restaurant, the discussions, revelations?
9. Mia and her quest, to track down the man who helped her in the kitchen, saved her? The various inquiries, going to the restaurant, the staff, knowledge, not knowledge, the fact that he had left France? The difficulties with illegal workers? His return, the encounter with Mia, her thanks?
10. The range of survivors, the coordinator of the meetings, the young girl, her experiences, support? The kitchen staff?
11. The process of memories, facing the truth, experiencing the hurt, the experience of alienation from friends and partners, the solving of the blur, coming to some kind of healing?

SNAG

US, 2023, 86 minutes, Colour.

Ben Milliken, Sofia Castro, Jonny Beauchamp, Ana Ortiz, Jeanette

Aguilar Harris, Jaime Camil, Brandan Hudson, Michelle Ortiz,Conor Tillman.

Directed by Ben Milliken.

The original title of this short action adventure film was SNAG: THE FIRST CHAPTER – hopes for the commercial success of the film and openness to sequels.

The film is the work of actor Ben Milliken, born in the UK, brought up in Australia, in Australian media, a boxer for 10 years, moving to the US for a film and television career. He has produced this film, cowritten, is the director and the star. He has quite an agreeable screen presence.

This is a Mexican adventure, reminding audiences of some Robert Rodriguez films, El Mariachi. Some mention has been made of Quentin Tarantino – and his influence is very clear when the two hitmen arrive, in suits and ties, and have quite a long discussion, verbal sequences beloved by Tarantino.

A mood is set with the opening sequences, a musical score suggestion of the spaghetti westerns. Each of the characters is introduced visually, bright and elaborate colours.

The style of the screenplay, and its continually moving, with the title on screen, THEN to NOW and continual intermovement. Which means that the audience has to pay attention, discovering Snag, the central character, wounded, in a bar, Mexico, not speaking English, the reaction of the barman and hostility, a mysterious phone call, an elaborate fight with the customers, and the day being saved by the young woman, Valentina, attracted to Snag, firing into the air. She saves him.

The film makes a transition to the Now, with Snag working at a bar as security man. It is run by a brother and sister. He also has a caravan out near the ocean and seems content.

There are continual returns to the past, especially to Valentina’s mother, the ruthless cartel chief, Victoria. It has also revealed that she almost executed Snag as a failed drug runner but he escaped, she complaining always that he escapes. And, she is dismayed as her daughter is gunned down. She continues after Snag, everybody in her pay, a violent woman called the Reaper, the well-dressed twins, even the sister at the bar.

There are difficulties in the Now, a former friend and rival turning up, the brother and sister turning up with their limousine, then a shootout. And, surprisingly, hints of the survival of Valentina – and an important twist so that if Snag survives and if there is a sequel, there is the basis for a ready-made plot.

DOLLY PARTON'S MOUNTAIN MAGIC CHRISTMAS

US, 2022, 85 minutes, Colour.

Dolly Parton, Tom Everett Scott, Angel Parker, Mary Lane Haskell, Jimmy Fallon, Willie Nelson, Billy Ray Cyrus, Jimmy Allen, Zach Williams, Miley Cyrus, Cassie Parton Griffiths, Rachel Parton George.

Directed by Joe Lazarov.

Everybody knows Dolly Parton. Most audiences love Dolly Parton. At the opening of this television special, she sings I will always love you and 9 to 5 as an encore. She is in Tahoe, looking at the snow, getting a bright idea that she should do a special Christmas program at Dollywood.

So, this is a film of putting on a show. Tom Everett Scott is her producer, looking very uneasy at times, clashing with the substitute choreographer, Angel Parker (though reconciling with her, brought up an orphan, inviting her to Christmas with his family). There are scenes with agents, with producers, with screenwriters, choreographers. And, there is the tension of not being ready, especially on the day of the show, rehearsals and getting further and further behind in time. And some squabbles. And Dolly intervening.

However, scattered throughout this brief narrative is a huge range of songs.

Dolly Parton emerges as a strongly committed Christian, appealing to her audiences, to evangelical Christians throughout the US and the world. There is a crib sequence, Mary dancing, there is a vigorous rendition of Go Tell it on the Mountain, a song about Jesus, He is Here, a song about talking to God, its lyrics gently expressing many God questions, and, with a threat by an evil spirit destroying the spirit of Christmas, and in appearance of Satan and Dolly’s stance song, Go to Hell.

This bringing of the devil into the Christmas story upset many devout Christian audiences.

There are a number of fantasy sequences, especially when her grandnephew appears. And she has apparitions from wise singing advisers who accompany her in song, especially Willie Nelson, a duet with Jimmy Fallon, with Billy Ray Cyrus, and, a song with his daughter, Miley Cyrus.

Obviously, all’s well that ends well, and there is a spectacular finale.

This is a film for all Dolly Parton’s fans – with the caution of those who didn’t like the devil song.