Displaying items by tag: Peter Malone's Movie Reviews

ELSTREE CALLING

UK, 1930, 86 minutes, Black and white.

Tommy Handley, Gordon being, Teddy Brown, Helen Burnell, Donald Calthorpe, the Charlot Girls, Cicely Courtneidge, Will Fyffe, Gordon Harker, Jack Hulbert, Hannah Jones, John Longden, Anna May Wong.

Directed by Adrian Brunell, Alfred Hitchcock.

This is something of an antique. Immediately, it is an opportunity to see work at Elstree Studios in the early 1930s, not just for filmmaking but also for the advent of television, the science behind television and its broadcast, the role of the MC, the various acts and their staging, comedy, music, glamour, dance, Shakespeare, farce… It does all look a bit antiquated now and there are various aspects which 21^st-century standards would be critical of, the very talented dancers but there appearing in Black Face, the touch of sexual harassment and comment,

There are also some comic sequences at homes with the television set is playing up and another successful.

But, the main reason for seeing this film is that the acts were directed by Alfred Hitchcock. He had been very successful with his silent films, his cinema techniques, storyboarding, inventiveness, his exploration of themes, the transition from silent to talky, and his initial thrillers.

There is very little characteristic Hitchcock material here but, the fact is that he is credited as directing the acts and, whether he was happy to acknowledge this or not, Elstree Calling is part of his cinema career.

RICORDI?

Italy, 2018, 104 minutes, Colour.

Luca Marinelli, Linda Caridi, Giovanni Anzaldo.

Directed by Valerio Mieli.

Ricordi? The very title indicates that this is a film about memories. This is a stylish film, particularly for an arthouse audience, written and directed by Valerio Mieli, director of the well-received The 10 Winters.

This film moves between past, present and future, the fluidity of time in memory. Events indicate reminders. Reminders lead to nostalgia and memories.

The director does not name his central couple. They are played by Luca Marinelli (Martin Eden, The Eight Mountains) and Lynda Caridi (The Ties, Last Night of Amore). At the beginning, she is charming, dressed in white, optimistic, attracted to the dark-suited rather brooding guest at the social.

The film presents the changes in the relationship, from love to loss of love, their renting an apartment where he grew up, all kinds of incidents and the discussion of the reality of time, the present, the past.

There is a complication with the woman falling out of love, the man leaving her and going off on his own. There is some background about their respective families. Distressed, the woman goes to the man’s best friend to get some kind of advice, feeling and attraction.

Proust was very strong on Time Remembered and here is a contemporary Italian variation on the theme.

1. The title? A film of memories? Italian style?
2. The structure of the film, the meeting of the couple, their experiences, later experiences, flashbacks, memories determining action, action leading to recalling of memories? Into of past, present, future?
3. The characters nameless? Audiences identifying with them? Personalities, characteristics, episodes, identity, relationships, disappointments, love and loss of life
4. The opening, the social, the noticing each other, meeting, the attraction? Communicating?
5. The drama and the editing of the episodes, the time when the two responded well to each other, the various situations, friends, relationships? The cooling of the relationship, the woman and the other man, the man and his behaviour, relationships, mistakes?
6. The encounters, the discussions about memories, the going back to memories and their significance?
7. The failure of the relationship, the woman falling out of love and stating this, the man, his wandering, his coming back, dependence, dismay?
8. The communication, the memories of the past, the girl with red hair, his parents, his mother’s alcoholism? His brooding pessimism? The contrast with the woman, memories of her family, refuge with her family? Cheerful optimism?
9. The use of the apartment where he grew up, the renting it, the effect of living in it, communicating?
10. The woman, seeking advice from Marco, his character, response, relationship with her?
11. After the loss of love, his changing his brooding to more hope, and her seeing life more realistically?

WONKA

US/UK, 2023, 116 minutes, Colour.

Timothee Chalamet, Calaha Lane, Hugh Grant, Olivia Coleman, Keegan-Michael Key, Jim Carter, Patterson Joseph, Matt Lucas, Matthew Baynton, Freya Parker, Rakhee Thakrar, Natasha Rothwell, Rich Fulcher, Colin O'Brien, Sally Hawkins, Rowan Atkinson, Rufus Jones, Tom Davis, Kobna Holdrook-Smith..

Directed by Paul King.

Everyone knows the name, Willy Wonka. He first appeared in Roald Dahl’s story in 1964 and a subsequent story in 1972. Roald Dahl has been one of the most popular storytellers, especially for younger audiences, with such titles as Matilda, The Witches, James and the Giant Peach…

But, Willy Wonka is known far more widely than his readers with the 1971, Willy Wonka and the Chocolate Factory, with the engaging Gene Wilder, and the popular songs, Pure Imagination, and the Oompa Loompa song (both in this present film but not The Candy Man). Tim Burton did a reinvention of Willy Wonka with Johnny Depp in Charlie and the Chocolate Factory.

Now, here is a prequel. Where did Willy Wonka come from, where did he learn how to make chocolate, his relationship with his mother, his ambitions to open a chocolate store, a nicely naive young man setting out on an adventure. The screenplay actually takes a number of issues from the original story, especially the villainous chocolate cartel entrepreneurs and their opposition to Willy Wonka.

So, quite a lot of plot for a prequel. However, this new film is also designed as a musical, rather reminiscent of the film versions of Broadway musicals (and, most probably, Wonka is destined for Broadway and beyond). The new songs are pleasant even if not so memorable as Pure Imagination, sung nicely by the various characters with lyrics that illustrate their characters and the situations – the most memorable, perhaps, involving the repetition and the beat of the word, Scrub.

The film has been co-written and directed by Paul King who became a great favourite with his very pleasing and entertaining Paddington films. He brings the same sensibility to Wonka.

And, to be the new Willy Wonka, here is Timothee Chalamet who has already proven himself as a substantial actor on screen presence in dramas and comedies but, especially as Paul Atreides in Dune – and Dune 2 scheduled for release in 2024. He is quite small, very young-looking, a blend of the innocent and the ambitious, remembering his mother (a cameo by Sally Hawkins), generous, but shocked to discover the greed of a venal world. And the tag, “the greedy always beat the needy” often repeated throughout the film.

There is something rather Dickensian about the early sequences, Wonka encountering an ultra-Dickensian landlady played by Olivia Coleman. And Wonka is sentenced to a long imprisonment below the boarding house, a workhouse laundry, with a different assortment of penalised characters, especially a young girl, Noodle, who tries to save Wonka. Amongst those down below is the former accountant of the cartel, played by Jim Carter, liberated from Downton Abbey.

Willy Wonka has a chest full of ingredients for chocolate, a magician’s capacity for multiplying chocolates with the most exquisite tastes and physical and psychological effects, leading to a lot of comedy turns. He concocts a plan to escape from the laundry with Noodles’ help, then with the help of the others, to find the cooked books of the cartel and expose them. However, they have their allies, the chief of police, the chocoholic Keegan-Michael Key (and his fat suit, fatter suit, fattest suit after his choc indulgence), and the chocoholic priest, Rowan Atkinson this time with no weddings but one funeral.

The cartel is sinister, led by the aggressive Patterson Joseph, aided by Matt Lucas with an orange wig which falls off, and Matthew Baynton who chokes whenever he tries to say the word “poor” and gags when others see it. They are due for a comeuppance.

And, the Oomps Loompas? Well worth awaiting the arrival of a miniature Hugh Grant as Lofty, resentful that Wonka has stolen his special beans and demanding repayment. Hugh Grant has been sending himself up in recent films and obviously is enjoying this escapade, a heroic rescue for Wonka and Noodles – and a kind of MC entertainment during the final credits!

Roald Dahl is often quite dark in his stories. Even though Wonka is very light, there are the three villains, there is the corrupt chief of police and priest, and a dire attempt on the life of Willy Wonka and Noodle.

This is quite a lavishly produced entertainment, incorporating happy memories of Willy Wonka from the past, drawing us into his extraordinary chocolate world yet again.

1. The popularity of Willy Wonka, Roald Dahl’s stories, 1971 film, 2007 film? Now a musical? Prequel?
2. The production values, fantasy and effects, costumes and decor, locations, the city blend of London/Paris/Berlin?
3. The new songs, the characters singing them, the lyrics illustrating the characters and situations, Scrub, the dance routines, the lavish stagings and sets, choreography – and Broadway musicals?
4. The incorporation of the original song, Pure Imagination, theme for the film? The Oompa Loompa song?
5. Willy Wonka and his origins, with his mother, her care and love for him, the chocolate bar, the message? The dream of opening the chocolate store, the memories of the store in the city? His ambitions? Setting out, his suitcase and its contents, his magic powers? Farewell to his mother? Her reappear at the end and the opening of the store? Being with him?
6. Arrival in the city, his personality, young, enthusiastic, naive, the 10 sovereigns, the demands made on him, a fine for daydreaming… No money, sitting on the bench, Bleacher talking with him, taking him to Mrs Scrubbit? Nice, nasty, demanding the money, his staying the night, with the money, her demanding interest, is relegation to the basement, not reading the fine print, the warning from Noodles?
7. Downstairs, the laundry, hardship, the song, Scrub, Noodles at her place, the other members, the comedian, Abacus and his being an accountant? The plan, Wonka getting out with the laundry, then everybody getting out, working together, the search for the books of the entrepreneurs (and the flashback to Abacus searching and his arrest)?
8. The cartel, the three personalities, the aggressive leader, Matt Lucas and his bad wig and naive utterances, the chocolatier who could not say the word “poor” and choked when he heard it? Their shop, encountering Willy, tasting the chocolate, turning against him? Using the chief of police, his being paid in chocolate to eliminate opposition? The deals, a touch of conscience, taking the chocolate, becoming fatter and fatter? The priest, the Cathedral, the confessional, payment by chocolate, the lift downstairs, the preparation for the funeral, the giraffe, getting the giraffe out, the group getting inside, the chocoholic monks, the funeral?
9. Noodles, the nice orphan, age, mystery of her background, drop-down the shoot, the ring, Willy recognising the link with the chocolatier? Helping, the dangers, the final revelation, the story of her birth, inheritance, disappearance?
10. The scheme for Mrs Scrubbit and Bleacher, pretense that he was Austrian nobility, his dressing up, the flirting, the final expose?
11. The nature of the chocolates, the people in the square, the response? The police? The ingredients of the chocolates, going to the zoo, the episode with the giraffe? In the Cathedral?
12. The arrival of Lofty, the background of the Oompa Loompas, Lofty and his size, dress, Hugh Grant’s manner, vocal style, song, walk, accusations about the stealing of the beans, the flashbacks? His keeping guard? His reclining, Willie and his puzzles? His coming to the rescue when the couple were drowning in chocolate? The origins of the Oompa Loompas and their work in the factory, Lofty being shorter and the truth, becoming the taster?
13. The threat to Willie and Noodles, the cartel and the confrontation, releasing the chocolate, their almost drowning, the rescue? And the transformation of the chocolate into the town square fountain? The chocolates the entrepreneur, their flying, the arrest, the good policeman and the exposure of the overlarge Chief of Police?
14. Noodles, the happy ending, reunited with her mother?
15. The happy ending, and the future for Willy Wonka and his chocolate factory?
16. And Hugh Grant And puzzled but, the MC during the final credits?

BLACKMAIL

UK, 1929, 85 minutes, Black-and-white.

Anny Ondra, John Longden, Donald Calthrop, Cyril Ritchard, Sarah Allgood, Charles Paton, Phyllis Konstam, voice of: Joan Barry.

Directed by Alfred Hitchcock.

Alfred Hitchcock had made quite an impression in British cinema during the 1920s, quite a number of films, many still available on You Tube. This was his last silent film, his first talkie film, the final product a combination of both?

The film is based on a play by Charles Bennett, opened out by Hitchcock. Czech actress Anny Ondra is the first of the Hitchcock blondes, quite a tradition throughout his films. She was a celebrated Czech actress but her accent was too difficult for talkies and she was dubbed by Joan Barry. She went on to have a significant career in German films (and marrying the world boxer, Max Schmelling).

John Langdon is the police inspector, much of his performance non-verbal, the silent style with close-ups, expressions and body language. Which is also the case with Anny Ondra many times. The villain is Donald Calthrop, a con man, a blackmailer, realising that Anny Ondra has gone into the flat of a seductive artist, played by Cyril Ritchard, an attempt to blackmail her.

She is bewildered, killing the artist in self defence, ultimately wanting to confess.

There are complications in the reputation of the blackmailer, and his pursuit through the London streets and a taxi and then his arrival at the British Museum, the columns, the various rooms of the exhibits, eventually on the glass roof, pursued, and falling to his death through the glass. (And Hitchcock later relying on tall buildings and monuments for drama, the Statue of Liberty, the Albert Hall…).

Blackmail features quite strongly, many sequences and quite some analysis in Mark Cousins’ documentary My Name is Alfred Hitchcock indicating Hitchcock’s cinema artistic sensibilities as well as his themes..

1. Alfred Hitchcock in the 1920s, development of his techniques, storyboarding, fixed camera, swirling swivelling camera, close-ups, editing, pace?
2. The last silent film for Hitchcock, first use of sound? The combination?
3. The black-and-white photography, the atmosphere of London, the streets, vehicles, New Scotland Yard, the shop, the flat, modern atmosphere for the 1920s, costumes, decor? Background musical score?
4. Introduction, Frank, the police, the information, the vehicle, coming to the block of flats, entry, the criminal smoking and reading in bed, reaching for the gun, the struggle, getting dressed, taken to New Scotland Yard, the interrogations? His attitude? The witnesses, the lineup, his being identified? Establishing Frank and the work of the police?
5. Frank, his relationship with Alice, going to the restaurant, difficulties in finding a place, her note, the arrival of the artist, her being whimsical, Frank leaving, waiting outside the door, seeing Alice with the artist?
6. The artist, suave manner, walking Alice home, talk, his apartment, inviting her out, her initial resistance? Her going in, going upstairs, his mail, the landlady, the note, the frequent visitor and his demanding money? Alice upstairs, the drink, seeing the dress, her being urged to change, reluctance, changing, the camera focusing on her, the artist playing the piano, the lyrics of the modern girl? His artwork, her trying her painting, the signature, later brushing it over? The seduction, his attack, forcing Alice, Hitchcock simply showing the curtain, movement, reaching for the knife, no movement, her reaction, bewilderment, delaying, getting dressed, carefully leaving, in the street, going home, upstairs, into bed, her mother with the breakfast, coming down for the day?
7. The indication of Tracy, outside, watching? And the glimpses of the policeman patrolling the streets?
8. Frank, the investigation, his finding Alice’s club, her previously losing it at the restaurant? In his pocket, observed by Tracy, Frank going to the shop, trying to get the truth from Alice, giving her the glove? Their being interrupted?
9. Tracy, arriving, smug, smile, casually leaning on the counter, demanding the cigar, that Frank pay for it, wanting food, Alice asking her mother, her mother’s hostile reaction? Tracy smoking the cigar, Alice’s father and his response?
10. The blackmail, Tracy and his smooth talk, the breakfast, in the armchair, Frank giving him money?
11. The phone call, the police discussing the identity of the writer of the note, the description, his being wanted, the police coming for his arrest? Frank, off the phone, smug in his response?
12. Alice, the aftermath, writing the note to Frank, wanting to confess, going to get new Scotland Yard, friendly with the officer at the door, going into the Inspector’s office, Frank present, about to confess, the phone call, the Inspector leaving?
13. The encounter with Tracy, his flight, the taxi to the British Museum, the elaborate finale, on the roof, his crashing through the glass?
14. Alice, willing to confess, saved, her relationship with Frank?

SPACE ODDITY

US, 2022, 95 minutes, Colour.

Kyle Allen, Alexandra Shipp, Madeleine Brewer, Simon Helberg, Carrie Preston, Kevin Bacon, Alfre Woodard.

Directed by Kyra Sedgwick.

Perhaps a bit dangerous to use the word “oddity” in the title. And this film is something of an oddity, but a more thoughtful oddity. It has been directed by actress and director, Kyra Sedgwick, and features her husband, Kevin Bacon, as the father of the odd family.

The focus is on the son and the family, Alex, an interesting sometimes laid-back, sometimes aggressive, performance by Kyle Allen. We learn that there is grief in the family, the death in an accident of the older brother, Alex in the car. This weighs heavily on the grieving mother, Carrie Preston, on the professional gardener father and on the very businesslike daughter, Liz, played by Madeleine Brewer.

All might have been well if Alex were not brooding, wanting out of this world, caught up with a group who are planning an expedition to Mars, a one-way trip, an opportunity to make a better world. His mother goes along with it. His father, wanting to hand on the garden to his son, is patient, impatient. And his pragmatic sister cannot understand it at all. A visit to the sympathetic therapist, Alfre Woodard, conversations with the Russian assistant in the garden work, Simon Helberg.

The main interaction is with Daisy, Alexandra Shipp, who had wanted to be a successful swimmer, now works in her uncle’s insurance firm, has to deal with Alex and the legal consequences of insurance for his journey. She becomes the catalyst for his emotions, for testing his strength of intentions on Mars, for, so to speak, helping bring him down-to-earth.

This is a film of many details, in the garden, Alex contemplating himself and his physical preparations for his journey, difficult interactions with Daisy.

1. The title, offputting? Yet accurate concerning Alex?
2. The ordinary American town, home, the extensive gardens and greenhouse, the streets, children playing, offices, atmosphere? The musical score?
3. A film about identity, about grief and its consequences, about mental conditions, mental illness, obsessions and delusions?
4. Alex’s story, his room, the background of Mars, looking in the mirror, assessing himself? Explaining his ambition, to go to Mars, one way ticket, ready to leave Earth, ready to leave his family? His preparations, exercise, jogging, plants and seeds and fostering them…? The contact with the agency and the enthusiasm of the controller?
5. Alex and his family, his father, running the garden, getting older, thinking of selling, offering it to Alex and his refusal, his relationship with Liz, her absence, return, PR expertise, wanting to control him? His mother, her devotion to him? The background of his dead brother, the revelation of the car crash? The effect of the dead brother, favourite, his absence, grief?
6. Alex, dissatisfaction with Earth, wanting a new start, pioneering? The challenges with space? Its mystery? Its challenge? His explanations of himself?
7. His visit to the doctor, her questions, conversations, affirming him, challenging him? Certificating him? The families later visit to her, confidentiality, her explanations?
8. Financial issues, insurance, the encounter with Daisy, in the street, going to the office, her interviewing him, her scepticism? The initial attraction? Accompanying him to the gym, to the first-aid sessions? Talking, her story, wanting to be a swimmer, failing, coming to her home town, working in the insurance office, the meetings with Alex and the discussions about insurance? Going out, social, drinking, the sexual encounter and the consequences? Her accompanying him on jogging? Going with him to the mission control, her disillusionment? Her explanation of her cheating and taking the drugs, Alex turning it against her, her being upset?
9. The children, the games, the marshmallows, space? Building the space ship and the enjoyment of the takeoff?
10. Alex and his discussions with his father, refusing to inherit the garden, his friendship with Dimitri, the discussions, Dimitri at the family table? Daisy coming to meet the family? His father confronting him? Alex’s reaction, tearing up all the flowers? His father telling him to replant and his obeying?
11. The visit to the mission control, the truth about being an obsession and hobby? The consequences?
12. Daisy, suggestions to work for NASA, his inventions, the discussions with Dimitri and encouragement?
13. His change of heart, meeting Daisy, the apology?
14. Reconciling reconciliation within the family, his father’s future, Liz and her PR job, being at home, with the flowers, taking over? Calming his emotional mother?

MAESTRO

US, 2023, 130 minutes, Black and white and Colour.

Carey Mulligan, Bradley Cooper, Sarah Silverman, Maya Hawke, Sam Nivola, Josh Hamilton, Matt Bomer, Miriam Shor.

Directed by Bradley Cooper.

A striking film, to say the least.

Leonard Bernstein was one of the great American musical figures of the 20^th century. He was a composer. He was a teacher, especially through television programs as well as in person. He was a conductor, vigorous in his interpretations and his effect on his orchestras. The general public probably knows him best as the composer of the music for West Side Story.

This film is a portrait, not a biography.

And it is the work of actor, Bradley Cooper, successful in his acting career but making his mark as a director in his version of A Star is Born, 2018, he taking the role of the musician on a downward spiral, featuring Lady Gaga as the rising star, and winning an Oscar for the song, Shallow.

And, he has been more acclaimed for Maestro. It is a very personal project, co-writing the screenplay, directing, playing Bernstein, careful attention to his manner and mannerisms, especially in some powerful conducting sequences, careful attention given to make up for his appearance and, especially, convincing ageing.

The portrait moves around in time. It opens with the older Burnstein playing the piano and revealed to be involved in television episode. It then makes a transition to when he is in his mid-20s, in a relationship with a musician, suddenly asked to take over the conducting of an orchestra when the impresario falls ill – and is so successful that he becomes famous. This portrait of Bernstein shows the musician, with a number of gay relationships over the decades.

However, Bernstein was also married for several decades and this portrait is also the story of his relationship with his wife, an actress from Chile, Jewish background, Felicia Montenegro Cohen. She is played by Carey Mulligan, an impressive performance, ageing over the decades, loving, supportive, disappointed, managing, a final terminal illness.

The film opens in black and white and, with the marriage, turns into bright colour.

Much of the music comes from Bernstein himself, the opening of West Side Story played at the beginning of a tense sequence, the chorus from Candide played during the final credits, other orchestral pieces.

While the film shows the relationship between Leonard and Felicia, her career, the wedding, the children, family life, friends and associates, the musical world, some musical fantasy based on the sailors in On the Town, classes, the children growing older, the daughter’s concern about rumours she has heard about her father and her mother dampening them down, there is also the tribute that Bradley Cooper makes to Bernstein as a conductor.

There are two fine sequences with Bernstein conducting, Beethoven, and then a six minute sequence of Bernstein conducting Mahler’s Resurrection in Ely Cathedral, doing justice to Mahler’s music but also Cooper and doing an extraordinary impersonation of how Bernstein conducted. (And this can checked with some actual footage of the conductor during the final credits.)

A tribute to Bernstein and a reminder that, on the one hand, someone can be a genius and, on the other, feet of clay.

1. Audience knowledge of Leonard Bernstein? Musician, composer, teacher, conductor? His compositions, television programs of instruction, On the Town, West Side Story, Wonderful Town, Candide?
2. The film as a portrait rather than a biography, a portrait rather than a music documentary? Audience expectations? The tone of the title – and of his car’s numberplate later in his life!
3. "A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers."
4. A Bradley Cooper film, conception of the film, co-writing, producing, directing, and his performance? Bernstein over the years, young, ageing? The effect of the make up? And the performance, resemblance to the real Bernstein, and the power of the conducting sequences?
5. The black-and-white and colour usage, black-and-white in the past, success in life, colour? The into cutting of the scenes, flashbacks? The opening, the older Burnstein playing the piano, being filmed, interviewed?
6. Bernstein’s reputation, his break as a conductor at age 25, musicals, collaboration with other composers like Aaron Copeland, with choreographers like Jerome Robbins, lyricist like Stephen Sondheim? Taking the place of celebrated conductor, Bruno Walter? Television connections, theatre connections?
7. The introduction to Bernstein, with David, his sexual orientation? Age 25, the phone call, taking Bruno Walter’s Place, success, acclaim? The succeeding years, compositions, the fantasy sequence of the sailors, Nancy Free, Felicia present, and On The Town, the attraction of the sole sailor dancing? The comedy with Adolph Green and Betty, Comden?
8. The meeting with Felicia, Carey Mulligan’s performance, background, South American, Jewish, her accent? Coming to the party, the friendship with Leonard’s sister, introduced to Leonard, his charm, comic touches?
9. The issue of Bernstein’s homosexuality and his marriage? The authentic gay relationships, often transient? The authenticity of his love for Felicia? As dramatised in the film, as performed by Bradley Cooper, a long-standing love, devotion, the children, his love for them?
10. Felicia, her career, auditions, understudy, friends, their praise of her, her getting her opportunity, Broadway, success? Her marriage, the effect, devotion to her children and family? And her knowledge of Leonard and his relationships?
11. The range of his career, mentions of West Side Story and its opening score used for a tense situation? The many television episodes of instruction? Conducting Beethoven? And the powerful seen in Ely Cathedral for Mahler’s Resurrection?
12. The passing of time, the children, birth, growing up? The years with Felicia? Her catching him in the corridor with a man, her being upset, the sequence of their fight? And Felicia relating the story to Leonard’s sister?
13. Their daughter growing up, the issue of the rumours about his orientation, her discussion with her mother, her mother not wanting it revealed, the daughter being satisfied? Yet, later, and her discussions with her father?
14. Phylicia, the cancer, the diagnosis, the discussions, Leonard and his concern, the children? Her decline, dying in his arms? The aftermath, the family grief, the father and children?
15. The later sequences, Bernstein in old age, the rehearsals available to the public, the young man conducting, Bernstein interrupting, techniques, sense of the music? The relationship with the young man indicating the continued affairs?
16. Bernstein, genius, creativity, energy and enthusiasm, relationships and love, feet of clay?

CALL ME KATE

you, 2023, 86 minutes, Colour.

Directed by Lorna Tucker.

This is a comparatively brief, 86 minutes, portrait of actress Katherine Hepburn, winner of four Academy Awards, the most in the academy history. She came to prominence in the early 1930s, won an Oscar in 1933, 12 more Oscars over 30 years later, and continued in film and television. She died in 2003 at the age of 96.

This film relies on some audio footage of interviews with the actress, some clips from an interview she did in 1973 with Dick Cavett, some comments from friends and some affably personal commentary from one of her grandnephew’s.

For those wanting a documentary about Katherine Hepburn screen career, this is not yet. There are clips from several films, her first with John Barrymore, A Bill of Divorcement, Sylvia Scarlet, Holiday, and, especially, The Philadelphia Story (and some attention given to playwright, Philip Barry, contacting her, her working with him on stage and for the screenplay, her buying the rights and selling them to MGM), her first film with Spencer Tracy, Woman of the Year, Adam’s Rib, Desk Set and, prominently with its message and the casting of her niece in the central role, Katherine Houghton, Guess Who’s Coming to Dinner. And, The Lion in Winter.

While this does give some idea of her screen career, it would have been interesting to note such films as Mary of Scotland, Tennessee Williams’ Suddenly, Last Summer, Eugene O’Neill’s massive, Long Day’s Journey into Night – and even a pleasant footnote of her being cast with John Wayne in Rooster Cogburn.

By the end of the film, many viewers may come to the conclusion that this is an interesting story but meeting Katherine Hepburn in real life would not necessarily have been so pleasant. She is strong and having good parents, praising her stern father, a very affirming mother, a happy childhood, something of a tomboy, the impact of the suicide by hanging of her oldest brother when he was 16, her decisions about education.

She asserts that she wanted to be famous – and that she achieved. She started in theatre, moved to cinema, many films in the 1930s, some box office failures where the media described her as “box-office poison”, comeback, The Philadelphia’s Story, her films with Spencer Tracy.

There is some background to her an ill-fated brief marriage, an attachment to her agent Leland Haywood but her deciding that she was not marriage material, long friendship with Howard Hughes, her friend Laura Harding who became companion and working for all kinds of aspects of the career, and the quietly proper Phyllis who became her assistant for many years. And, of course, there is the story with Spencer Tracy, elaborated here, her admiration for him, the meeting, working together with him, the relationship, his marriage, his drinking, their secrecy, the many films together, the final years, Guess Who’s Coming to Dinner and its strong theme of equality, his sudden heart attack and death, her giving way to Tracy’s wife for the funeral, wanting to be friends, but rejected and told by his wife to Hepburn that she thought was a rumour.

So, Katherine Hepburn was ambitious, an achiever, absolutely determined, shrewd in business, controlling, living life with certainty.

BIG GEORGE FOREMAN

US, 2023, 129 minutes, Colour.

Khris Davis, Jasmine Matthews, Sullivan Jones, Lawrence Gilliard Jr, John Magaro, Sam Trammell, Sonja Sohn, Forest Whitaker, Austin David Jones, Kei.

Directed by George Tillman Jr.

At the time of the making of this film, the early 2020s, George Foreman was still alive, active and busy and acted as executive producer. The question is: how is George Foreman remembered?

For many he will be the Olympic champion. He will be the boxer who became world heavyweight champion with the defeat of Joe Frazier. And, especially, he will be remembered as being defeated by Mohammed Ali in Zaire, 1974, in the Rumble in the Jungle.

But, perhaps not so well known at all outside the United States, there was his conversion, discovery of Jesus, his becoming a preacher, managing his own church, doing good. And, defying all expectations, coming back to boxing and becoming world heavyweight champion again, after a gap of 20 years.

In many ways, this is a straightforward biography, George in his early years, bullied, worrying his mother, going to Jobcorps and making something of himself, his meeting with Dr Broadus who became his trainer, supporting him for the important years of his career, dismayed when he gave up boxing, but finally agreeing to help him with his comeback. Doc Broadus is played with great sympathy by veteran Forest Whitaker.

It is often exciting to watch the sequences with a 19-year-old George going to the Olympics in Mexico and, surprising everyone, wins Gold. Then there is the build up to his confrontation with Joe Frazier, and his extraordinary power with his fist and knock out. The scenes with Mohammed Ali are quite surprising, especially as Sullivan Jones does not seem to resemble Ali at all in appearance. He is, of course, very cocky, tantalising George, the Rumble and its consequences, but a later meeting, and an admiration between the two and a friendship.

Foreman has had five wives – and there is some suggestion in the screenplay of one of his marriages starting so well but his fame and his liaison with women. However, after his conversion, which is interestingly shown in this film, he encounters in church, the woman who was to be his wife for many decades.

For those not aware of Foreman’s conversion, this might be quite surprising as well as seeing him over the decades running his church, preaching, doing good for the young, getting financial support with his television commercials and his business which he sold in 1999, enough money to support his church from then on.

There is a dramatic crisis when he confronts a young man whose grandmother asks him to train him but he has given up boxing for God – and then the young man is arrested. Change of heart, eventual support from his wife, going back into training, losing weight, and the unexpected victory where he regained the world championship.

This film has been directed by George Tillman Jr, veteran of many films with African-American themes,, especially The Hate U Give.

1. The reputation of George Foreman? American appreciation of him? Knowledge of him outside the US, boxing, preacher, entrepreneur?
2. A biography in portrait, tracing through his life and career in linear fashion?
3. His origins in Texas, growing up in the neighbourhood in Huston, home, school, bullying, possibilities for crime, the invitation to the Jobcorps, his life and training, being introduced to boxing? The role of Doc Broadus?
4. Foreman and his boxing career, training, learning, initially cumbersome, the moods, the punches, his hard fist? Ambitions? His mother being wary? The other family members?
5. The Olympics of 1968, 19, unknown, his winning the gold medal? The consequences, continue training with Doc, the issue of world heavyweight champion, the status of Joe Frazier, 1973, the confrontation with Fraser, the commentators, the fights and choreography, his winning?
6. The Rumble in the Jungle, 1974, foreman and his reputation? Mohammed Ali, as portrayed in this film, rather more serious in tone than in real life? The buildup to the fight, is a year, Ali and his victory? The consequences for George Foreman?
7. The aftermath, the various fights, trying for combat, being knocked down, the support of Doc, the near death experience, the religious experience, the experience of Jesus? The consequences, conversion, baptism, the vision of the church, his becoming a preacher, his sermons, seeing him in action in the church? His power?
8. The reality of his five marriages, the film highlighting one, the interactions with his future wife, her strong mindedness, supporting him, children, his becoming a celebrity, the women throwing themselves at him, his infidelities, the separation?
9. The encounter with Mary Jane in the church, her spirituality, the later meeting her, the conversations, the attraction, the marriage, the children? The years passing?
10. The friendship with Desmond, and Job corps, promotion, bets, interesting his finances to him, belief in him, the glimpse of Desmond drinking, the bank, the news, the failures, George pursuing Desmond in the bar?
11. The episode of the grandmother bringing the boy, hoping that George would training in boxing, a week later in the news that he had been arrested for violence? The effect on George, setting up the club, refurbishing, training? But his refusal to go back to boxing?
12. The financial situation, the TV commercials – and the later emerging of George’s Grill and his career as an entrepreneur? The various charities, signing autographs…? Not enough money?
13. The decision to go back to boxing, Mary Jane and her opposition, later being disturbed in the night and accepting her vision that he should win? Going back to Doc, Doc as a character, training, staying with George, disappointed at his giving up boxing, urging George to lose weight, there are sequences of exercise, weight loss, returning to Doc?
14. The bid to be champion, the media’s response, the fight with Andy Holyfield, the many rounds, his loss?
15. Further determination, the bout with Michael Moore, knocking him out, commentators disbelief? His wife, family, mother? World champion at age 45?
16. The later information about George Foreman, continuing with church, selling his company and sufficient money to keep his centre going? His being executive producer of this film?

CHICKEN RUN: DAWN OF THE NUGGET

UK, 2023, 101 minutes, Colour.

Voices of: Thandiwe Newton, Zachary Levi, Bella Ramsey, Imelda Staunton, Lynn Ferguson, David Bradley, Jane Horrocks, Romesh Ranganathan, Daniel Mays, Josie Sedgwick-Davies, Peter Serafinowicz, Nick Mohammed, Miranda Richardson.

Directed by Sam Fell.

Who hasn’t enjoyed the films from Aardman Studios? Happy memories of Wallace and Gromit from the past, Shaun the Sheep, and Chicken Run.

It is something of a surprise to find that it is 20 years since the first Chicken Run. This sequel has had something of mixed reviews, some joy at another Chicken Run film, some complaints of how slight it is. And it went to Netflix streaming.

Fans of the original will remember Ginger and Rocky and their adventures. Here they are again, this time voiced by Thandiwe Newton for Ginger and, instead of Mel Gibson, American Zachary Levi for Rocky (somewhat incongruous with the rest of the accents being so British, some so very very British)

Once more, we are at the Chicken Run with the tyrannical Mrs Tweedy, voiced by Miranda Richardson again. This time Ginger shows her defiance and the overthrow of Mrs Tweedy. But, this time, the family is different, with the hatching of a little chicken, Molly (Bella Ramsey) and her growing up rather quickly, wanting some independence, her mother wanting what is best for her but being strict, Rocky sometimes a bit ditzy.

The initial action is the rebellion against the Chicken Run and everybody migrating to a paradise island where they are all very happy. The second action is a new, reinforced concrete building for mass production of eggs and chickens, especially for the making of nuggets for takeaway restaurants. And, who should be in charge along with the odd Dr Fry but Mrs Tweedy herself. They have so many chickens but control them with a neck brace which takes away their minds and fills them with false contentment, ready to go up the chopping block and come out nuggets!

While everybody gets a chance for some kind of heroism to confront this evil regime, the main action goes to Molly, very enterprising, using her wits, tracking down the villains, catching up with her mother as well as Rocky and other members of Ginger’s friends. And, there are the two comic rats who get into all kinds of strife.

So, the action eventually is more or less as expected, happy family, happy chickens, happy rescues..

1. The popularity of Aardman studio films? Of the original Chicken Run?
2. A sequel, 20 years later, continuation of the story, the characters, new adventures?
3. The style of. Stop-Motion animation, characters, situations? The voices? British, except for Zachary Levi, American as Rocky?
4. Audience knowing the situation, at the chicken run? Knowing the characters and their past?
5. The situation, Mrs Tweedy, harsh and bossing, her appearance, her voice, her severity? The response of the chickens, the response of Ginger, defiance, toppling her, the uprising?
6. Ginger, familiar, a leader, her group of friends, her relationship with Rocky, their pride with Molly? Molly, egg, little chicken, her rapid growing up?
7. The expedition, all the chickens, finding refuge, the peaceful island? Life?
8. Molly, growing up, venturesome, wanting freedom, her friendship with Frrizzle? Her parents, protective?
9. Ginger, sympathetic, leadership, supportive of Rocky? Rocky, the touch of dotting us? The concern about Molly?
10. The new chicken run, elaborate, large, set down, the chickens in the captivity, collars, control of their minds? Willingly to give themselves up to be nuggets?
11. Molly, with Frizzle, out for the adventure, their discoveries, Molly and her sense of mission, the other chickens, following Dr Fry and the restaurant entrepreneur? Plan of action? Frizzle, her being captured, the collar and the loss of her mind?
12. The mission, to rescue Molly, to free the chickens? Ginger, her group, the various adventures, lost, trapped, freed, Molly and linking up with her father, then her mother? Wanting to free Frizzle?
13. The comedy with the rats, their deliveries, bargains, part of the adventure, with Rocky, silly and sensible, the knockabout comedy and pratfalls, verbal comedy, participation in the adventure?
14. Dr Fry, sinister, evil chicken, his mask, his legs, his voice? Working with Mrs Tweedy? The visit of the entrepreneur, the demonstration, his return, the large order?
15. The adventures in the mechanised chicken run, the photograph of the guard and holding it up for security, the guards trying to stop the chickens? The various ruses, deceptions, the dangers?
16. The confrontation with Mrs Tweedy, her ruthlessness, enmity with Ginger, the final confrontation? Defeat?
17. Rescue, achievement, happy ending?

LITTLE DIXIE

US, 2023, 105 minutes, Colour.

Frank Grillo, Eric Dane, Beau Knapp, Annabeth Gish, Peter Greene, Thomas Dekker, Mercedes Mason, Sofia Bryant.

Directed by John Swab.

The title sounds like a pleasant little ditty from the American South. It is from the American south, from Oklahoma, with writer-director, John Swab dramatising his home state. But it is not a pleasant little ditty.

This is one of those B-budget action films that are very popular with aficionados, once upon a time straight-to-video, now turning up on streaming.

For audiences with more delicate sensibilities and sensitivities towards screen violence as well as towards brutal narratives, not their film.

John Swab has worked with Frank Grillo on a number of similar films – and Frank Grillo has worked on how many more similar films. Here he is Doc, specialist operations expert, helping the governor, Eric Dane, for his political promotion, advised by Annabeth Gish, channelling money from the Mexican cartels. The film opens with the governor and Grillo as Doc, present at the execution of one of the cartel gang – which leads, of course, to retaliation, numerous deaths, and, surprisingly for our possible sympathy with Doc, his doing a lot of the killing. The cartels have given him a motivation by abducting his daughter.

So, there are the Mexican mansions with the wealthy cartel leaders, the processing of the drugs by almost naked women, and gay bar and the death of a singer, a final showdown in Mexico.

While a lot of this may well be based on fact, for many it is ugly viewing.