Displaying items by tag: Peter Malone's Movie Reviews

GENIE

UK/US, 2023, 93 minutes, Colour.

Melissa McCarthy, Paapa Esiedu, Denee Benton, Jordyn McIntosh, Alan Cumming, Mark Maron, Tate Ellington, Luis Guzman.

Directed by Sam Boyd.

Let’s imagine. We have three wishes for a Christmas film. Would you wish for a family theme? Of course. Would you wish for some magic and fantasy? Again, of course. But who would you wish for to play a genie? Maybe not, of course, Melissa McCarthy. But, then, why not? And here she is (perhaps something of a distant relative to Robin Williams in his Aladdin mode).

But, stop a moment! If you are in a sophisticated frame of mind, wary of sentiment, certainly not wanting anything very “very nice”, and if you demand down-to-earth realism, don’t come near Genie.

On the other hand, if you are in a happy mood, no objections to sentiment, niceness, improbabilities instead of realism, why not meet Melissa McCarthy as Flora McAllister, a genie in a box for 2000 years, suddenly released in New York City, the 2020s, adapting extraordinarily instantly, accent and contemporary vocab, some momentary flashbacks to her being condemned and boxed by an evil sorcerer, and her happy mentioning that she had met Jesus in his time, Cana, loaves and fishes, and now told that he was the son of God when she thought he was kidding!

There is a lot of this kind of dialogue, plenty of sentiment, plenty of goodwill, plenty of niceness – and, surprisingly written by Richard Curtis, a remake of his 1991 film, Bernard and the Genie, after a good number of of Blackadder comedies and well before Four Weddings, Knotting Hill and, is Christmas show, have a popular, Love, Actually. (Probably lots more Blackadder here then Love, Actually.)

So, a family story, very familiar, father caught up in work, put upon by his smarmy boss, played by Alan Cumming (who actually played Bernard in the original). Bernard is forced to miss his daughter’s eighth birthday, his wife dismayed, deciding to go to her mother’s, as always seems to happen. Bernard is played by British actor, Paapa Essiedu, looks and sounds very much like Chiwitel Ejiofor. He finds a box, rubs it and hey presto (or something equivalent, here is flora the genie.

If you enjoy Melissa McCarthy on screen, you will very much like her here, much the same, lots of wisecracks, extraordinarily American after 2000 years in the box, providing plenty of wishes for Bernard, allowing a lot of backtracking on wishes, going off with Bernard on a shopping spree, extravagantly wishing, a kind of consumerist Christmas – though Bernard explains to Flora that Christmas has become too commercialised and that is where he starts to explain to her about Jesus and Christmas and she does her reminiscing about him.

You don’t have to be Einstein or Shakespeare to know where this is all going. The point is just to enjoy the fantasy, hope that Bernard will be reconciled with his wife and daughter – and enjoy some comic situations along the way, the wish that the Mona Lisa be in the apartment in exchange for a football jersey souvenir (Bernard not realising that the real one will switch from the Louvre to his apartment with consequent police investigations!), And Flora going to the movies, swept up by the action of a mission impossible film and getting the most enormous crush on Tom Cruise!

Yes, it is very light, perhaps a bit silly, but, apart from the vociferously condemning serious-minded bloggers, a bit of enjoyment for the Christmas season – and all through the year!

1. The title, expectations, Genie stories, precedent genies like Robin Williams?
2. Writing by Richard Curtis, his original film, his long tradition in writing British comedy?
3. The New York settings, the city, views, apartments, the streets, the markets, shops, movies? The musical score?
4. Bernard, a nice man, his employment, his boss holding him up, the smarmy boss and his money, forcing Bernard to work, his being late, the present for his daughter, missing her eighth birthday, the reaction of his wife, the decision to move to her mother’s? The familiar situation?
5. Bernard, the box, rubbing it, Flora McAllister appearing, in the box for 2000 years, Melissa McCarthy and her comic style, repartee, very American, jokes about her appearance, changes of clothes, discovering pizza, the shopping, big car, going to the movies, the crush on Tom Cruise? Her explanation of the wishes, unlimited, not just three, able to reverse? Her appearing and disappearing?
6. The family story, Bernard and his discovering his limitations, love for his wife, outings with his daughter, the gift of the huge dolls house, the meals together? The comic sequence of his own family all turning up and being given three wishes, even the wish that one of them go to Hell, and reversed, still charred?
7. Lenny, at the desk, his theory of parallel worlds, friendly with Bernard, his family, chatting up Flora, and the comic ending with him leaving, doing his own work, and Flora in the kitchen!
8. The buildup to the climax, Bernard dismayed that his wife still wanted time, reappraising his wishes?
9. The wish for Flora to be free? And his wish that he could start again, the jokey wish that his boss donate millions from his personal account for British and his dismay? The boss trying to hold him up, Bernard telling him off, resigning, going home, the delight of his wife and daughter?
10. The 2020s Christmas fantasy?

QUEEN MARIE

Romania, 2019, 115 minutes, Colour.

Roxana Lupu, Daniel Plier, Richard Elfyn, Patrick Drury, Ronald Chenery, Adrian Titieni, Anghel Damian, Karen Westwood, Nicholas Boulton.

Directed by Alexis Cahill.

For some distribution, the “of Romania” is attached to Queen Marie.

This is a Romanian story, World War I, the aftermath, 1919 and the Versailles conference and its decisions about the unification of Romania. This is a film very much for Romanian citizens to look at their past, for people in Europe. In many ways, it is a curiosity item for audiences outside Europe, events of 100 years earlier.

Marie is a strong character, a granddaughter of Queen Victoria, giving up her home and family to go to Romania, marrying the king, having five children, something of a brittle relationship, culminating in the war experience, a treaty with the Germans which was not ratified by the King but held against Romania by the Versailles conference.

There is enough about Marie’s personality, strength of character, relationship with the King, attracted to a Prince, clash and hostility with her oldest son, intervening in his life to dismiss his mistress if he was to be king, favouring her younger son but his turning against her at the end because of his education in England and wanting to stay there.

However, the focus of the film is very much on Romania itself and the Queen’s commitment, the difficulties of the Prime Minister being ignored at Versailles, her decision to go, mixed reactions from the cabinet, the King permitting, her son spurning her. She goes by train to Paris, applauded by the people in Romania, welcomed in Paris, press conferences and questions, an emphasis on what was criticised as a holiday, the comfortable hotels, the meals, a visit to England to meet King George and Queen Mary, her son.

However, the film shows her strength of character, forcing a meeting with the French Clemenceau who is eventually being charmed, the rude behaviour of Lloyd George and her challenging him, it is Wilson, Woodrow Wilson’s wife, organising a meal and the very strong opinions and domination of Woodrow Wilson, yet her challenging him.

Marie returns home, her son publicly spurning her, the king seeming  not to support her, her withdrawing with her daughters to a country estate – and the king finally coming, declaring his love for her his way, a reconciliation, then revealing the news that she had been successful.

There is contemporary film footage at the opening of the film, the Austro-Hungarian Empire and the war, and footage at the end with the coronation of Ferdinand and Marie as king and queen of a unified Romania.

1. Audience knowledge of World War I, the place of Romania, German occupation, treaties, Versailles conference? Decisions?
2. Impact for a Romanian audience, European audience, outside Europe?
3. The introduction, the contemporary footage, the outbreak of war, the Austro-Hungarian empire, the place of Romania? The contemporary footage at the end, the decisions for Romania, the coronation of Ferdinand and Marie?
4. The settings, costumes and decor for the period? Locations, palaces and mansions, interiors? The Paris settings, the streets, the buildings, the hotels, lavish accommodation? The musical score?
5. The portrait of Queen Marie, Queen Victoria’s granddaughter, the marriage to Ferdinand, politics, the influence of Queen Victoria’s descendants in Europe? The Kaiser and the war? George V and Queen Mary? The marriage to Ferdinand, brittle, the five children? Their care and nannies? Marie and her age, experience, manner of the Queen, with the servants, with her husband, the attachment to the visiting Prince, the hostility of Carlos, the daughters at home, marriages, Nick in England and his wanting to stay, spurning Romania?
6. The war situation, the Versailles Conference, the emerging of the League of Nations, Lloyd George representing the UK, Woodrow Wilson and the US, Clemeneau and France? The picture of the meetings, the speech of the Romanian Prime Minister, people walking out, distracted and talking over him? His fears presentation of his point of view? The reactions in Romania? The Queen suggesting she should go, the king and his support, Carlos and his fears antipathy, the military antipathy, the various meetings, the decision that she should go? The crowds greeting her and the entourage, the train to France, the welcome in France?
7. Marie and diplomacy, the danger of her spontaneity, her response to the international press, their questions, the tourism aspects, clothes, her wanting more serious questions? The hotel, the accommodation, the gift of the dresses and the reaction of the daughters? The discussion with the Prime Minister? Her various contacts in Paris, their trying to help?
8. The meeting with Clemenceau, not available, her challenging him, his response, charm, the influence, coming to meet her on her departure?
9. Lloyd George, the dinner, her speaking up strongly, his turning away from her, her continual challenge? The later meeting, her setting the place for the meeting, speaking strongly to him? Her visit to England, the meeting with Queen Mary, the discussions with King George, the influence?
10. The tip about Edith Wilson, Maria going to meet her, Mrs Wilson’s support, the photos, going to the dinner, Wilson and his preoccupations, tough negotiations, hard decisions, Marie challenging him?
11. The ultimate success of her interventions?
12. Her personal relationship with the king, his staying at home, the phone calls, her urging him to intervene with Carlos and his mistress? Carlos and his hostility, his mocking her on her return? The encounter with Nick in England, his not wanting to return to Romania? Education for her daughter in England?
13. The return, her being hurt, withdrawing, her daughters, her ruminating, her sadness? The king’s arrival, his declaration of love, then the news about her success?
14. An interesting film for those not familiar with these aspects of World War I and the consequences?

DINNER IN AMERICA

US, 2020, 106 minutes, Colour.

Kyle Gallner, Emily Skeggs, Leah Thompson, Nick Chinlund, Sean Rogers, Mary Lynn Rajskub, Pat Healy, Griffin Gluck.

Directed by Adam Reihmeier.

This is a small budget independent film, winner of quite a number of awards at small festivals.

The title is evocative, two key scenes in the film of the family dinners, arguments, bickering, smoothing things out, contrasting with praying grace but the telling of lies. And there are some dinners in diners.

The focus of the film is on Simon, unlikeable, obnoxious in behaviour flirting with a girl, going home to her house, dinner with her parents, misbehaviour with the wife, being ousted. He also makes contact with a young girl, Patty, who has limited mental abilities. Once again, he ingratiates himself, going to her family’s house for dinner, posing as a son of African missionaries, but also provocative, wanting to stay while he hides from drug dealers.

Most of the film shows the relationship between Patty and Simon, she at home, trying to be defiant, follower of a band and writing cards to the band leader (who turns out to be Simon who is shocked by the discovery), working in a pet shop being treated badly by the owner, not paid, mocked by the sports jocks and their girlfriends.

In fact, Simon and Patty Bond, Simon showing a bit more humanity, defending Patty against the jocks but being bashed (and, to his and Patty’s – and the audiences – bringing on their violent comeuppance).

There are further revelations about Simon, his affluent family, misfit, ousted, intruding on the house. Then there is relationship with the members of his band and money problems. And, the development of the relationship with Patty and defending her, and confronting the owner of the shop for her payment.

The film is well acted, the characters credible, even if not likeable.

1. Expectations from the title? The number of dinners seen in the film? Family dinners and interactions? Dinners in diners?
2. Independent film, small budget, the cast?
3. Themes, misfits, family pressure, bullying, mental abilities, relationships?
4. The focus on Simon, unlikeable for most of the film, seen eating, flirting, going home with the girl, dinner with the family, his manners and style, wanting somewhere to stay, the wife and the kissing, ousted? Wandering, hiding?
5. Patty, her parents, district background, scenes at home, Kevin as adopted and the later revelation about this and effect on him? Her work at the shop, treatment by the owner, not paying her? Abusive behaviour? At the bus stop, on the bus, the two boys and their bullying her, the two boys kissing and their girlfriends in the bus, mocking her? Physical and mental bullying? Her going home, her room, music, the band, writing letters and cards to the leader of the band?
6. Kevin, teenager, surly at the dinner table, discovering he was adopted, the drugs with Simon, their friendship, change of attitudes?
7. Simon, the band, talking with the fellow musicians, their urging for a deal, the stoned member siding with Simon? Their music? Punk? Simon and his hairdo and people’s comments?
8. Simon, the encounters with Patty, the attraction, going home, the meal, his telling lies, his parents as missionaries in Tanzania, blurting out Kevin’s adoption, Patty’s embarrassment having told him? The effect on the parents? His asking to stay, with Patty?
9. The time together, the bonding, her story, his going to their home, getting her to sing her creative songs, the discovery that she was writing the cards, mixing the music, the family coming home, the hostility of the various members, Simon and his reactions, the husband and the children, aggressive behaviour, being ousted?
10. The night with Patty, sexual, emotional, the effect?
11. The boys and their mockery, going to their sports event, Simon taunting them, their bashing him? The revenge, getting Patty to lure them, bashing and stripping them, setting fire to their clothes, the reaction of the coach and the other players?
12. The confrontation with the owner of the pet shop, the new employee, demanding the payment?
13. Simon, his identity as Johnny, his role in the band, going to the venue, the clash with the producer, money issues? Onstage, performance, Pat’s response?
14. Likeable and unlikeable characters, misfits, family and society pressures, behaviour, unsympathetic, sympathetic?

CAT PERSON

US, 2023, 118 minutes, Colour.

Emilia Jones, Nicholas Braun, Geraldine Viswanathan, Isabella Rossellini, Hope Davis.

Directed by Susanna Fogel.

It would seem that in 2017, a short story in the New Yorker, by Kristen Roupenian, was an immediate runaway success. It has now been turned into a film – although, commentators note that the final 30-40 minutes of the film are an addition to the original short story.

The unwary viewer, not familiar with the short story, probably expects a horror film in the vein of Cat People or memories of Batman’s foe, Catwoman. But, this is not the case. A cat person is someone who likes/has cats whether they will admit it or not!

But, this is a story for the younger generation, very much in the contemporary social media world, dating and, especially self-revelation, communication by text.

In reflecting on this film, this reviewer came across an IMD blog which more succinctly expressed the key elements and response to the film:

Exploration of why romance fails

feczo25 November 2023

Romance, both sides seek it, but often there are very different ideas about what that means.

The movie explores pitfalls of idealisation of the other person, placing looks above genuine connection and feelings as well as double standards and jumping to conclusions without trying to deeply understand another person.

It is also accurately portrayed how people read more into text messages than the sender intends both positively and other times negatively perceiving a neutral or opposite intent, or just making it wildly colourful.

Although the characters are somewhat stereotypical and extreme the situations are not far from everyday life, so they are relatable.

"Cat Person" is about the thorny complications of male-female "courtship" rituals, riddled with misunderstandings, unspoken misgivings, and ignored red flags.

Very well put, only to add that the performances are strong, Emilia Jones (British, star of the Oscar-winning CODA) as Margot, Geraldine Viswanathan (Australian) as Margot’s protective friend, Taylor, and Nicholas Braun (American) as the sometimes bewildered, often clumsy, movie fan, Robert.

1. The title, expectations of horror and titles like Cat People, Catwoman…? Rather, a person who has cats, admits this or not?
2. The background of the popular New Yorker short story? The final part of the film adding to the story?
3. The American city, college, dormitories and rooms, cinemas, concession stand? Bars and meetings? Restaurants? The streets? Musical score?
4. The range of songs throughout the film, classic songs, contemporary, and the effect of the lyrics on situations and characters?
5. A film about dating, communication, getting to know partners or not, presuppositions and presumptions? Communication, personalised, in personalised with texting? Instant texting, affirmations, later regrets?
6. Margo’s story, aged 20, some family background, the visit to the family, singing with her mother? Sophomore, sharing rooms, friendship with Taylor? Other members of the college? Boys and meetings? At the cinema, showing classic movies, the customers?
7. The encounter with Robert, coming to the cinema, her comment on what he is buying, his taking it is an insult? His return, phone numbers? Time passing and not meeting, all the texting, the relationship set up by the texting? The effect on each of them?
8. Taylor, best friend, her on-line concerns, feminism, definite in her opinions, protective of Margot? Speculation about people online, their identities, men with feminist views?
9. The discussions with the former boyfriend, his explanations about experimentation being asexual?
10. The relationship between Robert and Margot, the suggestion of the date, texting about The Empire Strikes Back, her reactions, his interpretation that she liked films with subtitles, tangled messages, her agreeing, going to her cinema, watching the film, her being flirtatious, leaning on him with the popcorn, his absorption in the film, Han Solo and layer and a kiss? Her dissatisfaction with the outing, the going for a drink, the interactions, understandings and misunderstandings?
11. Margo, her imagination, the information that men are afraid that women will laugh at them, women that that man will kill them? Her nightmares, the dog and the corpse, Roberts various occupations, attacking her in the car…?
12. The awkwardness, the episode of the kiss, her comments about how badly he kissed, revelation that he was 34, is isolated life? The going to his home, the long sex scene, her alter ego watching and commenting, the effect of the experience, on Margot at her dissatisfaction? On Robert?
13. The aftermath, Margot wanting out, the discussions with Taylor, Taylor and her texting, the next episode of texting, Robert and his moods, desperation?
14. The clash with Taylor, arguing, ousting, Taylor and her dependencies?
15. Margo, moods, riding the bike, going to Robert’s house, the arguments, the misunderstandings, the violence, the attack, the mace in her eyes, the physical fight, to the basement, the fire, the escape, Robert leaving, urging Margot, her hesitation, later escaping?
16. Taylor, searching for Margot, the cab driver, the burning house, the explanation of identities?
17. The police, the basement, finding the bodies, hospital, recovery?
18. Robert, nurse, leaving the hospital, disappearing? Margo, the experience was Robert – and her future?

SANTA CAMP

US, 2022, 92 minutes, Colour.

Directed by Nick Sweeney.

Yes, this is a documentary about an annual camp in New Hampshire, organised by veteran Santa, Dan Greenleaf, for a group of men who act as professional Santas at Christmas time and together together, an enjoyable time, but also an opportunity for sharing about how to be effective in their role as Santa Claus. Some discussions, tutorials, role-plays, questions about how children behave meeting Santa.

We are introduced to many of the men, retirees from their work, a bit more portly than they used to be, and many of them with their own long flowing white beards. They explain themselves in an engaging way.

If this film, and HBO Max documentary, were just about the cheerful getting together, it would be enjoyable enough. However, there are more serious tones and themes within the film.

One of the enjoyable themes is that of the rise of Mrs Claus, some of the older women speaking to camera about the traditional role of Mrs Claus, her equality with her husband, working together with him – and there are a number of women coming to the summer camp as Mrs Claus.

But there are very serious themes as well.

The film makers go to Arkansas, to an affluent white suburb where there is an African-American family living. The father has decided that he wants to be a Santa role model for his child, even to having images of a black Santa. And, hearing about the camp in New Hampshire, decides to go. This raises the issue of the traditional image of Santa, especially from the US in the 19^th century, but mention of images offered of St Nicholas, olive complexion and, from Turkey. However, there is a general expectation that Santa, especially in all the illustrations, cards, decorations, Coca-Cola advertisements, is white. The Santa from Arkansas gets a chance to raise the race issues, highlighting an extraordinary bigoted letter against him, signed Santa, then burning it after reading it to the group.

In fact, the Santa group is very understanding, quoting one of their fellows, Dick Marshall, who died in 2021 but is seen in clips, making a statement: God does not create junk. And this is repeated throughout the film, especially when other issues are raised, one of the Santas being a young man, cared for by his mother, medically, mentally and physically impaired. He is enthusiastic about participating in the camp.

And, then there is the issue of the trans-Santa, interviewed, explaining identity, transformation, role as a Santa. (The director of this film, Nick Sweeney, made several documentaries previously on transgender issues.)

There is quite a deal of discussion about the image of Santa, the response of children, tradition, but a changing world of cultures and what that means. However, the film shows many prejudiced people, especially Christians who assert bigoted presuppositions as to who can be Santa – with the reminder of Dick Marshall is saying, God does not make junk.

So, entertaining in itself and raising a great deal of contemporary issues.

SILENT NIGHT

US, 2023, 104 minutes, Colour.

Joel Kinnaman, Catalina Sandino Moreno, Scott Mescudi, Harold Torres.

Directed by John Woo.

Movie buffs will have great memories of Hong Kong director, John Woo. He was prolific in the 1970s, came to greater attention with his crime thrillers, violent action and stylish filmmaking in the 1980s, making his mark in the US in the 1990s, especially with Face/Off, moving then to a range of films but many focusing on Chinese history.

Now he is back in the USA (though filming in Mexico with a Hispanic team), very much as we used to appreciate him but this time with a great difference. His title is Silent Night, and the Christmas Carol does play in the early part of the film as well as, ironically, and more forcibly in the violent climax. However, he puts the emphasis on Silent. This is very much a silent film. We hear only four words throughout the film (and, unfortunately/realistically, the perennial four letters) – but there are all the sound effects and some muted musical score. This is something of a tour de force, audiences gradually realising that they are not going to hear word spoken, but, as in the old silent days, communication by facial expression and, strongly, by body language.

John Woo turned seventy six while he was filming Silent Night. But he does not seem to have lost any of his verve, especially in staging chases, shootouts, martial arts training, violent fights and spectacular climaxes. All here.

The action focuses very much on Brian, played by Joel Kinnaman. We see him running at first, desperate, looking at a red balloon, hurrying down streets, encountering two cars and a shootout, finally cornered, a tattooed criminal confronting him, shooting him in the throat. But, he survives, unable to speak.

While this must have been a great challenge to Kinnaman and his acting skills, he is completely convincing, recuperating, tensions with his loving wife and her leaving him, the introduction of flashbacks to his playing with his young son and the tragic revelation of what happened.

But, this is a revenge drama, Brian going into vigilante action, audiences sympathetic to the calling to justice of the criminals but also wondering about the destructive effect on the psyche and moral behaviour of a man out for vengeance. On his calendar, he marks Christmas Eve 2022 as the day of vengeance, the anniversary of the death of his son. And, for months, we see him training, using video programs, martial arts, weapons, buying and fortifying a car.

Apart from the criminals, the other main character is a local detective, played by Scott Mescudi (in no way of relying on his musical identity, Kid Scudi).

As mentioned, John Woo has not lost his pace, and this is particularly so in the violent and ultimately fiery climax, high body count, choreographed fights, and Brian turning into something like a human Robocop (and then this reviewer suddenly remembering that in the remake of Robocop, Robocop was indeed played by Joel Kinnaman).

Obviously, a film for the fans rather than for audiences who shun the sight of blood (in close-up early in the film during the throat surgery)!

1. Title, the Christmas him, played at the beginning, during the climax? Christmas Eve, Brian and his being unable to speak, silent vengeance?
2. The career of John Woo, his heyday in Hong Kong in the 1970s and 1980s, the US in the 1990s, mixture of films, making this film at age 76? His themes, his style, pace, action?
3. The introduction, Brian and his desperate running, the balloon, the pursuing cars, the lanes, crashes, the rival gangs and shooting? His being trapped, shot in the neck?
4. The hospital sequences, reviving him, his wife’s presence and support, the visit of the detective? His being unable to speak? The scenes of rehabilitation, getting strength back, going home, morose, his son’s room, unable to speak, with his wife, her going to work, texting? Her giving up, packing, leaving? His later watching her and her painting?
5. His memories, the insertions in flashbacks, playing with his son, his wife taking photos, the drive-by, the violence, the shooting, his son’s death, Brian in desperate pursuit?
6. John Woo and his decision to have a silent film, communication by face and by body language, keeping the sound effects, more subdued music, Silent Night, some texting, only a few words heard? The equivalent of a silent film and its drama, communication, audience response?
7. Brian going to the police, the office, the range of photos, criminals, most wanted, his taking photos of them all, leaving, putting them on the wall of his workshop? His decision for vengeance, the film as vigilante vengeance? The effect on the criminals? The effect on the vigilantes himself?
8. Buying the car, driving, speed, turns and twists? His bodybuilding, studying the video, the dummy, weapons, building himself up over the months? The calendar, the aim for Christmas Eve, the anniversary of his son’s death? To kill everyone?
9. Taking photos, surveillance, his killer and the girlfriend, luxury, the drugs? The drug deals, the money people? The range of thugs?
10. His abduction of the money man, tying him up, freeing him, the fight, wounds, defeating him, finding him and leaving him at the detective’s door? Map and indications? The effect on the detective, his mission, following through?
11. The climax, Brian becoming the human equivalent of Robocop? In the car, the shootings, in the middle of the gangs, his strengths, his limitations, worms? Infiltration into the building, setting the bomb and the fire, the shootouts?
12. The detective arriving, following through, intervening, confronting Brian, shooting the girl? His being wounded?
13. Brian, the threat of the girl, her malice, her death, going into the adorned room, seeing his adversary, the fight, wounded, killing the murderer, lying on the floor, with the detective?
14. The final sequences, moving from the violence, to the happy memories of former days, the son, his potential for growing up? Regrets, achieving his mission, death?

REMEMBER ME, THE MAHALIA JACKSON STORY

US, 2022, 82 minutes, Colour.

Ledisi, Keith David, Corbin Bleu, Janet Hubert, Vanessa Williams, Columbus Short, Andy Lauer, Keith D. Robinson.

Directed by Denise Dowse.

This is a brief biographical film, focusing on Gospel singer, Mahalia Jackson, her background, her talent, her career.

She is played by singer, Ledisi Young, who played Mahalia in the portrait of Martin Luther King, Selma.

Within the short running time, there is a background sketch of growing up in the south, the vivacious Mahalia, her mother with ambitions but thwarted, collapsing and dying, their father unable to look after the children and entrusting them to their very severe Aunt Duke. But, in New Orleans, Mahalia is delighted with the music and the local dancing.

10 years later, her mother’s sister takes her to Chicago, rather wide-eyed, singing Gospel, quickly meeting an entrepreneur, played by Keith David, who persuades her to sign a contract.

It is a very enjoyable club sequence in Chicago where the impressionable Mahalia goes to a club to meet friends and is delighted with Duke Ellington, Cab Calloway and Louis Armstrong.

One of the main advantages of the film is that the action pauses, so to speak, and there are many songs sung by Ledisi  with her powerful voice. This comes to the fore, as it did in her life, with her meeting Martin Luther King (here played by Columbus Short), friendly with him, joining his Civil Rights causes, singing powerfully at the March on Washington (also seen in the film, Ruston, with DaVine Randolph as Mahalia Jackson).

There is some background on her personal life, mention of the first marriage, some more focus on her second marriage and her sense of betrayal.

The framework of the action is her visit to Hamburg where she is interviewed. While her company got rid of her because her albums weren’t selling, she had a successful career in performance, the film ending with her death.

1. Audience knowledge of Mahalia Jackson? Singer, gospel, her career, international reputation? Singing at the March on Washington?
2. The performance of Ledisi, embodying Mahalia Jackson (and playing her in Selma), personality, life story, the interview and reflections, the singing and performances?
3. The early 20^th century, the South, African Americans and their status, the home, Mahalia and her brother, her aunt, mother and father, the focus on the mother, watching the younger generation dancing with enthusiasm, her personal frustrations and loss of dreams, the speeches, collapse, death? The funeral? The children’s grief? The father unable to support them, giving them to their aunt Duke, her sternness? The parade in New Orleans, the dancing, the music, the young Mahalia joining in, the art watching?
4. 10 years passing, the visit of the aunt, the dream of Chicago, Aunt Duke and her stern comments about white treatment of Blacks, Mahalia going, the arrival in Chicago, the aunt singing, the exuberance, Mahalia singing, the record company, the interview, immediately signing the contract?
5. Her going to the club, the re-creation of the period, music, the compere, Duke Ellington and the band, Cab Calloway and his style of singing and audience response, Louis Armstrong? Her relishing this? But her religious background, identity, wanting to seeing only gospel?
6. The outline of her career, success, records? Concerts? The record company dropping her, the need for her to promote albums?
7. The sketchy outline of her personal life, the mention of a first marriage, her admirer, at the club, making contact, the proposal, the wedding, his roving eye, her suspicions, spurning him, ousting him? His later being in the concert audience?
8. Civil rights issues, the encounters with Martin Luther King, friendship, her collaboration, singing, the March on Washington and her performance, later Martin Luther King phoning her, feeling alone, her singing and supporting him? The impact of his death on her?
9. In Germany, the interview, the question is, the possibility for her to reminisce?
10. Her status, achievement, Gospel songs, wide audiences, personal life, Civil Rights?

SALTBURN

UK, 2023, 127 minutes, Colour.

Barry Keoghan, Jacob Elordie, Archie Madekwe, Rosamund Pike, Richard E.Grant, Carey Mulligan, Alison Oliver, Paul Rhys.

Directed by Emerald Fennell.

While Saltburn is the name of a sumptuous English country estate, its sound echoes something like a chafing irritant. Not entirely irrelevant to the themes.

Writer-director, Emerald Fennell, won a writing Oscar for her initial feature, Promising Young Woman. This was quite disturbing experience – and Emerald Fennell’s audience is now offered even more disturbing experiences.

This is the story of Oliver Cook, played with sometimes deceptive intensity by Barry Keoghan (Irish, having made an impact with Killing of a Sacred Deer, Banshees of Innisfail). He narrates, quietly taking us into his confidence, pondering his emotions and motives. He is from Preston, average family, though he has some stories about his parents and failures, scholarship to Oxford, looked down on by elite students, but in a kindly gesture, befriending the aristocratic Felix Catton (Jacob Elordie who was a very tall Elvis in Priscilla). He is spurned by Felix’s financially dependent cousin, Kylie (Archie Madekwe Gran Turismo).

In fact, Saltburn has a a very strong cast, especially at home with Rosamund Pike at her superior best as the mother and a dithering Richard E.Grant as the father. Alison Oliver is the precocious daughter and Paul Rhys the most supercilious Butler ever on screen! And there is an arresting cameo, Pamela the unwanted but tolerated guest at Saltburn, from the promising Young woman herself, Carey Mulligan.

Felix invites Oliver to Saltburn for the summer – a benign gesture, but very precarious as Oliver makes his tentative way in relating to the family.

So many commentators have made the link between Oliver to Tom Ripley, remembering Anthony Minghella’s classic The Talented Mr Ripley. And, with the country estate, there are references to Brideshead revisited. And, it is probably fair to say that this is Evelyn Waugh 21^st-century style, something of Brideshead Re-revisited, where society has made a descent into the vapid without any trace of the transcendent.

However, a useful comparison might be Pier Paolo Pasolini’s highly controversial 1968 drama, Teorema, an initially sweet Terence Stamp invited to live with the family, his manipulation of each of the characters for their destruction. (And, at this time, there were two British variations on this theme, Michael York in Something for Everyone and Peter McHenery in Joe Orton’s Entertaining Mr Sloane.)

A popular saying, sometimes cliche, is that all is fair in love and war. Oliver confides to us his feelings and his love, and his sometimes provocative sexual behaviour, but, as his stay for the summer goes on, it would seem that for him all is fair in the undermining war he has set out on.

So, certainly a provocative film, certainly an uncomfortable film to watch, sometimes funny, always serious, a satiric attack on traditional British aristocracy, more than a touch of the mordant.

Barry Keoghan certainly gives a strong and memorable performance, and, in retrospect, especially with the final unmasking and literal exposure, a very subtle performance. This will probably be talked about for a long time – and it will certainly be very interesting to see the next steps in his career.

1. The title, the estate, the echoes of the sound with salt and burning, as relevant to all of this behaviour and the families experience?
2. The title, the lettering, the gates, the mansion, sumptuous interiors, the exteriors, the grounds? The musical score?
3. Echoes of Brideshead Revisited, Evelyn Waugh for the 2020s? But a complacent aristocracy, self-focused, in decline, nothing transcendent?
4. Echoes of Patricia Highsmith, Tom Ripley, the opportunist, insinuating himself, relating to the characters, destroying them? Sociopathic? The films of the 60s like Teorema?
5. The focus on Oliver Cook, Barry Keoghan’s performance, confiding to the audience, hopes, loves, emotional puzzles? His commentary on his behaviour? His age, his story of his parents, negative images, and the comic melodrama of Felix discovering the truth, the ordinary parents and their hopes? His scholarship, the importance of being at Oxford? The chatty friend, his belly tolerating this, abandoning him for Felix’s invitation? Revelation of his opportunism?
6. The incident with the bike, helping Felix, Felix’s gratitude, invite him into the circle? (And the final revelation that he can had contrived the flat tyre and created the situation for insinuating himself?) The other friends, conversation, drinking, the situation with paying for the drinks (and the later revelation that he did have enough money but capitalised on Felix’s generosity)? However, Farleigh seeing right through him?
7. The invitation to the summer, the journey, arriving early, Duncan as the butler, fastidious, snobbish, his observing Oliver throughout the visit? The impression of the home? Felix and the introduction to his parents, his sister, and finally being present, depending on the family for his finances, his back story about his mother, America?
8. The summer holidays, relaxing, the swimming, discussions, socials, parties? Oliver and his birthday party on the lavish presentation?
9. Oliver insinuating himself, the mother, social snob, but vapid ideas, the treatment of Pamela, her behaviour at the table, her back story, the hence to get rid of her, and the story of her suicide? The father, seemingly dithering, preoccupied with his interests? But their both accepting Oliver?
10. Venetia, eating disorders, her age, her self-assertion, smoking, sexuality, the encounter with Oliver and its being observed, Farleigh and his angry reaction, Venetia and her continued flirting, the eating, a dependence on Oliver?
11. The visit to his parents, Felix insisting, the revelation of the truth, their being very ordinary, his lies, the consequences for Oliver?
12. The ambiguity of the birthday party, in the context of his lies, the birthday cake? Costumes, masks, being unmasked? And the satisfaction of the parents in hosting the party and its success?
13. The image of the labyrinth, the meeting with Felix, the challenge – and Felix’s death, the blood, and eventually seen in the final flashbacks? The encounter with Venetia, the bath, the blood, her death?
14. The funerals, whether Oliver should stay or not, the initial welcome, the father suggesting that he should go, Oliver refusing? Ousted?
15. Sometime later, the seemingly chance encounter with the mother, the cakes, the discussion, her invitation? The story of her husband, his death?
16. The mother, her illness, Oliver contriving it, removing the connections, her death?
17. His success in ingratiating himself with everyone, the consequences, dependence, his inheritance?
18. The dramatic impact of his stripping, after seeing him lying on the grave of Felix, the sexual overtones, and then his dancing, completely unmasked and exposed, throughout the house which was now his?

RUSTIN

US, 2023, 106 minutes, Colour.

Colman Domingo, Ami Ameen, Glynn Turman, Chris Rock, Gus Halper, Johnny Ramey, CCH Pounder, Michael Potts, Audra McDonald, Jeffrey Wright, Da’Vine Joy Randolph.

Directed by George C.Wolfe.

Rustin, Bayard Rustin, seems not to be a familiar name from American politics and history of the 20^th century. And, if this is the case for the US, for audiences beyond America, he is unknown.

Which is a pity. And this combination of drama and portrait is a strong step towards his rehabilitation in the public mind.

Bayard Rustin was born in the American South, Quaker background, cared for by a grandmother, discovering early in his life his homosexual orientation, an African-American. He became very much involved with Civil Rights movements, as early as the 1930s, even participating in 1941 in a March on Washington for these rights, working with activist A. Philip Randolph. He also travelled to India, strongly influenced by Gandhi and non-violence approaches, was interested in Communist movements, developing these themes during the 1950s, eventually linking up with Martin Luther King, a friendship, a break in friendship, but eventually a reconciliation.

All in the above is dramatised in some flashbacks, generally brief.

In fact, the action of this film is in the organisation of the 1963 March on Washington, and the revelation of Rustin’s role. Watching this film will make many realise that when the March is referred to, the visuals will be of the crowds, 250,000, gathered together in central Washington, and the famous speech by Martin Luther King, “free at last…”. Most of us have never given a second thought to the organisation of how the 250,000 came to Washington, the necessary amenities, the role of the police. We are conscious of the racist attitudes of the time not thinking of these attitudes in connection with the hard work of organisation.

Bayard Rustin, played expertly by Colman Domingo, under the direction of author, theatre director, film director, George C.Wolfe, was an enthusiastic and exuberant man. And he had an extraordinary attention to detail. We see his recruiting of a team of young enthusiasts, female, male, black, white, communicating with them, giving them tasks, supervising and checking. He goes to meetings, is supported by A.Philip Randolph (Glynn Turman), clashes for a time with the director of the NAACP, Roy Wilkins (surprisingly played by Chris Rock, grey-haired), discussions with Martin Luther King (Ami Ameen), challenged by Congressman Adam Clayton Powell (Jeffrey Wright). There are slurs on his communist background, racial slurs – and the exposure of a sex case to which Rustin pleaded guilty in the 1950s, especially Strom Thurman speaking under the privilege of Congress.)

And this is complicated, dramatically, by Rustin’s relationship with a married Minister from the South,

us (John Raymey), and a final challenge and decision when Elias inherits his father-in-law’s church and demands are made on him by his wife.

But, the culmination of the film is, of course, the March itself, the gradual arrival of the busloads of people, the role of the police and guards, the enthusiasm, the order, and a glimpse of Martin Luther King’s speech and the invitation by the Oval Office for the 10 key organisers to meet with the president – Rustin not included, but his being seen donning an apron and helping with the cleanup.

Rustin died in 1987 and received a tribute from Ronald Reagan. He was posthumously awarded the Medal of Freedom by Pres Obama. (And, can be noted, that this film was made by the film company set up by Barack and Michelle Obama.)

1. The title? Audience knowledge of Bayard Rustin? In the US? Beyond? History of the Civil Rights in Movement? The March on Washington?
2. The film as a portrait of Rustin? A picture of his organisational work, the March, Civil Rights? A personal portrait and narrative?
3. Audience response to issues of Civil Rights in the US, the background of slavery, the background of the Civil War, Lincoln and legislation, abolition, racism, racism in the south, 20^th century legislation being ignored, segregation? The background to this story?
4. Rustin in the 1950s and 1960s, the background of his upbringing, Quaker, grandmother, homosexuality, friendship with A Philip Randolph, the 1941 March, the 1942 episode of sitting in the front of the bus, ordered to the back, refusing, ousted, brutalised, the comment about the passenger telling her child not to touch the digger, and his saying that the child will grow up thinking that Blacks should sit at the back? The 1953 arrest in Pasadena, pleading guilty to a charge, the record?
5. Colman Domingo’s performance, vitality, exuberance, his principles, in himself, Civil Rights, causes, the friendship with Martin Luther King, the early scenes of the meetings, falling out with King, later meetings, reconciliation, the slurs about their relationship, congressmen Strong Thurman and public utterances?
6. The opening of the film, the introduction to a range of Civil Rights characters, A.Philip Randolph, Roy Wilkins and the NAACP, Meddler Evers (and his later assassination), discussions?
7. The role of Martin Luther King, his church, his capacity for speaking, family and relationship with Coretta (and Rustin’s visit and her singing)?
8. The idea for the March on Washington? Rustin’s enthusiasm? Wilkins opposition? The Kennedy stances? Police forces? Hostility? African-American enthusiasm?
9. The film detailing of the process, organising, logistics, planning, detail? Rustin and his capacity for detail, for enthusing others, the young recruits and their dedication, allotting their jobs, quizzing them, their success? His relationship with Tom, personal, Tom and his history, gay, leaving his family, relationship with Rustin, attitude towards Elias? The personalities of the other workers, young women, young men, seen in the office?
10. Rustin and the encounters with the police, his background in India, Gundy, nonviolence? Wanting the police not to be carrying arms? The agreement of the New York police? Collecting the weapons? Washington and the range of police, special forces?
11. The various meetings, the discussions with Ella Baker and her motivating Rustin, Dr Helen henchman and her presence, expertise, critique about women’s representation, supportive of Rustin? The tensions in the meetings, the issues, the presence of Martin Luther King?
12. The impact of Rustin’s organisation and the means available in the 1960s – and comparisons with the present in terms of mobile phones, computers, social media, instant information at hand…?
13. Personal aspects of Rustin’s behaviour, the encounter with the liars and his wife, the attraction, the affair, Elias working for the March, the personal episode with Rustin, love, the effect on Rustin? The issue becoming public, Elias inheriting the church, the phone call from his wife, the final meeting, Elias and his choice?
14. Rustin with the group, the media, Thurman and his denunciations, the presence of Adam Clayton Powell and his raising issues, Randolph stopping the meeting? The television revelations about Pasadena, Rustin fleeing, Martin Luther King publicly supporting him, his return?
15. The day of the March, the gradual arrival of the people, the logistics, the buses, people coming from everywhere, the facilities, the crowds filling the space? Martin Luther King’s speech, the highlighting of the section, “Free at last”?
16. The response of Pres Kennedy, his being seen on television promising legislation, the inviting of the top 10 (Rustin not included)? His donning the apron, helping with the cleanup?
17. The achievement of the March, subsequent legislation, Martin Luther King and Selma, his assassination?
18. Ronald Reagan honouring Rustin after his death? Barack Obama awarding in the Medal of Freedom?

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS AND SNAKES

US, 2023, 157 minutes, Colour.

Tom Blyth, Rachel Zegler, Viola Davis, Peter Dinklage, Jason Schwartzman, Fionulla Flanagan, Hunter Schaefer, Burn Gorman, Josh Andres Rivera.

Directed by Francis Lawrence.

Suzanne Collins reached out to the Young Adult audience with her Hunger Games novels, avidly and widely read. And, addicted ago, the Young Adult audience reached out to the film versions. So much so, that there were four Hunger Games films, showcases for Jennifer Lawrence (who, in fact, it already won an Oscar for The Silver Lining is Playbook) and her subsequent career. There was also Josh Hutcherson and wide adult cast including Donald Sutherland, Elizabeth banks, Stanley Tucci…

So the question arises, how did it take so long to bring this prequel story to the screen. But, here it is.

Ideally, the reviews to be read should be those of the target audience, appreciative Young Adults. They can tell us which characters are credible, which characters they could identify with, what of this presentation of the Games themselves, the power hungry authoritarian leaders, the young leads – and Coriolanus Snow and his early years, leading to the character we saw in the previous films, older and authoritarian.

But, this is a review by an Old Adult! Who admits to enjoying the film, making the comparisons with the earlier films, but very much interested in the character, young development and crises, of Coriolanus Snow. (And the satisfaction, at the very end, of hearing a brief comment with the voice of Donald Sutherland as the older Snow.)

The success of this film very much depends on the performance by British Tom Blyth of the young Coriolanus – and he acquits himself very well. At first, he is a product of this totalitarian regime, loyal, student, ready to be a mental, especially to the annual tributes from the Districts who have been chosen to participate in the gladiatorial, bloodthirsty, to the death, Hunger Games. Coriolanus is given a family background, and devoted grandmother (a good cameo by funeral of Flanagan) and sympathetic cousin (Hunter Schaefer).

As regards the hierarchy this time, there is by older Davis, more than sinister in appearance and voice, Dr Gall, the controller and manager of the Hunger Games. There is also the Dean, menacing in his way, but ultimately more sympathetic, played by Peter Dingle age. And, for the games themselves, there is the slick compere, enthusiasm-rouser, callous, Flee finger, played by Jason Schwartzman.

So, the first part of the film is the setting up of characters, the mentors in their uniforms, loyal to the state, the group of tributes manacled and harassed, but one of them, Lucy Gray, wearing a beautiful dress from her mother, singing, attracting the attention of Coriolanus as well as of the Games audiences, listening to her and making donations.

The second part of the film shows the Games themselves, once more cruel and bloodthirsty, but the audience not present as in the earlier films, rather a television audience, continually egged on. Grim tactics, motivations, Coriolanus intrigued by Lucy Gray, even breaking the rules to help her. And a challenge to Dr Gall to admit that Lucy Gray is the winner.

The third part of the film takes place in District 12, Coriolanus and his friends are Jane is relegated to being peacekeepers. And this will be the test for Coriolanus and his future, his relationship with Lucy Gray, his loyalties and ambitions, the testing of his friendships.

But, we know how he did turn out and his role in the future, this film enables us to understand the steps on his road to that position.

1. The popularity of the novels? The film versions? This prequel, a decade after the previous films?
2. The target audience, Young Adult? Older audiences?
3. Audience knowledge of the previous stories, of The Hunger Games, of the rebellion and wars, of the Districts, of the tributes, the gladiatorial combat in the arena, treated as slaves, the training, the mentors, the public, television and the media, violence? The tyranny of the authorities? The bids for independence?
4. The re-creation of the period, the city and its buildings, the streets and cars, the Square with the fountain and the high statue? The buildings and facades? The interiors? The gladiatorial arena, the tunnels underneath? The formal assemblies? Dr Gore and her laboratory and species? Television and the compere? The contrast with ordinary homes?
5. The focus on Coriolanus, the audience knowing that he was going to become the authority of the future? He and Tigress when they were young, taking refuge? Growing up, his status, appearance, getting ready for the assembly, his cousin with the special shirt, is hoping for the prize, his grandmother and her pride, memories of the past, his dead father? His manner, self-assured?
6. The assembly, Dr Gall, her appearance, her look, sounding sinister, in charge of the Games, her ambitions, control? Addressing the crowd? The dean, his appearance and dress, taunting Coriolanus? The issue of the prize? The new test? The assembly of the Mentors, their hopes? Rivalries? Coriolanus and his friendship with Sejanus, the family wealth?, Competitiveness?
7. The arrival of the tributes, seeing them on the screens, the range, age, mail female, racial, desperate, assured? Their being attributed to the mentors? Coriolanus, seeing Lucy Gray, her associate?
8. The first part of the film, setting the characters, setting the situation, the influence of Dr Gall, the command by the Dean? Lucy Gray, her mother’s dress, standing out, her singing? Coriolanus and his getting permission to meet her, their interactions? His travelling in the band, emptied out, his being rescued? His discussions with Dr Gall, plans?
9. The issue of cheating, Coriolanus presenting his plan, being claimed by his rifle, Dr Gall the snakes, the manuscript with the snakes, taunting her to put her hand in, her being poisoned? Coriolanus and is later use of sent and the snakes and their response?
10. Lucy Gray, her singing and the impact, the introduction by the compere, his appearance, style, magician, commentary, cheerful and callous, Lucy Gray and her singing and the donations?
11. Coriolanus, getting permission to go in, with Sejanus to be rescued, the pursuit by the tributes, Coriolanus smashing the head of the pursuer? His comment, feeling of power?
12. The episode of the games, gladiatorial, self-preservation, attack, Coriolanus giving Lucy Gray the powder, her spiking the bottle of water, smashing the others, one of the competence dying? The escapee, his being crucified, his axe death, being cut down? Lucy Gray is friend, his covering the bodies of the dead? Coriolanus and his advice for the escape, the two leaving, hiding, a companion suspicious, the rabies, the device of sending in water, pressing the button, the rabies victim frightened of water, his collapse and death? Lucy Gray being pursued in the tunnels? The forks? The powder? Her escape, the pursuit, the death of the others, a continuing to sing, the popularity, the appeal to Dr Gall, that she was the winner?
13. Coriolanus, the attraction to Lucy Gray, his injuries and Dr Gall stitching, the handkerchief, with Lucy Grace sent, giving it to the snakes, they’re not attacking her? Dr Gall with the evidence?
14. Coriolanus, the banishment, to be a peacemaker, stripped of everything? His grandmother and cousin? Going with Sejanus? Permission to go to District 12, the club, Lucy Gray and her singing, her antagonism towards the young man and the conflict when she became tribute, Sejanus and his wanting to help the rebels, seeing the hanging, the mayor’s daughter and her imprisonment, Sejanus contacting her? Coriolanus, suspicions, discussion with St Janice, recording him and sending the message to Dr Gall? Seeing the rebels, the guns, the shootout and deaths? Getting rid of the guns? Sejanus, his arrest, the other rebels, the hanging?
15. The lyrical aspects, meeting Lucy Gray, going to the woods, to the Lake, the group on the swim? The possibility of their escaping to the north? The Commandant, his control of the District, pleased with Coriolanus, deciding to send him for further training?
16. The attempt at escape, the heart, the discovery of the guns, Lucy Gray disappearing, Coriolanus and his desperation, the boat, the guns in the water, his return?
17. His going back to the capital, the conversation with Dean, the Dean killing himself? With Dr Gall, her grooming him then to take charge?
18. The final words with the voice of Donald Sutherland as Coriolanus snow from the future?