Displaying items by tag: Peter Malone's Movie Reviews

BLACK DOG

China, 2024, 116 minutes, Colour.

Eddie Peng.

Directed by Guan Hu.

Sometimes moviegoers say that they would like to see something different, a film from somewhere else, different sensibilities,, entry into a world they are unfamiliar with. Black Dog is an excellent candidate this kind of choice.

We are caught up with a very striking opening, the camera panning unfamiliar vistas of north-western China,  vast barren plains and black hills, near the Gobi desert. Suddenly, a large pack of wild dogs run rampage across the screen, down the hills, onto the highway where a minibus of passengers overturns with the impact of the dog rush. The driver impatiently gets the passengers out onto the road, calls the police, and the rescue interrupted by a man frantic, accusing the passengers of stealing a large sum of money from his bag. Then a tall morose man walks away, the frantic man accosting him. But, this is not where this film is going!

In fact, the tall man, Lang will be the central character  rarely speaking, just out of jail, with a complex past. And, we get to know him well, wary of him at first, becoming more and more sympathetic, and he is played by Eddie Peng, Taipei-born, Canada-educated, one of the most popular contemporary stars of Chinese films.

And, there is a black dog, greyhound -looking, suspected of having rabies, a target of the town’s authorities. In fact, with the Beijing Olympics in the offing, this is 2008, this provincial town is eager to get rid of the dogs, many of them pets abandoned by citizens moving out, Lang beng seconded onto the squad.

We first see Lang hostile and his black dog marking out their territories, Lang trying to capture him, but, eventually, their bonding, especially after lLang is bitten and rabies suspected. So, a film of human and canine friendship.

But, there is a great deal more to Lang’s story, re-meeting his father, now a keeper at  the failing zoo, then a sick old man who had supported him in the past, a revelation about Lang’s buying and sentence, a local strongman hostile to Lang because of the accidental death of his nephew, Lang revealed as a former motorcycle champion in the circus, his encounter with friends in the town and with a young woman as a new travelling circles circus arrives.

The narrative is never predictable. There is always an interesting turn in the plot, in the revelation of characters, in Lang’s confrontation with his opponents, but more and more of his kindly disposition emerging.

For dog-lovers from any nation, there are moments of sadness, but, ultimately, a sequence to cheer every dog-lovers heart.

This is a China unfamiliar to most of us, in look, the bleak terrain, the provincial town partly collapsing, goods trains continually passing through, attempts at rehabilitation and an opportunity to visit a quite different place and encounter very different characters.

1. A different view of 21^st-century China? Geography and landscapes, towns. the developments, in decline, rebuilding, dog plagues, in the context of the preparation for the 2008 Beijing Olympics?
2. The impact of the photography, colour, style, saturated at times, the landscapes and the overviews, close-ups and characters, the contrast between the vastness and intimacy?
3. The impact of the opening, the vice spaces, the hills, the desert, the sudden packs of dogs? The overturn of the bus, the passengers, the man complaining about being robbed, the authorities, Lang accused, walking away?
4. Lang becoming the unexpected centre of the film, the explanations of his background, his skill with bikes, cars, mechanics, writing? The violence, the local gangster chief and the death of his nephew? The prison experience? Returning, the state of his father, at the zoo with the animals, declining health? The welcome home? Reactions against him? His character, silent, self-contained?
5. The issue of the dogs, the number of wild dogs, roaming the plains and mountains, the authorities, the bounties? The black dog, lurking, the difficulty with rabies, Lang trying to catch it, being bitten, the consequences? His joining the group, the pursuit of the dogs, destruction? His care of the dogs, his change of heart? With the black dog, keeping, protecting?
6. The travelling circus, the encounter, the young woman and her presence, the other members of the troupe, setting it up, performance? His friendship with the young woman, the conversations, her leaving?
7. His skill at reading, the impact of the riding sequences, his age, fitness, skills, the difficult terrain?
8. The issue of health, the rabies, his recovery?
9. The gangster, his gang, focus, resentments, anger with Lang? Working with the snakes? His being bitten, Lang saving him? The consequences?
10. His father, illness, hospital, wanting the equipment turned off? Lang, his hesitation, eventually doing it?
11. The death of the dog, finding all the other dog, giving birth, the spirit of the black dog continuing?
12. The effect of the audience sharing Lang’s experience, unexpected sympathy? In the context of the decline of the town, the motif of the goods trains passing through the town, the demolition of buildings, possible recovery? And the impression for China and outside China for the Beijing Olympics?

PADDINGTON IN PERU

UK, 2024, 106 minutes, Colour.

Hugh Bonneville, Emily Mortimer, Samuel Joslin, Madaleine Harris, Julie Walters, Olivia Coleman, Jim Broadbent, Hayley Atwell, Voices of: Ben Whishaw, Imelda Staunton. Cameos by Hugh Grant, Joel Fry, Robbie Gee, Sanjeev Baskhar, Ben Miller, Jessica Hynes.

Directed by Dougal Wilson.

Who cannot like Paddington! His stories are always bearable!

We have enjoyed the first two films very much. There was an element of surprise about them, the introduction to Paddington himself, the wonderful voice provided by Ben Whishaw, the members of the Brown family and their ability to welcome Paddington. And, there were various adventures and, who can forget, the villainous Hugh Grant?

It does mean that here we accept Paddington straightaway, the glimpse of his early years in Peru reaching out to pick a beautiful orange, falling into the River – and landing in London. Now, a letter from his Aunt Lucy (voiced by Imelda Staunton) encouraging him to come for a visit (and that humour is awkward episode getting his passport photographs).

But there is a bit of background about Mr Brown, somewhat British stick-in-the Mode, challenged at work about risks. In the brainwave! Why don’t they all go with Paddington to Peru, including the kindly Mrs Bird (Julie Walters). Hugh Bonneville is once again Mr Brown but, this time, Emily Mortimer is Mrs Brown.

Once they will arrive in Peru, now met by Reverend Mother at the local home for retired bears! Suddenly, and exuberantly, we have Sister Act meets The Sound of Music. But, bad news, aunt Lucy has disappeared and Paddington is determined to find her. And, Olivia Coleman, in recent years showing a variety of talent (Wonka,  Little Wicked Letters), is here as the exuberant Reverend Mother.

With the action adventure that follows, more than a touch of Indiana Jones here, the action is geared more to the young audience, the touch of caricature with the boat captain (Antonio Banderas), farcical and slapstick situations high dangers and minutes, especially as Paddington and the family get lost in the Andes jungle, double dealings and some sinister flashbacks…

But, there are some secrets to be revealed, and a variation on the search for El Dorado and that fabled gold. This, everybody benefits from the adventure, and Mr Brown becomes extraordinarily daring. And Paddington has to make a decision, finding his tribe there in Peru, and whether he will go back home with the Browns.

Adult audiences, especially, please don’t rush for the exit when the credits begin to appear because there is a very enjoyable special guest interlude during the credits. And, as always, possibilities for more.

1. The popularity of Paddington, the films? And in himself, from Peru, landing in London, the Brown family, part of the family, his adventures, memories of Aunt Lucy in Peru, the possibility of his returning to visit Peru and Aunt Lucy? The effectiveness of Ben Wishaw’s voice?
2. Expectations from the previous film and their popularity and acclaim? The intentions of the filmmakers here, a film for younger audiences, style, treatment, humour, adventures, the touch of the absurd for enjoyment? The impact for older audiences, the adult characters, the adventure, the mayhem? And the postscript with Hugh Grant?
3. The scenes of Paddington’s origins, little bear, the oranges, on the branch, falling, to England, with the family? The memories of Aunt Lucy? The correspondence with her? His receiving the letter from her, inviting him to Peru, his eagerness?
4. The Brown family, the children growing older, University entrance, computer games and inventions, not wanting to play Scrabble with the mother, Mr Brown, the firm, Risk-taking, the American executive, her demands, the challenge to him? His very proper reticent British way of style of life?
5. The suggestion to go to Peru, the reaction of the family, Mr Brown and the decision to take a risk? Mrs Bird and her presence, decision to go? The farewell in the street with all the British film and television celebrities’ cameos? The flight, landing, Peru?
6. The visuals of Peru, the mountains, the river, waterfalls, locations in Peru and Colombia? The settlement? The boat
7. the convent, Reverend Mother, her cheery attitude, the staging of the musical, Sister Act meets The Sound of Music? The family settling in? The disappearance of Aunt Lucy, the nuns? The retired bears and their lifestyle, bingo…? Reverend Mother and her explanations, her eagerness for them to go searching, but her remaining at home?
8. The expedition, Paddington and his eagerness, the family, hiring the boat, the captain and his daughter, his manner and mannerisms? On the voyage, the comedy, the dangers, the rapids?
9. The background of El Dorado, the captain and his ancestors and their appearing behind him, his relationship with his daughter, the search for gold, Paddington and his arm band, the translation and interpretation? The captain disappearing and his search?
10. The family on the boat, the dangers, capsizing, stranded? Through the jungle? Mr Brown and his being more daring? Paddington’s memories of the Inca image, his arrival at the tower, the rock? The family arriving?
11. The Machu Picchu kind of location, the confrontation with the captain, pursuing more Paddington, the fights, the bolder, the dangers…? The reappearance of the daughter, her helping the family?
12. Mrs Bird, back at the convent, curious, suspicious, finding the radio room, the confrontation, the truth about Reverend Mother? The plane, flying, the crash landing, the confrontation, Reverend Mother from the El Dorado-seeking family, the flashbacks to their disasters? The confrontation with the captain? Her being overcome?
13. Finding Aunt Lucy, going beyond the barrier, finding El Dorado, the gold being the oranges, the scenes of collecting, squeezing, Paddington and his predilection for marmalade?
14. Paddington finding his tribe, his being welcomed, his speech, the family ready for him to stay, his decision to return with them, finding his tribe but going home with his family?
15. Happy ending – and the epilogue with Phoenix Buchanan and Hugh Grant’s style? Future prospects?

SWEET DREAMS

US, 2024, 95 minutes, Colour.

Johnny Knoxville, Bobby Lee, Jay Mohr, Beth Grant, Brian Van Holt.

Directed by Lije Sarki.

There seem to be too intentions in the making of this film. One is a film about rehab. The other is a softball competition film. But, probably the is that this is very much a rehab film using the softball competition as a focus for the energies and striving for rehabilitation.

Sweet Dreams is the name of an institution, for men only, the men managing for themselves, cooking and cleaning, attending meetings, acknowledging their drug and alcohol addictions, their sense of inferiority, their hopes for some kind of change in their lives.

In many ways, this is presented conventionally, the introduction to a range of men, multiracial, but very American in their presence, talk, style, ambitions. The centre is run as a charity, is experiencing financial difficulties. The focus is on softball, training, play, competitiveness, taunts from the rival team… But, of course, some ultimate success.

The surprise of the film, in fact, is the presence of Johnny Knoxville, famous for his jackass movies. This performance is quite different – quite moving at times, especially in the scenes of his explaining himself, his drinking, driving, danger to his young daughter’s life. He is divorced, not allowed to see his daughter.

A lot of the sequences are played for laughs even though there is some tough realism the men and their sense of self-worth, their interactions, issues of hygiene, nicknames and poking fun…

This is very much a film for male audience. There are very few women in the cast at all, the central characters mother and daughter, especially at the end, present with the sense of achievement at the victory that softball. It is a film that men with problems could see which might motivate them to seek some kind of rehabilitation – or for women close to the men to see to encourage them to seek some kind of help.

1. Title, the centre, the hopefulness, the management and intentions, the men, their dreams, addictions, self-worth, rehabilitation?
2. The main action at the centre, the interiors, the rooms, gatherings, the kitchen, the meetings? This field
3. the focus on Morris, his background, talents, sport, the car, his mother, the danger to his daughter, his ex-wife forbidding him to see her? Coming to the centre? Sharing of the room, the smelly inhabitant, the bottom bunk, the urinating? The kitchen, cooking, washing up? His relationship with the other men, some leadership, it is self-deprecation? The phone calls from his daughter? At the meetings, his frank expression of his failures? If the talent with the softball, the team, coaching, defeat, victories? Reunited with his mother and daughter?
4. The manager, a charity, his work, relationship with the men, financial difficulties, the group helping with the finances, the issue of the option of the centre?
5. The other men, the range, African-Americans, Asian-Americans, their stories, personalities, sharing, the taunting of Crews? At the softball, the hopes, the taunts of the of the team, the role of Morris, observing, encouraging, and the final victory?
6. Morris, at the meetings, listening to the stories, the executive for 20 years and his failure, rehabilitation? Some of the others at the Centre for years? The issue of sponsors, Maurice and his discussions, support?
7. Comparative absence of women in the cast, the woman with her addiction, the young women and the softball match?
8. A serious minded comedy, encouraging men into rehabilitation, for women to support men going to rehabilitation?

PAGE ONE, INSIDE THE NEW YORK TIMES

US, 2011, 92 minutes, Colour.

Directed by Andrew Rossi.

This documentary was filmed during 2009 and 2010, release 2011. His focus is on the crisis for newspapers, online news information, the reduction of advertising for newspapers, financial issues, sackings, reorganisation… And these themes have continued through the 2000 and tenths into the 2020s.

This is very interesting film to watch in retrospect. There are many interviews by staff of the New Your Times, as well as commentators on media and communications issues, some with hopes for the continuing of the papers, setting up websites and charging for visitors? Others more enthusiastic about alternate online means of communication, instant communication rather than a daily paper.

Of particular interest in retrospect is the issue of the WikiLeaks, Juliana sounds and the decision by the New York Times to publish his material. There is reference to Daniel Ellsberg and the Washington Post and the Pentagon Papers crisis in the 1970s, highlighting it was a different time spent in the location and with 2010

The controversial video released by WikiLeaks about the deaths in Iraq, the vast number of pages released, interviews with Juliana sounds, issue of whether he was a reporter or journalist, political issues, ethical issues, media issues, decision to publish and highlight after redaction to prevent danger to American citizens.

Throughout the film there are interviews with David Carter, former addict and now journalist, strong-minded, pursuit of interviews, very much pro newspapers, moving towards acceptance of the online transitions.

It is interesting, also in retrospect, to note how many male interviewees there are in the film. There are some women and the prospect of the new manager of the Times being a woman, but the world presented in this documentary is very much a male world.

The film is useful for its focus of the issues for newspapers at that time, a useful retrospect – but the issues are still significant, with the comments in this film about the use of twitter and its immediacy and in the 2020s with Elon Musk and the transition to X.

LOVING HIGHSMITH

Switzerland/Germany, 2022, 83 minutes, Colour.

Voices of: Gwendolyn Christie.

Directed by Eva Vitija.

As Patricia Highsmith notes in this documentary, she was listed in the international Who’s Who. For readers and filmgoers, the name Highsmith immediately refers to Patricia Highsmith.

It should be noted that this documentary runs for 83 minutes. Clearly (and as a number of bloggers remind us) there was a lot more to her life and to her career that is not mentioned. However, one might see this documentary as an opening up of the life and of Patricia Highsmith. She was born in 1921, Strangers on a Train was released when she was 30, she died in 1995.

The filmmakers have based the documentary on excerpts from Patricia Highsmith’s diaries. Her writing appears on screen (and very difficult to read even for people with good eyesight). Which means then that this is Patricia Highsmith’s view of herself. And, actress Gwendolyne Christie (Game of Thrones) provides the voice for Highsmith. The voice fitting very well with the voice of the actual writer heard in quite a range of interviews with her.

On the biography aspect, there is her birth in Texas, the distance from her mother (and later reminiscences of an attempted abortion), staying with her grandmother and family in Texas, her mother bringing her to New York at the age of six, her schooling in New York, her wanting her mother’s love, her mother’s blunt comments about her life and relationships, a separation from her mother even though she dedicated two of her books to her.

There are scenes of rodeos in Texas but, probably too many of these throughout the film, the audience understanding the world of Texas. There are interviews with to her grand nieces, highlighting the bond between their grandfather and their grand aunt. They remind audiences of the atmosphere of segregation and racism in the South as well as public propriety.

The film’s main focus points is that of Patricia Highsmith’s sexual orientation, her mother’s comment on it when she was young, her relationships, her attitude towards men, the gay clubs in New York City, in Paris, and interviews with a range of women who knew her and/or were in a relationship with her. They certainly fill in the background of her life, many partners, relationships, her living abroad, homes in London, France, Switzerland.

While there is an emphasis on the books that she wrote, many are not named. Those that are named of those which were filmed – and, looking at the IMDb, one realises that there were many more films based on Patricia Highsmith novels over and above those treated in this film – Deep Waters  (French and American versions), Two Faces of January, A Kind of Murder…

The film has a substantial number of clips from the key films highlighting the key novels. Alfred Hitchcock made Strangers on a Train and there are scenes from this and Patricia Highsmith discovering the idea and the development of the novel. Her second novel was the lesbian story, the Price of Salt, published under a pseudonym with comments about the publishing of lesbian novels in those times. However, she did publish it before her death with the title, Carol, the title of the film with Cate Blanchett and Rooney Mara, with a significant number of clips included here.

But, Patricia Highsmith is most notably linked with Tom Ripley, several novels about the charmingly psychopathic killer. There are no clips from the French version in 1962 with Alain Delon. The main clips are with Matt Damon from The Talented Mr Ripley and then some excerpts from Wim Wenders’ The American Friend with Dennis Hopper.

Which means then that, although there are limitations and room for many developments in the portrait of Patricia Highsmith, this documentary serves as an interesting introduction.

HE AIN'T HEAVY

Australia, 2024, 102 minutes, Colour.

Leila George, Sam Corlett, Greta Scacchi, Clarence Ryan, Alexandra Nell.

Directed by David Vincent Smith.

It is over 50 years since the group, The Hollies, sang “He ain’t heavy… He’s my brother!” (1969).

Which means that this is a film about a brother, a brother in difficulties, bearing a heavy load. In fact, the burden is addiction and consequent mental illness. Which also means that this is a very serious film, quite demanding on its audience, affecting the emotions but also the very serious challenge as to the best means to assist someone with a mental illness. how much reliance on doctors and psychologists? How much reliance on committing to institutions? How much reliance on medication? And any personal intervention to effect some kind of healing?

This film was made in Western Australia. The central character is a sister, Jade (Leila George). She is in her 30s, has a loving but sometimes strained relationship with her mother, Bev (Greta Scacchi). And the brother is her younger brother, Max (Sam Corlett) but dependence long since, a history of violent outbursts but with no memory of his actions, partly living on the streets. There are flashback memories of brother and sister when they were young, times when there was hope.

Jade elicits audience sympathy because, with her concern about her brother, she has not done anything much with her life, serving behind a bar, sometimes socialising with a friend, but preoccupied with Max. Audiences will be struck by the physical similarities between mother and daughter, so they will not be surprised to find that Leila George is, in fact, Greta Scacchi’s daughter.

The challenge of the film is watching Jade’s decision to put Max in a situation of cold turkey. She persuades him to come and help with clearing up their grandmother’s house, spikes his drink, putting him into a room where   she hasset up a surveillance camera, locking the door (three locks) and the window covered by bars. Needless to say, what follows is quite harrowing for Max, for Jade, and also when her mother arrives and discovers what is happening, eager to let her son out, exhorting her daughter to get dressed up and go to a farewell party for her friend – which ends with Jade and violent outburst towards an insensitive partygoer who keeps going on and on about her brother.

Sam Corlett gives a very vivid and persuasive performance of somebody undergoing the throes of cold turkey, the physical consequences, the emotional consequences, the psychological consequences.

The director, David Vincent Smith, originally made a short film on this theme. He explained that the background was his experiences with his own brother.

1. The title, the Hollies 1969 song,… He’s my brother?
2. Audience response to stories of mental illness, addiction, treatment, impact on families, responsibilities, love?
3. The setting in Western Australia, the suburbs, homes, the streets, medical centres? The musical score?
4. Based on a true story, the director and the experience of his brother? The intensity, concern, empathy? Frustrations?
5. The situation, the opening, Max at the door, ranting and raving, Jade approaching, entering the house, her mother inside, the neighbours complaining, the confrontation, Max taking the car and crashing it, disappearing?
6. The title, Jade and her brother? Growing up, their experiences, the presence of their mother, caring for Max, taking jade for granted? The impact on the adult Max?
7. Jade, age, serving in the bar, never having travelled, her friendship with Tegan, her prospects, sense of frustration? The relationship with her mother, loving, tensions? Her concern for Max, growing up, memories of the past, the strong bond with the brother?
8. Max, his reputation, on the street, the drugs, the flat with his friends, watching television? Jade bringing him to the grandmother’s house to help with the moving? Her setting up the house, the surveillance? His drinking? Getting the room, locking him in, the bars, the three locks, her ability to look in through the bars, bring him food? The stress on her, tentative, the right thing or not?
9. Max, the reaction, the drugs, the food, his cold, ranting and raving, swearing, the hole through the wall, covering it up, pretending to be unconscious, the attack on Jade? Her violence towards him? The days passing, the effect, his moods? Some happy memories?
10. Jade and her mother, grandmother’s house, the going over to clear it up, Jade’s plan? Her mother coming over, her reaction to Max, locked up, her wanting him freed, her concern, the food, conversations, gradually accepting it? Urging Jade to go to Tegan’s party? Unlocking the door?
11. Jade, unwilling to go to the party, her mother giving her the dress, at the party, the friendship with Tegan, talking with her, confidentiality, the young man talking about Max and his reputation, not taking any hints, punch Jade ing him? Her going home, the confrontation with her mother?
12. The flashbacks, Max and his behaviour, taking him to the medical centre, having to wait hours because of the delay for mental care? The cumulative effect? And the scenes of bonding between brother and sister, the guitar, the music?
13. The police, the contact, Max and the bashing, his remembering nothing, the photos of the victim? Jade, in the car, looking at the victim’s family?
14. Resolution and no resolution? The temporary calming of Max, the police arriving, jade allowing him to be handcuffed, taking him away? His future? Jade and her mother? Jade and the possibilities of opening up her life?

SONIC THE HEDGEHOG 3

Jim Carrey, voices of: Ben Schwartz, Colleen O’Shaughnassy, Idris Elba, Keanu Reeves. James Marsden, Tikka Sumpter, Kristyn Ritter, Natasha Rothwell, Tom Butler.

Directed by Jeff Fowler.

Audiences, younger audiences, will get their money’s worth, and their expectations worth, as they enjoy this third adventure on the computer games hero, Sonic, the Hedgehog.

Sonic, Voiced by Ben Schwartz, featured in the previous two films, and all films directed by Jeff Fowler. Sonic found two further accomplices in the second film, Knuckles and Tails, voiced by Idris Elba and Colleen O’ Shaughnassy. They are quite engaging characters, Knuckles very solemn and principled, Tails, friendly with the lighter touch. So, what will they get up to this time?

The initial answer to the question: what could be better than Sonic and Jim Carrey returning as Dr Robotnik? – Two Sonics and two Dr Robotniks. And, Jim Carrey, who tends to steal every show, obviously enjoyed himself in the previous two films and even more clearly, enjoys being Dr Robotnik and his newly discovered grandfather - equally moustachioed, grandfather’s white. (And, for adult fans and their memories of Jim Carrey’s films, plenty of his antics, over the top, plenty of improvised dialogue, and a reminder that it is 30 years ago that he began to make his mark!)

This time, the three friends, benign aliens, who with their great friends from the other films, Tom and Maddie (James Marsden and Tikka Sumpter). And then authority intervenes, But, frozen for 50 years, another alien hedgehog has now been released, Shadow (voiced by, of all people, Keanu Reeves). And not only is there the grim Shadow, speedily wreaking disaster wherever he rushes, but grandfather Robotnik also appears, daring his grandson, doing a double act in sinister behaviour – except that the original doctor about Nick has made peace with Sonic and his friends.

With the Sega computer games’ background, all kinds of action, no matter how impossible they might seem, ranging from Tokyo to America’s Middle West, they happen. Lots of fast action, always on the move, challenge to the goodies, the dire actions of the baddies, including resurrecting a huge spaceship and grandfather Robotnik’s vengeful ambition to destroy earth and all humans.

But, right from the beginning, there is a fair deal of moralising, about good behaviour, integrity from the heart, Sonic and his competitiveness, his ambitions in leading the team, that it is his team, he has to learn that revenge is no worthy motivation.

So, a family film combination, endearing characters for the youngsters, Jim Carrey for the parents and grandparents accompanying the youngsters, lots of colourful action and dangers, but always script lines enhancing the moral point of view.

YALDA: A NIGHT FOR FORGIVENESS

Iran, 2019, 89 minutes, Colour.

Sadaf Asgari, Behnaz Jafari, Babak Karimi, Fereshteh Sadre Orafaly.

Directed by Massoud Bakshi.

Iranian films which are exported around the world are frequently very striking, explorations of human values which have surprised many audiences, these films coming from the Islamic Republic with its very strict laws and regulations.

This film is quite surprising. It focuses on forgiveness in Islamic tradition. And, during the 2000s, there was a popular television program where accused people appeared on the television set and are confronted by individuals they have offended because of the crime and who have the power to lead the accused go free. There is a television audience at the studio. There was a wider television audience watching at home – and the collection of money to cover the expenses for the accused.

A young woman, now aged 22, was married young to a man much older than herself, difficulties in the marriage, some violence and her accidentally killing him. While she had a good relationship with the man’s daughter from a previous marriage, this daughter now is demanding justice for the crime. The young woman has been in prison.

The scenes on the set are quite striking, the hard attitude of the daughter, seemingly implacable. And focus on the vulnerability of the young woman and her making her plea and apology. And there is also the razzmatazz of the compere and the atmosphere of the reality show, the behind the scenes with producers, chaperones.

There is an interesting development outside the television set, the daughter upset, going outside, becoming involved in an incident, accidentally, issue of blame and her returning. Then the revelation that the young woman had had a child which was taken away for adoption. And behind the scenes, the very dominating mother of the young woman and the arrival of the adopting couple.

Interesting themes in themselves, especially the reality show and the possibilities for public forgiveness, but very interesting as coming from the Islamic Republic of Iran.

1. An audience entry into the culture of Iran, laws and customs, religious society, popular culture, television?
2. The title, the custom, the television show, running for 11 years, accused coming onto the show, the discussion with the person possibly forgiving them? The background, laws, murder and executions, reprieves, the forgiveness, the collection for the forgiveness?
3. A brief film, a focus on the characters, the characters in themselves and their past, relationships? In public on the television set?
4. The focus on Maryam, age 22, the marriage, the older husband, the relationship with Mona? The husband, the relationship, confrontations, the accidental killing? Her arrest, imprisonment, condemnation? The possibility for forgiveness, depending on Mona?
5. Maryam and her relationship with her mother, her mother dominant, behind-the-scenes, the birth of the child, the adoption? Her intervening at the station, the demands on her daughter, and the adoptive parents? With the producer, her interventions?
6. Mona, the death of her father, the previous relation to marry, her resentment towards Maryam, the behaviour at the television station, listening, thinking, the audience response, the demands, the situation and her not wanting to be there, leaving the studio, outside, the encounters, her return, the voting, the audience response, her stern comments? Her leaving?
7. The revelation about the baby, the adoptive parents, Maryam and her wanting the baby, the role of her mother, the producer and the decisions?
8. The television company, the host, style, the public audience, the wide viewers, the producer, interventions, other members of the staff, observing, encouraging?
9. The experience for Maryam, being prudent, silent, her emotions, her age and inexperience, the influence of her mother, the impact of the child? Her careful answers, imploring Mona? The final decision and its impact on her?
10. The revelation about the baby, the adoptive parents, their characters, coming to the studio, demanding to enter, their being allowed in, with Maryam’s mother? The issue of the future of the child?
11. Family issues in the Iranian context, Iranian law, and the religious theme of crime, responsibility, atonement, forgiveness?

GRAND TOUR

Portugal, 2024, 128 minutes, Black-and-white and colour.

Goncalo Waddington, Crista Alfaiate.

Directed by Miguel Gomes.

An exciting title. However, a reviewer has to search for words to indicate the style and impact of the film. Two words that come to mind are “exotic” and “esoteric”.

And these are adjectives suitable for a description of the career of the writer-director, Miguel Gomes, for the range of films over 20 years. He is a Portuguese director whose “arthouse” feature films have been very popular on the film Festival circuits. Gomez does incorporate narrative but not in any linear, start to finish, manner. He is comfortable in moving, often very quickly, from place to place, country to country, looking forward, flashbacks, his characters as well as his audiences, sometimes lost in time. And he is fond of filming in black and white, impressively striking black-and-white photography.

Which does lead us to the consideration of Grand Tour. One of the exotic aspects is that his central characters are both English, one a civil servant working in Singapore, the other his fiancee who comes to Asia in search of him. And, they speak in Portuguese, the British style of the characters and their Portuguese dialogue creating some of something of an anomalous experience for the audience. And, once again there is the striking black-and-white photography but frequently moving into colour, often unexpectedly, scenic, fairground scenes with puppets…

And the film is also exotic in so far as this tour, which, ultimately, is not so grand, moves from Singapore to Thailand to Vietnam to Japan to China and its far reaches. (While the film was made during the Covid era, and much of the film produced in studios, Gomes directed by communication to the different countries for scenic footage.

And for the esoteric. The action opens in Singapore in 1918 and Edward, the British civil servant, is immersed in the period, in means of communication, in transport, his moving from country to country, the film footage is not confined to 1918. Often, there are contemporary images of Asian cities – and for visitors to Vietnam, a reminder of the heavy cycle traffic in the streets. So, playing with time, the action of the past, yet the timelessness of the story and the characters.

As Edward goes on his grand Tour of the Asian countries, and journeys into the interiors of China, his story stops. The audience is introduced to Molly, the fiance, arriving, determined to find Edward, eager for marriage, more attention given to her character than to Edwards, venturing on her travels, pursuing Edward (and again time doesn’t matter, she is suddenly here, suddenly there, close to Edward, searching for him in a train wreck, always missing him) but enjoying quite a different Grand Tour for herself, the range of people she meets, her emotional struggle, and her future.

Definitely a cinema experience for an audience which appreciates something different, excited by the director’s different vision, approach to filmmaking, unexpected storytelling and moving between time eras, moments of realism, surreal moments, moments of fantasy, mostly in black and white, sometimes an unexpected cover.

Miguel Gomes won the award for Best Director at Cannes 2024.

THE CHILDREN’S TRAIN/ IL TRENO DEI BAMBINI

Italy, 2024, 104 minutes, Colour.

Barbara Ronchi, Serena Rossi, Stefano Accorsi, Christian Cervone, Ivan Zerbinati.

Directed by Cristina Comencini.

An Italian film, well worth seeing.

Even eight decades after the end of World War II, war stories continue to be made and appreciated. This film might be called an immediate-post-war film. The setting is Italy and the train travels from Naples in the South to Modena in the North.

But there is an arresting prologue to the film, the 1990s, a celebrated violinist, played by veteran Italian actor Stefano Accorsi, arriving to give a violin recital, a man with some prestige and talent. As he is about to go on stage, he receives a phone call telling him of the death of his mother. And the screenplay goes back to the immediate end of the war, the departure of the Germans, the arrival of the liberating forces and life in Naples in the aftermath of war destruction.

The first part of the film focuses on a young boy, Amerigo, Christian Cervone always convincing, living with his impoverished and illiterate mother, Serena Rossi, the story that her husband had gone to the United States for opportunities. We see the poverty, buildings and ruins, the children running free or involved in apprenticeships. In the background one of those smart men, fashionably dressed, who have benefited by the black market.

It is in this context that members of the Communist Party had devised a program for the children of the poor families. They are to go by train to Modena and be cared for by sympathetic families in the North, given some opportunity for family life, work, for learning skills, making friends. However, there is some popular antipathy towards the Communist Party, some fearmongering by older women, telling the mothers of the children that they will be shipped off to Siberia, that they will be eaten, that they will be put in ovens… Which does instil some fear in the children themselves. However, they board the train, nervously travelling but then welcomed in Modena.

Amerigo is young, nervous, away from home, without a family to take him, allotted to a former partisan, Barbara Ronchi,  whose partner was killed during the war. She has no experience of being a mother. Much of the effectiveness of this drama is her response to Amerigo and his response to her, forming a great bond, but  his also benefiting, sometimes happily, sometimes being picked on as a Southerner, by the wider welcoming family, especially by the father who introduces Amerigo to the violin.

Then the drama of the return home, the benefit of life in the North, the hardships back again in the south, his mother sending him to be an apprentice, pawning his violin, cutting off his connections with the North.

In the latter part of the film, there is the pathos of the older Amerigo, after his violin recital, coming back to Naples, revisiting the neighbourhood, his house, the memories, affection he found in the North, and the regrets on his return home.

Recommended.

1. The title, tone? The children, the train, the destination, hope? Naples, World War II, occupation, liberation? An Italian story?
2. The visuals in Naples, homes, the streets, the markets, the war ruins? The contrast with Modena, less war damage, the homes, the farms, the town, celebrations? The musical score?
3. Introduction to Amerigo the violinist, celebrity, arriving, his status? His manner, the phone call, the death of his mother, to play or not to play, his decision, the performance? The flashbacks? After the death of his mother, the return to Naples, the house, discovering the violin, his mother buying it back? The memories, the grief, the happiness, learning the violin and playing it?
4. Post-war Naples, the effect of the occupation, poverty, hunger, the families, the absent men, migrations to America, Antonietta, with Amerigo, the work, lack of food, eking out an existence? The state of the many children, the lack of a future, the scenes at the market, the furs and the customers, the device of the rats and their fur, painting, the storm and the expose, Antonietta, illiterate, a hard life, for her son? Her relationship with the wheeler dealer, his family, the news later of his arrest?
5. The Communist scheme, the trains of happiness, the proposal, the mothers listening, the reaction of the children, Modena as the destination? Opportunities, education, and the return?
6. The mothers, the range of mothers, in favour of the scheme, their hopes? The opposition in the town, the women, the demonstration at the station, the ranting, the children being taken to Siberia, the poverty, eaten by the inhabitants, the ovens, the children hearing the stories and their fear? The compassionate official and her assistant, confronting the opponents? Helping the children onto the train? Amerigo, reluctant, his mother chasing the train?
7. The train ride, the drama, the children and their fears, sleeping? The plans to escape?
8. The arrival in Modena, the distribution of the children, the hosting families? Amerigo alone, Derna and her role as a partisan, the loss of her partner, living alone, taking on Amerigo? His friend from Naples, the young girl and her happiness?
9. Alice, Derna not used to having children, weariness, suspicions, the baking scene and Amerigo remembering the threat of children in the others? His room, more comforts? The meeting with the family, the kindly parents, the sympathetic father, the sons, the older sympathetic, the younger one jealous of Amerigo, their dealings, the fight at the fair, but then the growing friendship? Amerigo bullied at school, the Southerner? The happy scenes, meals, work and training? The young girl, Rosanna, afraid, not wanting to be there, the episode of finding the helmeted skeleton along the railway tracks?
10. The father, the violin, Amerigo and his curiosity, touching the violin, his natural capacity, the father encouraging him, the practice?
11. The time passing, Amerigo and the feeling of affection, Derna and her story, her partisan companion, his death, the effect of having the boy with her?
12. The fields, their greening, time to go home?
13. The return home, Amerigo and his sadness, the encounter with his mother, her harshness, sending him to work, as an apprentice, harsh? His reaction? Running away, going to the centre, discovering the letters and parcels from Modena and his mother not letting him have them? The pawning of the violin? His running away?
14. The happy return, the older Amerigo and his visit, his memories? The role of his mother, writing to Derna, sacrificing her son?