CRAWLSPACE

US, 2022, 95 minutes, Colour.

Henry Thomas, Bradley Stryker, C. Ernst Harth, Jennifer Robertson, Olivia Taylor Dudley, Joe Costa, Catherine Lough Haggquist, Colin Decker.

Directed by L.Gustavo Cooper.

This is a tough action thriller, a portrait of a working class Everyman, family man, who is placed in a difficult situation, his life threatened by ruthless criminals, his using his wits to save himself and to outwit the criminals. Seen many times before, but always an interesting theme.

The setting is Oregon with some wonderful mountain scenery. It opens with the cutting down of trees – and the revelation that this is in illegal areas, the wood being traded for money and for drugs. And, a number of the townspeople are involved in the process as well as altering the books to cover the finances.

In this context, the audience is introduced to Robert Mitchell, played by Henry Thomas, long ago the friend of ET, plumber, new baby, happily married, but kind in letting people off paying their debts to the upset of his wife who is an accountant for the finances the logging company. Off he goes to do some work in the crawlspace of the respected citizen who, in fact, controls the logging scam.

The audience is also seeing one of the most ugly and ruthless villains on screen, played by Bradley Stryker, with his yes-man associate, overly large, C.Ernst Harth. The exchange of drugs and money fails and so they go to the house of the logging manager, killing him, not knowing that Robert Mitchell is in the crawlspace.

So, much of the action under the floor, claustrophobic, menacing criminals, and Robert Mitchell using his wits.

There may be some suspicion about the sheriff in the town who is supported by his genial deputy – and, certainly, with a twist as to who is the mastermind of the situation.

1. The title, the space under the house, contents, where the action takes place? Claustrophobic?
2. The Oregon setting, natural beauty, the mountains? The town, the isolated home, the forests, the sawmills? The musical score?
3. The setting, the sawing of the trees, illegal, transporting, cutting them up, selling them, money for drugs? The dealers, the trucks and the rendezvous, Sterling and Dooley, their task, the Russian, confrontation, sterling shooting? The money missing? They going to the house, confrontation with Tim, his owning of the sawmill, popular in the town, jogging, arriving home, hiding the money in the crawlspace, the confrontation, his death?
4. Robert Mitchell as hero, the working class Everyman, with his baby, talking his macho image, love for his wife, letting people off payments, his work as a plumber, her wanting to go back to her accountancy work, the clash? His going to work, the car breaking down, walking to work, his tools and equipment, working in the crawlspace? Overhearing the murder?
5. The background of the police, the sheriff, large and jovial, Jordan, practical commonsense, friendly? The arrival of Helen Masur, the FBI, the financial discrepancies in the accounts, she and Jordan examining them, calling on Carrie, Carrie looking over the accounts, quiet, with the baby? Carrie on further discrepancies, with Jordan, their driving out to Tim’s house?
6. The main action in the crawlspace, Robert, terrified, emerging out, with the arrow? His ingenuity in treating the wound, cauterising it? His preparing weapons? The dialogue interactions between Sterling and Robert? The taunts, pretence of deals? Robert cutting Dooley’s hand? Shots fired? Robert, clever, the drill and Sterling’s foot? The day going on, Robert hardening his attitude, his phone out of commission? Memories of wife and child?
7. The arrival of Jordan and Carrie, the twist in the plot, Jordan and her control, confrontation with Sterling? His shooting her? Sterling, Roberts confrontation, his death?? The threats to carry, Robert and his attitude towards the money, burning part of it to taunt Sterling? The threat to burn it all? Sterling’s death?
8. The sheriff, the arrest of Jordan?
9. The aftermath, family life – and the sheriff with the gift of the money for the future?

V FOR VENGEANCE

US, 2022, 86 minutes, Colour.

Jocelyn Hudon, Grace Van Dien, Pauline Dyer, Sean Maguire, Alex Villaret Graham Greene, Christopher Russell, Trevor Lerner, Michael P.Northey.

Directed by Kelly Hallihan.

Not to be mistaken for the clever action-fantasy, V for Vendetta.

The title here might be better V for Vampire Vengeance. This is an American vampire film with practically no vampiric links with the work of Bram Stoker or, even, the imaginations from Britain’s Hammer Studios.

These vampires can be either good or bad. The good ones are avengers, attacking and destroying criminals. The bad ones are ambitious, power-hungry, involved in scientific experiments.

These vampires have no difficulty in staying alive in sunlight, they are certainly immortal but can be killed (a nod to some of the traditional means of killing, including with the same as that from the cross). They have no reflections. And, the bad vampires, led by a power-hungry Thorn (Sean Maguire), with a sinister assistant, Tatiana (Alex Villaret) also employs mercenaries like Marcus (Christopher Russell).

The film shows three young adopted girls playing together happily, their mother a scientist, and the sudden brutal murder – with the youngest escaping but the other two turned into vampires. As expected, the final revelation of who killed the parents turn out to be Tatiana and Marcus.

The opening looks ambiguous with Amber seducing a gross old boy type and killing him. But, she spares a nice family man. Then she encounters her sister, Scarlett (Grace Van Dean) from whom she has been alienated. However, there is some kind of reconciliation, they track down the younger sister and her vampire hunter advisor Bullseye, a welcome presence of veteran Graham Greene. They also encounter a handsome young man the bar, sexual involvement, Marcus and his later being unmasked.

Quite number of martial arts sequences, especially between the two sisters initially, but very much at the end with the final confrontation with the bad vampires, the assistance of the US official vampire hunters, and everything open for a sequel if one were needed…

Not the greatest plot development, not the greatest performances, an American footnote for a history of vampire movies.

JOURNEY TO BETHLEHEM

US, 2023, 99 minutes, Colour.

Fiona Palomo, Milo Manheim, Antonio Banderas, Joel Smallbone, Geno Segers, Omid Djalili, Rizwan Manji, Moriah, Stephanie Gil, Lecrae.

Directed by Adam Anders.

A musical version of the experiences of Mary and Joseph in Nazareth, the journey to Bethlehem, the birth of Jesus.

More than 50 years ago, Jesus Christ Superstar was a musical version of the last days of Jesus. However, Journey to Bethlehem is not quite in this vein. It is not a “Rock Musical”. Nor is it the equivalent of a Broadway musical. Rather, it takes the main aspects of the Infancy narratives of Matthew and Luke, noting at the end that it has taken some liberties with the drama, and offers the opportunity for the main characters to sing some easily pleasant songs, nothing particularly startling, just easily pleasant. There are some touches of tradition as a young woman who accompanies the Magi does sing one of the traditional advent hymns, Oh, come, O Come, Emmanuel, and at the birth of Jesus, sings Silent Night. And the atmosphere during the final credits is an enthusiastic rendition of the traditional, Go Tell it on the Mountains.

A word that comes to mind as we watch this Gospel musical is “Pantomime”. It is a Christmas pantomime. Underlying it all, of course, are the serious themes of Mary, the Annunciation, the role of Joseph, the birth of Jesus in Bethlehem, the persecution by Herod. Mary, Fiona Palomo, is generally very charming as a strong-minded Mary, trained in the Scriptures by her father, her desire and intention to be a teacher, but an arranged marriage set up – and then, pantomime glitter and echoes of Superstar with the initially bumbling but then glitzy appearance of Angel Gabriel. Joseph is suitably bewildered, likes Mary, is able to adjust to the situation.

However, at various times, there is some pantomime hamming overacting, especially on the part of Antonio Santos as Mary’s father, Joachim, grinning and winking, and with British comedian Omid Djalili as one of the Magi clowning around (and pantomime puzzle never solved: what is myrh exactly and what is it for!). Then, on the other side of humour, there are the pantomime villains, most especially Antonio Banderas as Herod, not particularly the Great, scowling and scheming, intimidating and threatening, jumping and chewing on his songs. And, one of the main targets of his domination is his son, Antipater (Joel Smallbone).

In fact, for an audience familiar with the story, accepting its light touch, the character of Herod Antipas, soldier, dominated by his father, wanting independence, unexpectedly crucial in terms of aiding and abetting the flight into Egypt, is the most interesting dramatic development. And, for those who remember his later role in the Gospels, fascinated by John the Baptist, arresting him, executing him because of his promise to his dancing stepdaughter, and, of course, featuring in Superstar (“walk across my swimming pool”), this portrayal is quite unexpected.

The appeal for this kind of film is obviously for a religious audience, a Christian family audience, church groups. And, with the easy tunes and lyrics, it is one of those musicals that may well appeal to school groups to stage.

1. The title, expectations, a musical, (not Rock Opera, not Broadway), available for all communities and schools?
2. The treatment of Matthew and Luke’s Gospel stories, the comment about taking liberties? The greatest story ever told?
3. The Spanish location photography, the atmosphere of Palestine in Jesus’ time, mountains, deserts, the terrain, the village of Nazareth, the visit to Elizabeth, the journey to Bethlehem, the stable and poor conditions in Bethlehem? The Magi and their homes in the East?
4. The songs, the advent Canticle, Silent Night, Go Tell It on the Mountains? The range of songs, tunes and melodies, lyrics, using the Gospel, the irony of the Power and the Glory for Herod and the Magi singing it for Jesus? The tune suited to each of the characters, revealing them, their intentions and hopes? The contrast between the Magi and Herod? Mary and Joseph and the families in Nazareth? Herod and his son?
5. The familiar outline of the story, the introduction of Nazareth, Mary, her age, her sisters, studying the Scriptures, hoping to be a teacher, her relationship with her parents, her father smiles, her mother’s advice, the arranged marriage and her reaction? Joseph and his parents arriving, the caution? The gradual revelation of Joseph, his appearance? Mary knowing him, the conversation? The situation and her not wanting to marry?
6. The Angel Gabriel, the comic bumbling, the superstar style of his appearance, the words to Mary, her response and questions? The information about Elizabeth, the family saving face by sending Mary to visit Elizabeth?
7. Plans for the betrothal, Mary’s sisters, the material for the dress, getting ready, the parents, ceremonies? Mary and her reaction? Joseph, the discussions, the dream, their understanding, the quick ceremony of the marriage, the priest, the kiss?
8. The background of Herod, the pantomime villain, his songs, sinister, clothes, behaviour, scowling? His attitude towards his son? His son, military, the soldiers, their songs, military dancing? The issue of the census? Herod against Rome? His son persuading him? The visit of the Magi, their information, Herod’s reaction, the search for mother and child, in Bethlehem? Herod’s son, finding Mary and Joseph, his behaviour, his care, safe passage to Egypt, commanding his soldiers? The audience aware or not of the behaviour of Herod’s son with John the Baptist, the dance, the beheading of John the Baptist, wanting to see Jesus at his passion?
9. The Magi, the three, touches of comedy, astronomy, the Scriptures, the travels, to Herod, the search, Bethlehem, their suspicions of Herod, finding the stable, the gifts, the joke about murder, singing Silent Night?
10. The aftermath, Jesus as a boy, Mary and Joseph, reminiscences of the past – and into his future?

MASTER GARDENER

US, 2023, 111 minutes, Colour.

Joel Edgerton, Sigourney Weaver, Quintessa Swindell, Esai Morales.

Directed by Paul Schrader.

A reassurance for those who feel set up by the title of the film: there are many beguilingly beautiful close-ups of flowers during the opening credits, wonderful vistas of flowers, geometric French gardens, natural British gardens, wild gardens, after the reassurance, an alert that we begin to see fewer and fewer flowers, rather more human thorns. While this is a drama about an expert gardener, and many explanations of seeds, growth, flowers, it is more a drama about human nature.

And a message, that whatever the destruction, natural, all with human malicious motivation, rejuvenated regrowth is always possible. This is a Paul Schrader film. Schrader has been writing strong, often grim movies (Taxi Driver, Raging Bull, Last Temptation) for almost 50 years as well as directing many films, quite a wide range of themes, more recently on significant male loners (First Reformed, The Card Counter). With his name, we can expect serious themes, sadness and violence.

This is a drama about Norval what Roth, played intensely by Joel Edgerton, a sombre master gardener in the spacious grounds of a Louisiana mansion, presided over by a bitterly rich dowager owner, Norma, played imperiously and often impetuously by Sigourney Weaver. She has had a long family tradition with the gardens, quite a local reputation, and has her gardener obedient to her beck and call. He is a respectful loner, a mysterious background, gradually revealed, a far different life, a far different ideology, a history of violence.

Into the mix comes Norma’s grandniece, Maya (Quintessa Swindell), Norma agreeing to take her in as an apprentice to Normal, but disdain for Maya’s mother, keeping her distance, some dastardly unpleasant eventual encounters.

After the serious exhilaration of life and work in the gardens, Norval and his relationship with his enthusiastic staff, instructing, training, appreciating the floral results, the drama intensifies with Maya and her increasingly bitter grand aunt, something of what we might have been expecting, especially Norval’s fascination with Maya, his being upset when she is beaten by her drug dealing boyfriend, his connecting with his parole officer trying to get some justice, and then his own moral decisions.

Apart from the beauty of the flowers, this is a rather sombre drama, becoming evermore sombre as the flowers disappear.

1. The title, the emphasis on expertise, Norval as a master gardener, in action, in theory, study, achievement?
2. Paul Schrader film, audience expectations about a lone male, the past, drama, violence? The imagery and symbolism of the garden in flowers? Bloom, destruction, regrowth?
3. The Louisiana setting, the mansion, the beauty of the grounds, the gardens in flowers, the greenhouse? The mansion, interiors, wealth? The contrast with the streets, homes, drug dealers? Diners and police meetings? The countryside, the open road? The musical score?
4. The credits, the beauty of the flowers, close-ups, the different gardens, French geometric, and British nature, wild gardens, the visuals, the workers, the greenhouse, feeling the soil, smelling the soil, notions of seeds, growth, the range of staff, their enthusiasm, their tasks, Norval and his books, his knowledge about seeds?
5. Norval, his keeping the journal, his commentary, about gardens, about Norma, about himself in the past, about Maya? The journal important in the past, meeting of Maya, the relationship with her, the journal no longer necessary?
6. Norval, his appearance, overalls and jacket, in the greenhouse, with the staff, in the garden? The audience seeing him with his shirt off, the tattooed is, the swastikas? The contrast with his dressing up to go to the main house with Norma? The contrast with the revelation in the flashbacks, the Neo-Nazis, racists, thick hair and beard, seeing him in violent action, the shootings?
7. Norval, accepted by Norma, on parole, the meetings with his officer? Her attitude towards him, Sweet Pea? Inviting me to the house, the housekeeper, Ronnie and the drinks? The expectations, the sexual encounter? Giving him information about Maya? To be an apprentice, and not wanting to see her? The history of her mother?
8. Maya, her age, arrival, meeting Norval, explanations, working in the garden, the uniform, smiling the soil, working with the other members of the team, her learning? And not seeing Norma, puzzled?
9. The encounter with Norma, the new dress, the tea, the lunch, Norma in overalls, to work in the garden? The discussions, misinterpretations, clashes, Norma walking out?
10. Maya, being beaten, her boyfriend, drug dealing? Norval and his reaction, the appointment with his officer, their discussions, memories of the past, the officer retiring, a replacement? The information about the dealer and Norval expecting some action?
11. The encounters with Maya, the attraction, his advance and drawing back, her response? Being together, his letting her see the tattooed is? Her questions? His reaction to Norma’s treatment of her?
12. Maya getting things, to go into hiding, staying with Norval? His taking the time, confronting the boyfriend and the others, the threats? Their retaliation, the destruction of the gardens?
13. The new parole officer, Norval testing him out? His decision to take action, confronting the two, breaking their knees? Norval and Maya in the car, feeling free, yelling out the windows?
14. Decisions, his memories of his wife and his disappeared daughter, change of life, confronting Norma, living with Maya? And the reconstruction of the garden?

MSC Ordinations, India.

Thanks for Malcolm Fyfe MSC for news from a region he knows so well,

Late last week, there were two Ordinations to the priesthood for MSC INDIA.

The two were Fathers Charles Joseph, aged 31 and Kulandai Arul Raj who will turn 30 in a few days’ time. Both of them come from the Kollegal region in the State of Karnataka (Bangalore is the Capital of Karnataka). The Kollegal region is an area that shares its border with Tamil Nadu State and these two confreres are fluent in the respective State languages, Kannada and Tamil, as well as English.

The photo above was taken at the end of the December 8^th Ordination Mass showing Father Kulandai standing in front of the Bishop (Dr Lawrence Pius of Dharmapuri) and flanked by his parents. We could be forgiven for thinking MSC INDIA is in the export business, but Kannada speaking priests are much in demand locally.

I don’t have a photo of Charles’ ordination on Saturday, but this was his Invitation. Ordinations in India are usually held at this time of the year – as are Weddings: it’s the coolest season of the year. Both celebrations involve a lot of expense for the families, as the entire community celebrates a once in a lifetime event.

At the recent MSC General Chapter, approval was given for MSC INDIA to become a Province. Currently the necessary preparation of documents and statutes is under way. The formal erection of MSC INDIA as a Province is expected to take place before Easter and this will necessitate a process of consultation or election to determine the first Provincial Superior. There will be no shortage of candidates!

Congratulations, Charles and Kulandai.

Malcolm P. Fyfe msc

Celebrating the MSC Foundation Day, December 8^th – 169 years.

• Feast of the Immaculate Conception

From Raincy Church Facebook page, 2021

Homily: Celebration of Perpetual Profession, Daniel Magadia MSC & Quoc Trieu Nguyen MSC

Stephen Hackett MSC and a perspective on our spirit.

On the eastern outskirts of Paris in the town of La Raincy stands the Church of Notre-Dame du Raincy, Our Lady of Raincy. In a chapel behind the original high altar stands a statue of the Sacred Heart of Jesus. It isn’t a traditional statue of the Sacred Heart, with an extruded heart showing the piercing by a lance, bleeding droplets of blood, and flame atop, all surrounded by a crown of thorns. No, this statue of the Sacred Heart is all white and smooth, save for a finely etched heart which is all but imperceptible until standing quite close. I tried to photograph it, but without any success.

This statue of the Sacred Heart is quite unlike any other I have seen elsewhere. Instead of the heart going out, as it were, signifying an outpouring of God’s love and mercy through the human heart of Jesus, the statue of the Sacred Heart in the church at La Raincy appears to draw us in, signifying Jesus’ invitation to come to him, to enter into his heart, and there to contemplate the love and compassion of God in the human heart of Jesus; to enter deeply into his heart that we might come to know everything he chooses to reveal to us, which is nothing less than the ‘fulness of God’.

This being drawn into Christ Jesus, not just drawn to him but drawn into contemplation of his heart, Trieu and Daniel, is at the very centre of our vocation as Missionaries of the Sacred Heart. It is this intimacy with Jesus, this communion of our hearts with his heart, his gentle and humble heart, which makes it possible for us to discover in our own hearts the depths of God’s love for us, which is greater than we can imagine or desire. It is our response to this same experience of God’s love that impels us to mission, to sharing with others all that we have come to know of the Father’s love for us through what we have first received from Jesus.

St Paul recognises this in his own life, setting forth in his letter to the Philippians the supreme advantage of knowing Christ Jesus, of forsaking everything else life has to offer so as to have life in Christ Jesus through the power of his death and resurrection; that is, through the paschal mystery. It is through baptism that we first enter into this mystery of Jesus’ dying and rising, making it possible for this same mystery to become the pattern of our own human and Christian living; and it is through our participation in the Eucharist that our life in Christ Jesus is nourished, strengthened and sustained.

Here, this morning, Daniel and Trieu, you will affirm through perpetual vows a choice you have already made, a choice like that of St Paul, to accept loss of everything so that you can have Christ Jesus and be given a place in him; that by embracing his dying and rising as the pattern of your own lives, you can pursue for the rest of your days and years what you have already come to know through him, which is nothing less than the love of God for you, and a glimpse of the totality of this love which is the very fulness of God.

The vows you will profess are a radical way – to use St Paul’s imagery – of capturing the prize for which Christ Jesus has captured you. Of the many disciples who are called by Jesus to follow him and learn from him, relatively few are chosen to live the consecrated life. By professing poverty, you are freely letting go of possessing the things of this world which might otherwise possess you. By professing consecrated chastity, you are freely letting go of the fullest expression of the gift of our human sexuality that you might have ever-deeper intimacy with Jesus and live out of the love with which he loves you. By professing obedience in fraternal charity, you are freely letting go of fulfilling your own will so that, by attentive listening and discernment, the will of Jesus for you can become you own will.

What you profess to Jesus Christ here in our midst today is graced by God; you can be sure of that. For those of us who have been on this journey for many years already, your profession gives us new heart. For those just beginning, or even discerning, this way of life, your profession serves to inspire. Yet what you are committing to for the whole of your lives is not always easy. Patterning our lives on the dying and rising of Jesus means accepting even death, dying to ourselves over and again, that we might share more fully in his life, the life that flows from his heart, pierced on the cross, the gift of his Spirit, poured out upon our Church, to bring salvation to all people.

So, come forth, Trieu and Daniel, in the presence of your families, your confreres and your friends, and entrust yourselves to the heart of Jesus, that you may come to know ever more deeply the fulness of his love and live wholeheartedly for him. Commit yourselves to him in the little Society of the Missionaries of the Sacred Heart by the profession of perpetual vows, that you might share fully in the life and the mission to which you have been called and for which you have been chosen. And make your own in our common life and in our shared mission the motto given to us from our Founder, Jules Chevalier, ‘May the Sacred Heart of Jesus be loved everywhere’.

PLEASE DON'T DESTROY: THE TREASURE OF FOGGY MOUNTAIN

US, 2023, 93 minutes, Colour.

Martin Herlihy, John Higgins, Ben Marshall, Conan O'Brien, Bowen Yang, Megan Stalter, X Mayo, Nichole Sakura. Narrated by John Goodman.

Directed by Paul Briganti.

This film poses something of a difficult question: whom could you recommend this film to?

The immediate answer is – to slackers, especially in their late teens and up to mid-20s. In fact, the screenplay has been written by the three central characters played by Martin Herlihy, John Higgins, Ben Marshall, who, at the time of writing and performing, were at these ages. They have had some experience with Saturday Night Live.

Anybody over 25 who watches it, especially if they were in a very (very) relaxed mood, might enjoy some of the silly shenanigans or, as one blogger put it, “stoopd”. In fact, another said “ridiculously nerdy”.

The film has been narrated by John Goodman with some moments of sending himself up, with reference to The Big Lebowski. And, surprisingly, the father of one of the slackers who owns the local store and does not want his son to inherit it because he shows no capacity for exercising power and financial know-how, is played by TV host, Conan O’Brien.

So, for those on the wavelength, it is a picture of these three men-children, some relationships, a lot of mucking around.

But, in the history of the town, there is the story of a traveller from France in the French Revolution concealing treasure in Foggy Mountain. And, would you believe it, one of the boys has had a medal which has a map since they were kids. Off they go, encountering two buxom travel guides on the mountain, get attached, are betrayed, and all finally end up in this cult property established by one of the townspeople who years ago set out to find the treasure.

If these comments arouse interest, by all means. If not – then definitely not.

TROLLS  

US, 2016, 92 minutes, Colour.

Voices of: Anna Kendrick, Justin Timberlake, Zooey Deschanel, Christopher Mintz-Plasse, Christine Baranski, Russell Brand, Gwen Stephanie, John Cleese, James Cordon, Jeffrey Tambor.

Directed by Walt Dorhn, Mike Mitchell.

This is a very cheerful show, despite an important part of the plot having the ugly giant Bergens eat a Troll to make them happy!

The target audience for the film seems to be the very littlies, up to about the age of six or seven (perhaps a little beyond but the eights and others might think themselves a bit too sophisticated for this kind of entertainment!).This is one that the parents will have to sit through with their littlies – though they might enjoy the range of songs, variations on Greig’s Peer Gynt and the Mountain King, Simon and Garfunkel’s The Sounds of Silence, True Colours and other romantic songs, courtesy of the voices of Anna Kendrick and Justin Timberlake.

One of the reasons for the success of the film for its young audiences is the fact that it is full of movement, full of music, full of colour. And the Trolls, unlike the monsters of Nordic tradition, are variations of little dolls, especially Princess Poppy, the heroine of the piece. Most of them have very long colourful hair – which can be quite elastic at times, especially for tricks and rescues!

The Bergens are rather bigger, lacking colour, ugly faces, lopsided teeth, ruled over by a king who want his little son to be happy and eat a Troll. However, the King of the Trolls is alerted, leads them all through underground tunnels to safety, risking his life to save Poppy. 20 years later, Poppy is a live wire, wanting a 20 year celebration, loud, singing and dancing (which she is prone to move into at any moment) as well as hugging. The sad sack of the Trolls, Branch, warns them against being too loud – and, of course, they are, with the Chef of the Bergens searching for them for 20 years and, at last, finding and capturing them!

So, Poppy to the rescue, though she herself needs rescuing by Branch.

One of the enjoyable features of the search for the Trolls of the rescue is the discovery of the Bergen scullery made, Brigid, who longs to be noticed by the king. The Trolls do a transformation on her and send her on the date with the King who is entranced by her – and when she hurries away, she drops one of her rollerskates in Cinderella fashion!

The next day is Trollstice, the traditional day for eating a troll – but, the Chef captures the Trolls but Brigid does the right thing – with Poppy rushing back to help her and for the king to notice her – so that everybody will be happy (without the eating), colour will return to everyone, music and singing, hugs all round, and the little audience leaving the theatre cheered and very happy.

1. A film for smaller children? Characters, doll like presence, small, clothes, long and colourful air? A colourful film, with movement, songs and dances?
2. The title, traditional understanding of trolls, this time different? Their look, size, colour? The contrast with the giant Bergens, ugly, lacking colour, faces, teeth? The clash between trolls and Bergens?
3. The animation style, full of colour and movement? The voice cast, some British, some American? Singing, comic touches?
4. The songs, the range of songs, from Greig and the Mountain Kings to True Colours to The Sounds of Silence, romantic songs? The range of trolls singing? And Brigid?
5. The trolls, happy, their king, Poppy as a little girl, Princess? The story about the tradition, Bergens and their wanting to eat a troll to make them happy? The trollstice?
6. The Bergens, the day, the King, his son, preparing to eat the troll, the chef, everybody wanting to be happy?
7. The chase, the King, all the trolls going through the underground passage, his wanting to save everyone, his return, saving Poppy, getting his trousers caught! And all the trolls saved? 20 years of peace?
8. 20 years later, Poppy, full of enthusiasm, singing, dancing, hugging? Brash, bright? Her friendship with Creek? The range of other trolls, shapes and sizes, voices? The contrast with Branch, lacking colour, pessimistic? Warning about the loudness of the big party? The chef, banished from the Bergen town, alert, wanting revenge? Hearing the music, seeing the fireworks, capturing the trolls?
9. Poppy, determined to save the other trolls, embarrassed by the loud party? The discussions with Branch, his hideaway, his storing supplies? Not singing, not hugging? Her going off to the rescue, in danger, the large creatures, capture, Branch coming to release her?
10. The Bergens, the King, the preparation for the feast? The role of Brigid, scullery maid, not noticed by the king? The trolls finding her room, her waking, their talking, their transforming her and her date with the King, the trolls in her hair, giving her the information of what to say? The king enraptured? The skating, the pizza? Her escaping, leaving the rollerskate behind, the Cinderella story?
11. The trolls, the escape? The chef, the container and them all being taken? Creek, the flashback, his being bought off, the betrayal?
12. The chef, with all the trolls, preparing the meal, Brigid arriving, having to serve, her decision to let them go for all they had done for her?
13. Poppy, the decision to return, helping Brigid, transforming her again, the reaction of the chef, the king, delighted?
14. Everybody singing, colour returning to the town of the Bergens, the music, shoulder tapping, everyone transformed – except the chef, her exile with Creek?
15. Peace and harmony – and the postscript about the chef and Creek being swallowed by the bigger creatures?

WILDHOOD

Canada, 2021, 108 minutes, Colour.

Phillip Lewitski, Joshua Odjik, Jordan Poole, Michael Greyeyes, Savonna Spracklin.

Directed by Bretten Hannam.

Wildhood is a Canadian film, based on the life and experiences of the writer-director. It is a road film, a quest film, a young man in search of the mother who seems to have abandoned him.

The film opens with the rough experience of the teenager, Lincoln, played by Philip Lewitsky. He and his half brother, Jordan Poole, are pursued by the police, Lincoln placed in a cell along with the mysterious First Nation woman who later appears with some explanations, dragged out of jail by his abusive father.

This is the setting for Lincoln and his brother leaving in search of his mother, Lincoln perpetually angry and resentful, yet bonding with his brother.

There are various adventures along the way, the resentful Lincoln and an outburst in a store, being helped out by a young First Nations man, Pasmay who gives the two a lift, talking to Lincoln, persuades him to share the journey to find his mother. There is a lyrical swimming sequence – initial indications of a gay relationship.

Lincoln follows various leads, addresses, clues from unopened letters and cards, visiting the house where his mother spent some time for rehabilitation, the manager not giving any information. There is also a genial First Nation cake-maker who takes them to a club, some more clues from the Drag Queen owner of the club, then an encounter with the old lady who had been in prison.

Lincoln has to face himself and his relationship with Pasmay, the film showing a sexual encounter and experience, then how to deal with finally meeting his mother.

Pasmay is a dancer at Pow Wows, demonstrating his skills, teaching Lincoln how to dance, and a final sequence, in his regalia, acclaimed dancing, then the three central characters dancing together at the end.

1. The title, childhood, the two brothers, growing up, wild, the road journey, at the destination?
2. Canadian film, the First Nations story and characters, issues? The character and journey based on the writer-director’s experience?
3. The Canadian locations, homes on the edge of towns, the range of countryside travelled, jail sequences, houses along the way, the clubs, the meeting place for the mother? The musical score?
4. Lincoln, his half brother, the stealing of the copper, the chase, arrested, in jail, with the mysterious First Nations woman, his later meeting her, her advice? His father, home life, brutality and violence? The decision to run away?
5. Lincoln, his age, character, angry, resentful, the brutal father and his response, bonding with his half-brother, the absent mother and his puzzle about her abandoning him? The need to find her?
6. The bonding between the two brothers, managing along the road, in the store, the checkout, his angry response?
7. The encounter with Pasmay? The friendly touch, the angry response, the pursuit, calling the police, getting into the vehicle, driving away? Pasmay, the gradual explanation of his background, a dancer, his talent, demonstration, a loner, his family? The gradual revelation about his being excluded, gay orientation, needs?
8. The effect on Lincoln, angry, walking off, persuaded to come back, continuing the journey? The exhilaration of the swimming sequence? Indication of gay themes emerging?
9. The talk along the way, mood swings, a car breaking down, on the Road, the cake maker picking them up, conversation, friendly, the scene of delivering the cake, the maker’s nephew and his outburst, Lincoln running away?
10. The various addresses, confidentiality, the woman at the house where his mother spent some time, the cake-maker and taking him to the club, the proprietor of the club, enigmatic, First Nation, some indications, looking into Lincoln’s eyes? The encounter with the old lady who was in the prison, walking together, her taking him to the destination?
11. His mother, the initial response to her son, walking, following, the talk, the breaking down of reserve, the explanations, the reconciliation?
12. The relationship between Lincoln and Pasmay, the swim, the waterfall, the sexual encounter, its effect on each of them? Breaking down barriers?
13. The finale, Pasmay in regalia, his dancing, and the through them dancing on the beach?

TROLLS BAND TOGETHER

US, 2023, 91 minutes, Colour.

Voices of: Anna Kendrick, Justin Timberlake, Kenan Thomson, Walter Dohrn, Ron Funches, Eric Andre, Daveed Diggs, Kid Cudi, Troye Sivan, Amy Schumer, Andrew Rannels, Zoe Deschanel, Christopher Mintz Plasse, RuPaul.

Directed by Walter Dohrn, Tim Heitz.

The first Trolls animation film was released in 2016 and was immediately popular. Four years later, there was a sequel, Trolls World Tour, also popular.

In the post-Covid recovery, here is a third film, capitalising on the characters and style of the previous films. The animation is bright, colourful. The Trolls are small, each with the different characteristic, and all of them with a voice cast of popular singers, led by Justin Timberlake, but supported by Eric Andre as John Dory, Daveed Diggs, Kid Cudi and, from Australia, Troye Sivan. The villains of the piece, too ambitious teenagers who are draining the singing essence of one of the brothers whom they are captured, are played by Amy Schumer and Andrew Rannles.

And, a number of the supporting cast previously appeared in trolls films, including Zoe Deschanel, Christopher Mintz-Plasse, and a guest appearance from RuPaul.

The focus is on the music, on performance, and ultimate success with the family of brothers coming together, overcoming the perfectionism of their leader, John Dory, and a final performance with Justin Timberlake and Anna Kendrick.

Walter Dohrn continues as director and performs a number of roles. As does the other director, Tim Heitz.

1. The popularity of the earlier films, the trolls, their size, history, interactions, song? This film relying on their singing as a group, their singing essence stolen, reuniting, perfect harmony?
2. The colourful style of animation, bright colours, the characters, the situations, Bergen, the kingdoms, the dwellings, the concerts?
3. The voice cast, so many from the original films? The music, the songs?
4. Audience liking the trolls, liking John Dory, Justin Timberlake, liking Poppy, an often strident and aggressive Anna Kendrick? The singers taking the supporting roles?
5. The focus on the brothers, singing as a group, John Dory and his leadership, wanting perfection, the breaking up of the group, the brothers going the different ways, Branch being looked after by his grandmother?
6. The years passing, John Dory returning, trying to track down the other brothers, the quest? The role of Branch, growing up, his making demands? The support of Poppy?
7. The situation with Velvet and Veneer? Their ambitions, teens, singing, capturing the brothers, especially Floyd, draining the essence for their own singing, the shoulder pads? Their performances, the crowds and applause?
8. The quest for meeting all the older brothers, finding them in their situations, settled, being persuaded to come together again?
9. The background characters, the kingdoms, Poppy discovering her sister, old enmities forgotten?
10. The buildup to the confrontation, the brother still squabbling, Poppy assertive, Branch and his leadership, saving Floyd? The confrontation with Velvet and Veneer, taking them down?
11. The harmony of the brothers, working together, a different kind of working perfectly together?