HAYWIRE

US, 2011, 94 minutes, Colour.
Gina Carano, Michael Angarano, Channing Tatum, Michael Douglas, Antonio Banderas, Ewan Mc Gregor, Michael Fassbender, Mathieu Kassovitz, Bill Paxton.
Directed by Steven Soderbergh.

Steven Sodebergh is a director who has been able, for over twenty years, to move easily from arthouse films to popular films. After all, it was he who directed the three Oceans movies. He has also tried out a number of genres. Prior to Haywire, he made the medical and world epidemic drama, Contagion.

He must have been impressed by multi-martial arts champion, Gina Carino. Here she has the opportunity to show her considerable skills in doing her own stuntwork. She plays an employee of a company which carries out covert operations which governments are unwilling to admit to or express any knowledge of. When one of these operations is undermined and the person to be rescued is assassinated, she goes out on her own enquiry. It is complicated because she has several possible bosses who commissioned these covert tasks. They include Ewan Mc Gregor (with an odd haircut!), Michael Douglas and Antonio Banderas. Besides these three, the Channing Tatum as a co-worker and Michael Angarano as a young man whose car she takes, abducting him and telling her story so that he can report her version when questioned.

Actually, the director and cast are much better than the film itself, which is complicated, of course, requires audience attention – but does not stay in the memory.

1. Covert operations thriller, action, conspiracy theories? The work of Steven Soderbergh – the variety of his interests?

2. The various locations, international, New York upstate, for the story and the pursuit, the case in Barcelona, the case in Dublin? The sequences in New Mexico?

3. Gina Carano and her career, multi-martial arts? Using these skills in the action sequences? Her stunt work?

4. The opening, Mallory and the diner, Aaron and his arrival, the confrontation, her job, his attack, losing? Her escape, taking Scott and his car?

5. The explanation to Scott, the flashbacks, the action sequences, telling the story for him to report to the authorities?

6. Barcelona, the auction amongst the business heads? Coblenz, Kenneth, Rodrigo? The secret operations, the role of the government? Eliminations? Money bids, agents, plans, the rescue of the whistleblower?

7. Seeing the case in action, the various agents, the villain coming out of the house, Mallory and her pursuit? The abduction of the whistleblower? His being shot? The mystery?

8. Mallory transferred to Dublin, Paul and the posing of husband and wife, going out to restaurants? Mallory and her sense of betrayal? The fight with Paul, killing him? The phone call to Coblenz? Suspicious and going to the United States?

9. Kenneth and the operation, his arrival, with Mallory, their past together? His plan to eliminate her?

10. Coblenz, the meeting with Mallory, his being in charge, her suspicions? Focusing on Kenneth? Coblenz and his advice? Her going to visit her father, the bond with him, Kenneth’s arrival, his agents, their discussions with Mallory, the pursuit, his foot caught on the rock, the incoming sea, his death?

11. Mallory and her father, his book and his exploits, the contact, his bluffing for her, the confrontations, her appearance?

12. Rodrigo and his boss? Rodrigo’s lifestyle, control, the manipulation of the case, the assassination, Mallory? The deals?

13. Mallory and her final confrontation of Rodrigo – and his shock?

14. The original title, Knockout? The meaning of haywire? A popular entertainment? An exercise in film-making for Soderbergh? His skills, the very strong cast?

A BETTER LIFE

US, 2011, 98 minutes, Colour.
Demian Bichir, Jose Julian.
Directed by Chris Weitz.

This is the film that was catapaulted into world attention when the leading actor, virtually unknown, though an award winner in Mexico, Demian Bichir, received an Oscar nomination for Best Actor, knocking out such potential contenders as Leonardo di Caprio for his portrayal of J. Edgar Hoover. Whether this was correct or not is not important now. What is impressive is the performance of Bichir in what is a small film about Hispanic migrants, legal and illegal, in Los Angeles.

He portrays a simple and good man. From Mexico, he crossed the border many years earlier with his pregnant wife. However, after some years, she wanted more from her life in the US and abandoned her husband and young son. The boy, Luis (Jose Julian), is now fourteen and has been brought up (becoming a typical 21st century American boy, trying to fit in, toying with becoming part of a gang, putting on rebellious and resentful airs) by his hardworking father who is employed spasmodically on gardens. Bichir is an actor who can convey a great deal of interior feeling without words, a lived-in face which at first seems impassive but communicates inner struggles.

When he has the opportunity to buy a truck which will enable him to move to jobs more easily and make some money, he hesitates but eventually, with the help of his sister, buys the truck.

If only... Carlos does the right thing by a man who was kind to him, but this leads to some disasters for him and the dashing of his dreams. It is saddening to watch what happens to this decent man through no real fault of his own.

Stories about illegals in the US have been frequently seen on screen. With its humane touches, this one is quite moving, especially in the last part, empathising with Carlos and his sad fate.

Cinema is a helpful place for audiences to get to know and feel migrant and refugee issues rather than simply read headlines or listen to political grandstanding where the individual stories are lost in debates (and invective) about policies.

Surprisingly, the director is Chris Weitz who was responsible for both American Pie and About a Boy (with excursions into The Golden Compass and Twilight: New Moon).

A Los Angeles story? The Hispanic world? The irony of the title – hopes, hopes dashed? The illegals, the legals? The heritage of Hispanic migration in the 20th century? The consequences in the 21st?

1. The LA locations, homes, streets, shops, workplaces, the gardens? The Hispanic atmosphere? The contrast with the affluent world of the whites, their gardens and mansions? The musical score?

2. The Hispanic world, appearances, the Latin aspects, language, customs, the precarious existence, fear of the police and immigration officials, the role of the gangs, the guns? The difficulty for people of integrity?

3. The performance by Demian Bichir? The Oscar nomination? The director and his varied career? Commitment to this small project?

4. The portrait of Carlos, his age, appearance, accent, the communication of his interior life? The background in Mexico, an ignorant young man, wanting to go to Los Angeles, his pregnant wife, the birth of their son? His wife wanting better, leaving him? The years of Carlos bringing up Luis? Worry about him, his age, American attitudes, at home, school, the gangs? Carlos and his jobs, the gardens and his skills? His friend picking him up in the truck? Urging him to buy the truck? The discussions with Anita, her lending him the money? Buying the truck, his satisfaction? The encounter with Santiago, giving him food? Hiring Santiago? Going up the tree, Santiago stealing the truck, his chasing him? Distraught, drinking, going to search for the truck? Asking Luis to help him? The clashes? The information from the man, paying him? Being led to the apartment, the recovery of the mobile phone, the man giving information, the restaurant? Learning that Santiago had sent the money to his family? Going to the yard, finding the truck, getting it back, the windscreen broken? Driving carefully, the police? The arrest? The realism of the experience? Audience empathy for Carlos?

5. Carlos’s friend, driving him to work, working on the trees, the owner of the house, the suggestions about the truck, offering him a vision of self-improvement and financial betterment?

6. Anita, her past, Carlos supporting her? Her husband, care for Luis, lending the money?

7. Luis, his age, reactions of an adolescent in Los Angeles, school and friends, the gangs, the boys and the girls, dating, bullying? The fights? The police, the prejudiced interrogation of Luis, his not having any tattoos? His relationship with his father, with Anita, upset, his hard attitudes?

8. Santiago, friendliness, his story, stealing the truck?

9. The arrest, Luis and Anita, Luis leaving and going home, the treatment of Carlos, the advice from Legal Aid, the treatment as prisoners, the showers, the clothes? The decision for Luis to visit, the embrace, Carlos’s promise to come back? Anita and Luis watching him go on the bus?

10. His new attempt to come back to Los Angeles, with the group, through the desert? The risks?

11. Audiences and their attitudes towards the Hispanic illegals, their role in Los Angeles, their personal lives, the risks, their hopes? The film helping audiences to understand refugees and illegals?

FLYPAPER

US, 2011, 87 minutes, Colour.
Patrick Dempsey, Ashley Judd, Tim Blake Nelson, Mekhi Phifer, Matt Ryan, Jeffrey Tambor, John Ventimiglia, Pruitt Taylor Vince, Curtis Armstrong, Ron Huebel, Octavia Spencer.
Directed by Rob Minkoff.

This is a heist movie, well two heists, well three in fact – and all at the same time.

Actually, the premiss is rather absurd – and so is the treatment, played for laughs and disbelief. And the flypaper of the title – that is just the money in the bank which attracts thieves like flies to flypaper.

The first group of thieves wants to be the real thing, masks, guns, blasting... The second group of thieves has to be seen and heard to be believed. Tim Blake Nelson and Pruitt Taylor Vince are a couple of good ole boys, dumb as they come, who have idealised bank robbers and plan to set themselves up for the pantheon of robbers. They get in the way, say the stupidest things (with that southern drawl) and behave oddly and badly.

Speaking of behaving oddly, Patrick Dempsey is an eccentric genius who needs his medication regularly and, during the burglary, doesn’t get his pills. This means that he is the one to outwit the robbers as well as solve the mystery of the third attempt, by a mastermind criminal to put in danger the lives of the robbers (he sent them invitations), his security guard (who has done time), his Swiss bank connection and his teller staff (Ashley Judd and Octavia Spencer before we all noticed her in Help and she won awards). Jeffrey Tambor is the bank manager.

If that sounds appealing, go for it. If it doesn’t (and this review has tried to communicate the feel and moods of the film – and the absurdity of the plot), then stay away. Director Rob Minkoff made The Lion King and Stuart Little! Advertised as ‘from the writers of The Hangover’ – they must have been on one when they wrote this one.

1. The impact of the film as comedy, comedy of the absurd?

2. The action in the interior of the bank, the layout of the bank, the dramatic score?

3. The title, money and thieves – drawn to flypaper?

4. The two groups arriving, the plan for the robbery, the letters from the villain, confronting each other, the decision to collaborate?

5. The serious group, the Englishman Gates, Darrien, Weinstein? The masks, their ambitions, the threatening of the staff? Their interactions amongst themselves? Their characters, the explosions – and their deaths?

6. The contrast with Billy Ray and Wyatt Jenkins? Peanut Butter and Jelly? As characters, their accents, their motivations, their wisecracks, dumb, creating a mess, understanding the situation, their reactions?

7. Tripp, in the bank, his flirting with Kaitlin? The decision to take the money in coins? His arithmetic? Age, character, the reaction to the robbery? His need for medication? His interventions, clever? Kaitlin and the kiss? The revelation of the plot, his arguments? Under suspicion? Going to Kaitlin – the exit from the bank, the car, exposing her and her robbery?

8. Kaitlin, Madge? Their work as tellers? The reaction to Tripp? The robbery, their reactions? Kaitlin and her wedding gifts, the talk of the wedding? The dangers? Kaitlin and her collaborating with Tripp?

9. The Swiss bank girl, her presence in the bank, part of the plot, her death?

10. The security guard, his background in jail, flirtatious?

11. The bank manager, his control – and finally being unmasked as the villain?

12. The theory about the robbery, the mastermind criminal, his plan?

13. Tricking the bank manager, the night glasses, being exposed?

14. The resolution, the police, carrying out Kaitlin’s gifts, Tripp and the revelation of her robbery? The kiss?

15. The combination of the absurd, the comic, the amoral?

DON 2 – THE DON MUST DIE

India, 2011, 140 minutes, Colour.
Shah Rukh Khan, Florian Lukas, Om Puri, Prianka Chopra.
Directed by Farhan Akhtar

Don 2 received quite some prominence at the Berlinale, many wondering what a Bollywood gangster film was doing there. Answer: a good half of the film was made in Berlin, so it was on home ground, so to speak. Berlin looks quite attractive and, at times, spectacular, what with familiar landmarks, impossible car chases on key roads, and lots of explosions and activities and stunts in and outside of banks.

Even if one has not seen the first Don film, there are enough indications and some flashbacks to make sure audiences feel comfortable watching the sequel. This film is quite a show so, if it is not as good as the original, the original must have been quite something!

Watching Don 2, we realise that Bollywood is learning a lot (and borrowing) from the Hong Kong action and gangster conventions, some martial arts fights as well, but learning and borrowing most from the action genres of Hollywood (and wanting to outdo Hollywood at times, and succeeding). Hence a French Riviera opening with European gangsters planning to kill the Asian drug kingpin, Don, followed by a spectacular Malaysian river ride turning into fights and drug dealer machine gun deaths. There are some attractive scenes in KL and Zurich, but then it is on to Berlin, with a complicated plot for Don to steal the plates used for making the Euro notes.

This means prison scenes (for Don to break out with an old enemy he wants to use in Berlin), suave political soirees, the aforementioned chases and the complex carrying out of Don’s plan.

This is all possible because Indian superstar, X Khan (who does fights, song and dance, including the final credits, and ruthless crime) is such a charming rogue (and almost complete narcissist) that, despite ourselves, we rather like him. Which also means that we see very little of his plotting and planning which is always supersmart and we accept it all. (Khan tried something completely different with his portrayal of an autistic man in My Name is Khan.)

Of course, it is a business and political story as well as a police investigation with Roma, an old flame from the original, out to capture him and Om Puri as the police chief who wants to arrest Don before retiring.

So, Bollywood trying to better and best Hollywood in the action genre – and succeeding.

1. Bollywood meets Hong Kong and Hollywood? A slick action film with flair?

2. The rapid pace, the importance of editing, for action? The inclusion of songs? Watchable?

3. The original Don – information in this film, the flashbacks, the development of the characters, the continuity?

4. The world of crime, a drugs story, the drug kingpin for Asia, the plans to break into Europe, the rivals?

5. A police drama, Malik and his being chief detective, pursuing Don, Roma and her relationship with Don, wanting to arrest him? Arjun and his devotion to Roma, participation in the investigation? From Malaysia to Germany?

6. The locations, the French Riviera, Zurich, Malaysia, Kuala Lumpur, Berlin? The importance of Berlin – the vistas, the well-known landmarks and their use?

7. The introduction to Don, his voice-over, his appearance, rogue and charm? Narcissistic? The lyrics of the song, his confidence? Smug? Super-smart? The audience not seeing him doing any planning – but his coming up with the most intricate plans and the execution of the plans, the twists?

8. The Riviera, Jimmy Coogan, the European gangsters and their decision that the Don had to die?

9. The transition to Malaysia, the beauty, the river, the arrival at the boat, the confrontation, executing Jimmy Coogan’s plans, Don and his skills, the fights, martial arts, shooting? Stunt action?

10. His plan, giving himself up, his history with Malik, with Roma? Malik and his intention to resign, yet his aim to get Don in prison? The interrogation, the deals, Don ready to supply information about the European drug dealers?

11. His going to prison, his confrontation with Van Haan, the previous fights, Van Haan in prison because of Don? The setups in the yard, the confrontations, Don wanting Van Haan as an ally, the various jobs in the prison, cleaning and cooking, bringing in the medicine, the inmates ill?

12. The escape, the disguise, meeting Ayesha, the disc, needing the two numbers to get the information and open the safe? Van Haan and his suspicions of Ayesha? The insertion of the song and dance routine at this point?

13. Diwan and his job in Germany, his relationship with Kohl, their plot, the hit, the hold over each other? Don knowing all of this, the disc?

14. The plates for printing the euro notes? Diwan and his fear, hiring Jabaar and his thugs? Don turning them into allies? The threats, the goons, the crashing of the car?

15. Don hiring Sameer, his internet expertise, his wife and her pregnancy? Hacking into the system, the explanations, his work in the execution of the plan, the timing, the betrayal?

16. The plan within the building, the timing, the explosions, taking workers as hostages? The expert and Van Haan going to talk with him about authenticity of notes? Getting his fingerprints? Getting to the vault, the plates, the confrontations, the electricity going off, the police presence, Roma and Malik? Don’s escape? His decision to go back in, to shoot or not? The deal, his wanting immunity?

17. The chases through Berlin, the socialite party, the action?

18. Don, his freedom, the confrontation with Diwan, his being killed in the explosion? Van Haan going back to jail, Jabaar dead? Kohl being arrested?

19. The revelation of the play with Sameer, the pretence betrayal, the parcel of the plates being sent to him, the suspense as the parcel arrived at his house? His future assured with Don’s support? Don going free? Reunited with Ayesha? Roma being shot, Don saving her life?

20. The final credits, the song and dance routines, the lyrics and their commenting on the film and characters? The combination of Hong Kong martial arts, Hollywood heist films with the Bollywood touch? Bollywood better than Hollywood?

THE VOW

US, 2012, 105 minutes, Colour.
Channing Tatum, Rachel Mc Adams, Sam Neill, Jessica Lange.
Directed by Michael Sucsy.

If you are, as they say, ‘a sucker’ for romantic films, then this is definitely your film. And, even if you are not a sucker, you may well be drawn into it. It is about love and fidelity, and a surprising part of ‘the for better or for worse’.

The film opens cheerily, Paige and Leo love each other – and then, almost immediately, there is a car accident and everything changes. Paige suffers severe brain damage and loses her immediate memory. She does not recognise her husband which, while devastating for him, draws out the best in him as he tries to help his wife to regain her memory. Instead, she has regressed to a period when she did not know Leo, was at home with her wealthy, dominating parents, was studying law and was engaged to Jeremy.

While Leo is dismayed by her ‘regression’ to her former self, he tries his best (not always successfully) to help Paige, hoping that, if she does not regain her memory, she will fall in love with him again. Everybody is sympathetic to Paige, while Leo does not receive all the empathy he needs.

The film is announced as based on true events. We are invited to enter into this difficult emotional situation and share Paige’s quest to find her identity and Leo’s hope against hope.

The setting is Chicago and the film makes the most of its atmosphere.

Channing Tatum (who despite his credentials as a model seems in his other films more often a big lug) is convincing as Leo with his love for Paige. We feel deeply sorry for him. Rachel Mc Adams is Paige, always a vivacious screen presence, convinces us in the early sequences of her love for Leo and is equally convincing in her memory loss and how she handles it. Her parents are played by Sam Neill and Jessica Lange.

In days when relationships are so often casual or transient or both, it is an encouragement to see a story of committed love trying to overcome all obstacles.

The ending is not quite what we might have expected.

A blend of the romantic and tragic? Based on actual events? The aftermath?

1. The Chicago settings, the neighbourhoods, Lake Forest and its wealth, the homes, the studios, the recording studio, art school, restaurants, the open-air wedding? The credibility of the characters and plot? The introduction to Leo and Paige? Together, in love, joking, the sudden impact of the crash? Hospital, Leo not being injured, Paige’s injuries, in a coma? The doctors, their prospects? This happening early in the film – and providing credibility of love for the loss of memory that was to happen?

2. The previous years, Leo and Paige meeting, the driver’s licence, going for coffee, the mutual attraction, love, Leo and his work, his friends? Paige and her art? Her preparing the sculptures, the commission? The celebration of the commitment, the wording of the vow, serious, the comic touches? The friends and being chased from the precinct? The prospect for a happy marriage?

3. Paige waking, not knowing who Leo was, mistaking him for the doctor? People’s fears? Her experience, bewilderment? The effect on Leo, not being recognised?

4. Paige’s parents, possessive, not giving due regard to Leo, wanting to take Paige home, her memory up to the time that she left home? The issue of treatment? Leo and his suggesting that she go home, her memory being restored by being in familiar circumstances? Paige going with Leo? Her getting lost, ringing her mother? The invitation to dinner? The tensions? Leo seeming out of place? The father and his superiority? Going to the wedding practice, the father-in-law discussion, at the wedding, with Paige’s mother? The truth about the two and their relationship, the effect on Paige – and why she left home in the first place?

5. Paige, her experiences with Leo, he hoping her memory would be jogged, the apartment, Leo naked, the food, going out, the party, the friends and the gathering, it being too much for her? Wandering and getting lost? With her mother? Her reverting to being a law student, engaged to Jeremy, visiting his office, the kiss? Her sister getting married? With her old school friends and acting girlishly? Her apologies to Leo? Trying to sculpt? Leo and trying the tickling effect – and it not working?

6. Leo, his love for Paige, his continuing his work, the effect of her coma, it being hard, being absent from work, his assistant and her complaint? Trying to make the details jog the memory? His relationship with Paige’s parents, the tensions, the father trying to buy him off? The friends, the recording studio, his inability to do his work, wanting to be present for Paige? The wedding, talking to the groom – and Paige’s sister’s appreciation of Leo’s charm and wisdom?

7. The decision to have a date, retracing the steps, where they met, the restaurant? No effect?

8. The pressure for a divorce, Leo giving up for Paige’s sake?

9. Jeremy, the past, his relationship with Rose, breaking it, Paige’s visit to the office, his hopes, the punch-out at the wedding, beginning again?

10. Paige’s friend, her sister, the outing, meeting Gwen, discovering that her father had an affair with her best friend, her mother’s reaction? Accosting her mother in the garden, her mother explaining her choices and deciding to stay?

11. Paige leaving home again, the same situations precipitating her departure? Her new life, painting? Visiting Leo and telling him?

12. The two together, her falling in love with him again, eventually? The effect for Leo, his shock? For herself?

13. The information at the end of the film, Paige never discovering the lost years or regaining her memory? Working on her identity again? A happy family? The success of the film on its release – especially for women’s audiences?

FLOWERS OF WAR

China, 2010, 140 minutes, Colour.
Christian Bale, Ni Ni.
Directed by Zhang Yimou.

The siege and rape of Nanking is still vivid in the Chinese memory. The attack by the Japanese on the Chinese capital, the savagery of the treatment of the citizens, more than 200.000 deaths, in 1937 are alive more than 70 years later. And, there have been a number of films portraying aspects of the experience. John Rabe brings in the German and international connections. Chen Kaige’s Forever Enthralled, enters through stories of theatre and opera. The most comprehensive, moving and shocking film is City of Life and Death (SIGNIS prize in San Sebastian, 2009). Veteran director, Zhang Yimou, has chosen to focus on a small group and their treatment as a symbol of the whole experience.

There are two groups of women in this film. Rather, one is a group of schoolgirls, convent-educated, who seem refuge in the Cathedral. The other is a group of prostitutes who clamour at the gate of the Catholic compound, are reluctantly let in and are looked down on by the girls. A young orphan, George, has been left by the parish priest to protect the girls.

Inside the compound, the prostitutes take over the cellar, while the girls stay in the dormitory above. There are sequences of squabble and antagonism. But, the main war is outside.

Zhang Yimou has been interested in Chinese history for some decades. Initially he went into a more distant past but also made some small films of local stories. Then he went martial arts with such spectacles as Hero and House of a Thousand Daggers, Curse of the Golden Flower. This time, he stages most effective street battles and the work of a Chinese sniper picking off a troop of Japanese soldiers who have entered the Cathedral and brutalised the school girls who have diverted attention away from the prostitutes in the cellar.

But the central character is an American mortician who has been caught in the crossfire on his way to prepare bodies for burial at the Cathedral. He encounters two of the girls and follows them. He is mercenary at heart and wants to be paid for his help, searching the poor boxes, finding altar wine and consuming it (not religiously) and making George desperate. He has no objections to the presence of the prostitutes.

But, like Humphrey Bogart almost sixty years before him in The Left Hand of God (also set in China), he disguises himself as a priest and moves to defend the schoolgirls when they are attacked. He is John Miller, but now they call him Fr John. He is played by Christian Bale as a rather extroverted and swaggering opportunist.

Much of the film is watching Fr John grow into his role as priest (not 100% edifying) but showing the ideals of a priest in practice. The other principal characters, besides George, the ever-present and helpful assistant, are the leader of the prostitutes, Mo, and the leader of the schoolgirls, Shu.

The polite Japanese commander who apologises for the attack on the girls (and believes that Fr John is really Fr John) comes to hear the girls sing and books them to perform at a celebration of the taking of Nanking. Fr Joh refuses but is pressurised – which brings the film to a final climax as to how the schoolgirls will be protected from the less than honourable intentions of the celebrating Japanese. Which brings the film to quite a moving ending. While the background canvas of the film is large, this film itself is more of a miniature, in parts authentically brutal, in parts somewhat romantic, of what was happening around the city under the occupation.

1. The memories of 1937 in Chinese consciousness? The films made about the siege of Nanking? Seventy years of remembering?

2. The career of Zhang Yimou, his interest in Chinese history, films on the grand scale, small scale? His status and awards? For this film?

3. The information about 1937, the Japanese invasion, the siege of Nanking, the cruelty and occupation, two hundred thousand killed?

4. The sets for Nanking, the streets, the bombed buildings, the hiding places, the cathedral and school, the neighbouring buildings, the brothel, the Japanese headquarters? The interiors of the church, the sacristy, the cellar, the stairs? Sense of realism? The musical score?

5. The focus on the girls, their age, convent-educated, the deaths of some of the girls, the others unable to escape, the hunt for them, their fears, hiding?

6. John, his being chased, his notice about being an American, the soldier holding him up, the building collapsing, the flour? His being saved, finding the killers, protecting them, making his way to the cathedral? His encountering George? John Miller’s background, the death of his daughter, his going to China, his being a mortician? His wanting cash from George, the altar wine? His behaviour with the girls, mercenary? The arrival of the prostitutes? The fights and clashes? His drinking? His being confronted by Mo?

7. George, his being an orphan, guarding the cathedral, his being strict, his reluctance to let the prostitutes in, his care for the girls, with John?

8. John waking, the clerical garb? His putting it on? His being ready to face the Japanese as a cleric? His appearance, confronting the Japanese in their attacks on the girls, his being bashed? The effect on him, his conscience, his increasing willingness to help? Discussions with Mo, the deal, his apology to her? The making of the bread with the flour? His acting as a priest?

9. Li, the Chinese forces, confronting the Japanese in the streets, their all being killed, Li's bringing Pu Shang to the cathedral? Leaving him to the care of the prostitutes? Pu Shang, his wounds being tended, the girl from his village talking with him, his death? John and his using his mortician’s skills on the body of the young man? Li going into the adjacent building, sniper attacks on the Japanese attacking the girls? His setting out the bombs in the courtyard, killing the Japanese, the explosions, his death?

10. The presentation of the Japanese, in the streets fighting? The taking over of Nanking? The brutality of the group in the cathedral, wanting the young girls? The girl falling to her death? The sniper attacks and their leaving, Li destroying them? The commander coming to give his apology, playing the organ and singing the song about Japan, asking for the girls to sing for him, placing guards at the cathedral to protect them from attack?

11. The girls and their clash with the prostitutes, not wanting the women to come and use their washing facilities? The prostitutes, their clothes and makeup, in the cellar, the different characters? Their interactions? The girls’ interactions? Shu and her antipathy towards the prostitutes but leading the Japanese away from the cellar to protect them?

12. The truck in the yard, the father of the young girl who couldn’t get the tickets for their escape, his being an official for the Japanese, their humiliating him, John asking him to get the tools, his bringing them, the repair of the truck, his getting the permit? Packing the girls in the truck under the cases, the pass letting them through, the bribe with the altar wine, going to safety? The father being shot after the Japanese thought he saw his daughter?

13. Singing for the Japanese, the prostitute chasing her cat, the Japanese counting thirteen students, the cover by Shu about the uniform? The invitation for the girls to sing at the reception, the anniversary of the taking of Nanking, John and his polite rejection, the Japanese insistence?

14. Mo and John, talking, Mo’s story, their relationship, hopes? Sending John to search for the two prostitutes who went back to the brothel, George accompanying him, finding them dead, the rape by the Japanese?

15. The suggestion about the choir, the girls wanting to kill themselves? Bringing them down from the tower? The suggestion that the prostitutes go in their stead, the issue of the makeovers, John and his mortician skills, transforming the prostitutes to students? The collaboration, with the girls, the uniforms, using the curtains to suppress their breasts? Working together?

16. The numbers, one missing, George offering to go, his reasons, for protecting the girls, the risk, his being transformed, his refusing to jump from the truck to safety? John seeing off the women, giving them gifts?

17. The father of the girl, his coming to see his daughter, the prostitute unwilling to go, the fuss she caused, the Japanese interpreting this as the daughter of the father watching? The truck leaving – and the Japanese shooting the father dead? John telling the narrator of his regret in not having time to bury the body?

18. A smaller story of war, groups of women, groups of girls, abuse and murder – and heroism? The contribution to understanding the siege of Nanking and its effect on the Chinese mentality?

FLYING SWORDS OF DRAGON GATE

China, 2011.
Jet Li, Chen Kun.
Directed by Tsui Hark.

A film beyond review! And, for most audiences, a film beyond easy synopsis.

This means that potential audiences must make their decisions on the technical qualities of the film – they are so strong so that the plot does not really matter.

What matters is the spectacular photography of a Chinese landscape that evokes Chinese history, dynasties, power struggles, warriors, despots. It is not meant to be realistic. This is a fantasy story – especially when a golden palace emerges from desert sands at the end. A pregnant servant flees from the overlord and his scheming mistress. The power behind the throne goes in pursuit with a retinue of soldiers. In the meantime, a legendary hero (Jet Li) has attacked the palace eunuch and brought down his rule. Meanwhile, out in the countryside, another warrior comes to the rescue of the servant. Soon there are more warriors, more battles, heroes versus military. Eventually, all arrive at the Dragon Inn – battles galore. And then the golden palace.

At least, that was an attempt to try to say something about the plot. Obviously, it is a lot more than that.

But, the main thing to say is that the colour photography has been done with 3D, and some of the most vivid 3D you ever hope to see is up there all the time on the screen. And, when it comes to the frequent action sequences, the 3D enhances them beyond expectations. A lot of it is excitingly ‘in your face’. For those who feel they may have got over all the flying that was so amazing for the first time in Crouching Tiger, Hidden Dragon, but here it is again, more spectacular and acrobatic than before. And so on...

If that doesn’t appeal, then forget it.

If you have a fondness for films of Chinese history (and those directed by Tsui Hark), for political intrigue, for action beyond action, then make sure you see it in the 3D version.

WILAYA

Spain, 2012, 88 minutes, Colour.
Nadhira Mohammad.
Directed by Pedro Perez Rosado.

In more recent times, film-makers are going to more remote communities to dramatise their problems, and make an appeal to authorities like the UN and to the international community to become aware of forgotten and oppressed people.

This is one of those films.

The setting is the Sahara and the film focuses on a group of Moroccan refugees who moved into the area during troubles in the mid-1970s. Many of them were able to send their children to Spain to be educated, but this meant that many of them had Spanish families as well as their families back in Africa.

Wilaya tells the story of one of these adults who left for Spain at age ten. When her birth mother dies, she returns without knowing whether she wants to stay or go back to Spain. She is played by
Nadhira Mohammad who experienced much of what she has been asked to enact here.

The film shows her family and how they survive in difficult and remote circumstances. She is resourceful and buys a car which leads to a business of transporting goods as well as passengers.

She works in partnership with her crippled sister - and they make quite a success of their enterprise.

The film also shows in some detail other characters who try to survive. It is pointed out that there is by now a third generation which has been born in this anomalous situation.

This is one of those worthy films that stir emotions and open up wider horizons in a troubled world.

1. Audience knowledge of the Saharan people? News, information? 1975 in Morocco, the range of refugees, the settlements? The third generation of refugees born in the camps?

1. The use of a narrative to make points about the people and their plight?

2. The location photography, the details of the settlements, the overviews, houses and shops, the desert, driving through the desert? The musical score? Local tones?

3. Fatemetu and her story? Sent to Spain at ten, her education there, her Spanish parents? Her birth mother dying, her final wishes? Fatemetu returning? Plans or not? Meeting Jatri, Hayat, her relatives? Her life in Africa, her dress, western? Her buying the car? Setting up the business with Hayat, its success, driving people, driving, his planning to find his birth father? His wanting to marry her? Her agreement on part of the plan, the giving the fridge – and the visit to Spain?

4. Hayat, crippled, a cheerful woman, with Jatri? Her learning to drive, enjoying the work?

5. Jatri, his wife, pregnant, the birth of the child? Wanting the fridge? The point about having a fridge – but having something in it?

6. The young man and his absent father, his love for Fatemetu, giving his fridge?

7. The other members of the family, the older generation, the brother of the absent father? His wife, her comments?

8. The family that Fatemetu drove, the marriage and the forced marriage?

9. The final plan, able to be operated? The framework of the public address system and the excursions for the children, notices for passports and visas for Spain?

10. A worthy film – informing people through a story about a forgotten group and their needs and rights?

WAS BLEIBT / HOME FOR THE WEEKEND

Germany, 2012, 90 minutes, Colour.
Lars Edinger, Corinna Harfouch,
Directed by Hans- Christian Schmid.

Any title which begins with ‘Home for...’ (holidays or weekends) means that we know we are not in for a comedy but rather tensions and melodramas as family members deal with and reveal secrets and lies.

And that is precisely what happens here. We first meet Marko, an author, separated from his now impatient wife and taking his rather spoiled son, Zowie, to his parents’ house. We then meet the younger brother, Jakob, a dentist frustrated with the lack of development of his practice. On the train, a young woman gives Zowie her cake (and no thanks from him) - she turns out to be Jakob’s girlfriend.

All seems happy enough when they meet Gitte, the boys’ mother and Gunter, the father, who has just sold his publishing house, has provided financially for his sons and plans a trip to Jordan to research the book he has wanted to write. They all play soccer on the back lawn. Who could ask for anything more?

The more we actually get is a dinner speech from Gitte who announces she has gone off all her medication. She has been ill for thirty years, depression, breakdowns, hospitalization. Her husband is anxious. He has spent the thirty years of their marriage looking after her. Her sons think she is risking too much in not taking her pills. There are lots of dialogue scenes of argument and concern.

The brothers have to sort out their competitiveness as well as responsibilities for their mother. The father admits his relationship with the local bookshop owner, something which disgusts both sons. Gitte disappears.

While secrets are revealed and lies exposed, there is a certain amount of freedom in the truth, and something of upbeat hope (for some) by the end.

1. A German production, a focus on German family, domestic issues? Family secrets and lies?

2. The German title? Whatever remains? The English title – and the ominous tone of a family assembling for a holiday or a weekend?

3. The opening in Berlin, the small German town, homes, affluence? The surrounding forests? The musical score?

4. The introduction to Marko, alienation from his wife, his being late, taking his son to his grandparents, the wife refusing to come, travelling in the train, Zowie and his wilfulness, demanding cake? The cake given by the girl in the opposite seat? The introduction to Jakob, dentist, cancellations, his going jogging, checking on his mother, calling out for her, the open gate? The group all meeting at the station?

5. Gitte, her life, thirty years of marriage, nearing sixty, thirty years of illness, pills and diagnoses, breakdowns, hospitalisations? Her relationship with her sons? Wanting the weekend to be a success? Working on her inner energy when they arrived? Her skill at cooking, cleaning, maintaining the house?

6. Gunther, with the boat, sixty, thirty years of marriage, thirty years of looking after Gitte, his selling his publishing house, providing for his children, his wanting to write his own book, going to Jordan for research, his statements about his son’s book?

7. Gathering for the meal, the announcement, Gitte’s speech? Going off the pills? The others upset, their reactions? The reasons for their caution?

8. Jakob as a soft man, the house and the design, his father providing the cash, a low-rent return? Gitte, his love for her and concern? His arguments with Marko, jealousy? His being ineffectual, his practice, his girlfriend and their discussions, her hopes, fears, his taunts?

9. Marko, his concern, fixing the car for Gitte, the bonds with Zowie?

10. The initial happiness, the family playing the soccer game, the meal, change? Gitte driving off and disappearing? The contrast with the happy times, Marko singing at the piano, the family joining in – and Gitte weeping?

11. The details of the search, the family, the police, the various sectors?

12. Marko going out in the night, his search, falling and hurting his leg, his mother finding him, her helping the wound, talking – and her disappearance?

13. Gunther, his relationship with Susanne introducing her to Marko initially, the truth about the relationship? Marko’s conservative disapproval? Gunther saying that he had admitted the truth to Gitte? The issue of the tickets to Jordan, Gitte ringing, Susanne going? Gunther and his saying he had a right to happiness after thirty years of caring for Gitte and her hysteria, her illnesses?

14. Marko, his comments about truth, revealing the truth? Jakob and the cheque from his father for improving the practice?

15. The aftermath, Gitte gone, Gunther and Susanne together, Jakob and his girlfriend in Sweden, talking through Skype, designing the house? Marko and his contact with Tine, her coming to the house, with Zoe, the possibility of reconciliation? The final issues of truth and hope?
 

JAYNE MANSFIELD’S CAR

US, 2012, 122 minutes, Colour.
Robert Duvall, John Hurt, Billy Bob Thornton, Kevin Bacon, Frances O’ Connor, Ray Stevenson.
Directed by Billy Bob Thornton.

Billy Bob Thornton was a writer and director before his breakthrough acting role and Oscar nomination for Sling Blade. He directed All the Pretty Horses and Daddy and Them, the latter focusing on a family coming together – for better and often for worse. This film follows something of the same formula. The setting is a small town in Alabama in 1969 and draws on stories and memories from Thornton’s past.

The title is certainly arresting. The car does make an appearance later in the film, a rather bizarre scene as it is exhibited for curious visitors, and comments made about what actually happened. But the scene is more symbolic even though it is presented quite realistically. It sets a tone to the US of 1969.

It is a period of anti-Vietnam war protest, which does not impress the locals, especially the family patriarch, Jim, who is dismayed that his middle-aged son turned hippy and protestor is the leader of the march. Jim is played as a crusty old man, a quiet curmudgeon by 80 year old Robert Duvall. The protestor son who was a medic in World War II (his father being a medic in World War I) is played by Kevin Bacon, who can combine being in his 50s with looking and acting more youthfully.

At home are two more sons. Billy Bob thornton is Skip whose life has not amounted to much since he was a pilor in World War II and shot down. He has quite a collection of cars. Other son Jimbo (Robert Patrick) sounds like a chip off the old block in attitudes and behaviour. Jimbo’s son is becoming a teenage 1960s rebel, into the music and willing to try out drugs. Then there is a daughter, Donna, with a loud-mouthed, girth-expanding former athlete.

That might seem enough for a film, but there is much more. Jim receives news from England that his wife who walked out on him and her children and married an Englishman has died and wants to be buried at home.

The English, sounding particularly British, and lamenting the heat of Alabama are John Hurt as the husband, Kingsley, with his adult children, Philip (Ron Stevenson) and Camilla (Frances O’ Connor).

It actually goes better than expected, but it still occasions personal revelations and nagging problems.

The film is interesting in its way, but more through some vvery good bits and pieces rather than as a whole. The performances from the veteran cast are impressive and the writing in some set pieces throughout the film are Billy Bob Thornton’s writing at its best. Discussions between Duvall and Hurt, especially when Jim wants to know from Kingsley how he met his wife (a funny story concerning the statue of St George in Hyde Park). Two scenes with Thornton and Frances O’ Connor also stand out, she invited to do a nude poetry recital (Charge of the Light Brigade) for Skip’s sexual satisfaction, and her listening to Skip’s quietly moving story of his war experience and being shot down. Kevin Bacon also has two good scenes with Duvall about a letter he wrote his father during the war and received no answer. Late in the film there is an unanticipated answer. And a scene where a drunken Hurt attacks his son for the disgrace of the fall of Singapore and his not being a real soldier because he was held as a POW by the Japanese.

So, there are some flat and somewhat unconvincing spots, but there are plenty of fine spots like those just mentioned.

1. The title, evocation, meaning, exhibitionism, the tickets for the exhibition, bizarre, the description of Jayne Mansfield’s death, the head in the front of the car, the boy and his kissing the poster? Symbolic? Tone and atmosphere for the film?

2. Alabama 1969, the small town, the barbershop, the shops, the streets, the police? The sense of period, cars, haircuts, protests, stances? Hippies? Anti-war? Conservatives, memories of the Civil War?

3. The work of Billy Bob Thornton, writer, director – and his own memories?

4. The introduction to Jim, Robert Duvall, his age, his attitudes, from the South, anti-hippies, anti-war-protesters, anti-queers? His son being at the front of the process? Symbolising southern and conservative US attitudes of the period?

5. Jim as the patriarch, at the table, Jimbo as head of the household, mirroring his father in attitudes? His wife, devout, supporting her husband? Her son – and his teen critique of his parents? At the meal table? About going to church? Drugs? The meal talk?

6. Carroll, his age, living in a commune, drugs and LSD, the nature of the ant-war protest in the small town, his comrades, his leadership, being arrested, confrontation with his father? Yet the background of his being in the marines, a medic like his father, his war experience, not wanting anyone to go through it – and telling his son that it was not cool to fight in wars? His son, age, attitudes, sharing his father’s life? Carroll and his needing Jim’s approval, explaining the letter he wrote during the war, the father saying he had never received it, yet wanting the letter dried out when he had been in the creek? The son, music, his work with the band – and the family coming to the concert?

7. Skip, his age, dapper, still living at home, his car collection, his love of flying? Carroll and his giving him the drugs? At meals at home? His father’s not approving of him? Never talking with him? The later discussions throughout the film – and his father’s matter-of-fact ignoring of him?

8. The phone call, the death of Naomi, the English family wanting to honour her wishes and bring her to be buried in Alabama? The memories, Jim being hurt? The divorce? The reaction to the British coming? The preparations, the stories of the past and Naomi’s visits to her children?

9. Kingsley, Phillip and Camilla? Very British, in the car, talking, going to the motel, feeling very hot, Donna’s invitation to them, uncomfortable in accepting, yet going?

10. Donna, bright and breezy, her girls, her brash husband, his size, his attitude towards the invitation, his attitudes towards the British?

11. Dorothy and her role as family servant? Her son and his work in the house? Their ride home – and the means for providing information about the family? The son later receiving his conscription notice, his wanting to go to study music in California, discussing with Carroll’s son about the fairness of it, Carroll’s son explaining to his father about his enlistment? That he and Dorothy’s son be together?

12. The British arriving, civilities and introductions all round, the talk? Difficult for all to handle? The barbeque, Donna and her exuberance, coming on to Phillip? Donna’s husband and the comic anti-British comments? His sports stories? The girls and their wanting to swim?

13. Carroll and his son, despite the opposition being part of the family, talking, communicating?

14. Skip and his taking a shine to Camilla, commenting on her accent, going away from the crowd and talking, preparing the rendezvous?

15. The funeral, Kingsley fainting, the hospital, everybody visiting, the care for Kingsley? The British staying for an extra day – and Donna’s invitation?

16. Camilla, going into the forest, her naked recitation of The Charge of the Light Brigade? Skip and his setting the meeting up, his sexual obsession? The contrast with going into the forest, Camilla listening to Skip’s story, the detail of his enlistment, his experiences in the war, flying, following orders, his being shot down, bailing out, safe in hospital – the hospital in flames? The visuals of the burns on his body? His being saved by somebody throwing a blanket on him? Camilla’s reaction, listening in awe?

17. Jim and Kingsley, getting on well, Jim asking him about his meeting with Naomi, Hyde Park, the photo, sitting on the back of St George’s horse?

18. Donna and Phillip, the sexual encounter, Phillip and the aftermath of his father’s outburst against him, as not being a proper soldier because he was merely a prisoner of war, a slave to the Japanese? Phillip defending himself that he was a soldier, fighting for survival, succeeding? Angers of both men, Phillip’s apology? The next day and both men backing down?

19. Carroll’s son, the music, the drugs, for Jimbo’s son, getting the LSD, his own trip? Putting the LSD in the iced tea?

20. Jim and Kingsley going hunting, the effect of the LSD, Jim and his reactions, the beauty around him, the gun and firing it, going into the water? The family searching for him, the treatment, his comments on drying out Carroll’s letter?

21. Jim and Kingsley, their common views, their both seeing service in World War One, Jim as the medic, Kingsley and his being wounded? The issue of Jimbo and his looking after the laundry?

22. The British leaving – and the effect on them and their effect on the Americans?

23. The three brothers joining in talking, smoking the joint, the clash and Jimbo punching, Skip and his being forthright without thinking, the reconciliation?

24. The film not ending with that reconciliation but the postscript with Carroll talking with his son, his son explaining to his father that he had enlisted?

25. The themes of family? The themes of war? The transitions in the United States at the end of the 1960s?