LA TAREA (HOMEWORK)

Mexico, 1991, 85 minutes, Colour.
Jose Alonso, Maria Rojo.
Directed by Jaime Humberto Hermosillo.

La Tarea is an experimental film, using the techniques of video cameras in real time and editing techniques to make an impact for an experiment. A woman is asked to do an assignment, about sexuality, she places a camera under a table and has a sexual encounter with her boyfriend. There is also the film of the two and their discussions, especially after the filming – with the two stories merging into one.

The film was accused of pornographic treatment, it is explicit in its use of sexuality, but raises issues of relationships, the role of women, and mutual exploitation.

1. The style of the film, its content, treatment? Issues of censorship? Permissive?

2. The visual style, the shots, video camera, the viewpoint, real time? The takes, the action? Revelation of characters – even though their heads and faces were not often scene? Body language? Control and exploitation?

3. The plot, the irony, the couple, the assignment, performance, role-play, issues of marriage, children? The title?

4. The woman, dowdy, having to do the assignment, the setup, tidying the house, placing the camera? The man, his marriage, the past, relationships and the affair, his boasts, her play? Reactions? Return, vanity? His succumbing? His life, the phone call, stripping, sexual behaviour, the reaction to the camera? The end and the ironies and the assessment?

5. The man and his style, the divorce, the invitation, talking, working? Memories? Stances, leaving and return? The stripping and his vanity? Performance and aftermath? The audience watching the video, the story, belief and disbelief? The twist?

6. The limitations of the film-making, used for communicating with the audience – and the purpose of the film?

TWELVE

US, 2010, 92 minutes, Colour.
Chace Crawford, Curtis ‘50 Cent’ Jackson, Emma Roberts, Ellen Barkin, Emily Meade, Rory Culkin, Zoe Kravitz, Kiefer Sutherland (narrator).
Directed by Joel Schumacher.

Twelve takes audiences back to the territory covered in Larry Clark’s 1995 film, Kids, a look at middle-class young New Yorkers, their relationships, their indulgence in drugs and sexual behaviour. Not all that much has changed since Kids.

One of the features of Kids was that parents were quite absent. While they are present in Twelve, they are not to the forefront (despite a cameo appearance by Ellen Barkin as one of the mothers).

The film focuses on a young man, grieved at the death of his mother, who does not take drugs or drink, but is a very successful drug dealer in New York. He is an enigmatic character – his girlfriend later accusing him of loving power and exercising it.

The Twelve of the title is a new drug, sought by some of the young people for a new high, but which the drug dealer will not dispense, even though he will make contacts for the clients.

The film takes place over several days, introduces us to a range of characters (some of whom are interchangeable). Chace Crawford, from Gossip Girl, is the drug dealer. Emma Roberts is his girlfriend, the decent character in the film. There is an attention-demanding performance by Billy Magnussen, as Claude, a disaffected teenager, who is obsessed with fitness but also is addicted. The crisis with his emotional response to the young people leads to one of those typical American massacres, shooting victims and then the perpetrator killing himself. Rory Culkin plays his brother, quite opposite in character. There is an underlying moralising tone to the film.

The film was directed by Joel Schumacher, former designer and then writer, who had some very successful films in the 1980s and 1990s, including Flatliners, Falling Down. He alienated many Batman fans with his garish treatment of Batman and Robin and Batman Forever. In the 21st century he made some fine films including Tigerland, Phone Booth and Veronica Guerin. However, after making The Phantom of the Opera, he fell on hard times and made films which were released straight to video or had unsuccessful cinema release: The Number 23, Town Creek, Trespass.
1. A story of New York City, youth, the drug scenes, violence? The gun culture?

2. Themes of hope and despair, meaning and meaningless, irresponsibility and responsibility?

3. The young cast, embodying the range of characters in New York?

4. The focus on youth rather than on the parents – the glimpses of parents, their concerns, absences, love and lack of love?

5. New York City, the strata of society, the wealthy and the poor, the different neighbourhoods, homes, the dingy areas, the streets, the parties? The musical score?

6. The voice-over, giving information, intruding with information and moralising, portentous? The actions illustrating the voice-over? The structure of the different days, the end of the week moving to the weekend?

7. The character of White Mike, an ambiguous hero, an antihero? His age, his studies, dropping out after his mother’s illness and death, the visuals and her appearance? His father and the restaurant? His dealing drugs, the opening and the explanation that he did not take anything? Molly and her comment and theory about his loving power? The bonds with Charlie, his cousin? With Hunter? His problems with clients, the customers and exchanges, his successes? Andrew and his dealing drugs, his helping him for the party? His lying to Molly, meeting her, seeing Lionel chatting her up? His desperate night, sleeping under the bridge? His refusing to deal Twelve, Jessica and her requests? His going to the party, wanting to rescue Molly? Seeing the gun, the mayhem? His final apology – and Molly’s ultimatum?

8. Charlie, getting high, his deals, the gun, going to the house, pulling the gun on Lionel? His death?

9. Hunter, going to Harvard, the wealthy father, playing basketball in the neighbourhood, the fight, his injuries, going home? The arrest, the interrogation, his lawyer, the phone call to his father? His desperation?

10. The group of girls, at high school, together, their gossip, their values? Their plans for college? Their love of parties, their chatter?

11. Sarah, her life, glamorous, the boys, her birthday party, her boyfriend and his crashing the car, in hospital? Andrew and the encounter? Inviting him? The boyfriend and his jealousy? Her being shot – her death, and the voice-over commenting on what her last thoughts were, celebrity?

12. Jessica, dependence on drugs, her bedroom, her mother and the drugs, her mother refusing her money? Her sexual behaviour? In the bathroom, taking the Twelve, wanting more, the encounter with Lionel, becoming more desperate, selling herself? The gun and Lionel’s reaction?

13. Chris, young, the host, quiet, virgin, his thinking he ought to host the parties, his reaction to the crowds? The interactions with Claude, the contrast with Chris, his age, his martial arts and gym work, the mother and the phone calls, the Skype and his being rude to his mother? The alienation? Saying that Christ was his mother’s boy? Getting the privileges? The party, upstairs, becoming more antisocial, denouncing everyone, producing the gun, going on the rampage? On the roof, Chris hearing what was happening on the roof, hearing the shot, his death?

14. Molly, different, believing Mike? The phone calls, the date, the encounter with Lionel? Her going to the party, wanting to drink, the reality of the party? Seeing Mike, his rescuing her, his being shot? Her going to see him in hospital? Her interpreting his life, making demands on him?

15. The aftermath, the mayhem – the possibilities for change? In individuals? But not in the culture? Young people behaving in exactly the same way, having to learn their lessons?

TABU: A STORY OF THE SOUTH SEAS

Germany, 1931, 85 minutes, Black and white.
Matahi, Anne Chevalier, Bill Bambridge, Hitu.
Directed by F.W. Murnau.

Tabu is the last film by celebrated German director F.W. Murneau. He was killed in a car accident just prior to the American premiere of this film. He had made celebrated films in Germany, including Nosferatu (1922) and The Last Laugh (1924). He made the classic American film, Sunrise: A Song of Two Humans in 1927.

Murneau collaborated with celebrated documentary film-maker Robert J. Flaherty in the making of Tabu. However, Murneau was very dominating and did not work well with Flaherty. Flaherty’s work is seen in the opening of the film.

The setting for the film was the Tahitian islands, Bora Bora.

The film is really a variation on the Romeo and Juliet theme, a young woman engaged to a young man, designated by her clan to be a sacrifice to the gods and not marry. They escape together, are pursued, the young man tries to support the woman, getting more and more into debt, pursued by members of the clan, especially the priest, coming to a sad end.

The cast of the film are amateurs but are persuasive in their presentation of the star-crossed lovers.

The film is reminiscent of later stories like The Hurricane and its remake, Beyond the Horizon.

The film was placed on the National Film Preservation Board of America in 1994. Floyd Crosby won a 1931 Oscar for best cinematography.

1. The film-makers and their work? The blend of fiction and documentary?

2. The film from the end of the silent era, black and white photography, the locations in the Tahitian islands, authentic, beautiful? Yet a modern story? 1928?

3. The sections of the film: Paradise and Paradise Lost? The audience perspective on the happiness and unhappiness of the central couple?

4. The place of men in Paradise, their domination, warriors and hunters? The women in Paradise? Natural? Their subservient role to men? The chase, the play, love?

5. The traditions, the role of the rulers, enforcing the customs? The chief? The girl, her being set aside and consecrated, the consequences? The visitor? The performance of the ritual? Her grief, the young man responding?

6. The presentation of the ceremonies, the dance, the effect for the audience, for the couple?

7. The Tabu, the decision to escape, knowledge of the penalty, the role of the chief?

8. The couple sailing, the sea, saved? Tahiti? The young man going to work, diving, setting up the house, his not understanding money, extravagance, the Chinese and the lenders? His going into debt?

9. The pursuit of the man, his fear, the boat, money and debt?

10. The chief, his beliefs, his pursuing the couple? His being haunted by their behaviour?

11. The character of the girl, escaping with the boy, living in Tahiti, the house, his debts, his work? Her decision to save his life? Her writing the letter? Going?

12. His pursuit of the girl, swimming – and the pathos of his death?

13. The popular ingredients? Basic ingredients? As played out in a contemporary setting for the 1920s? But in exotic locations? The universal themes and appeal of the variations on Romeo and Juliet?

KNOCKAROUND GUYS

US, 2001, 92 minutes, Colour.
Barry Pepper, Andy Davoli, Seth Green, Vin Diesel, John Malkovich, Tom Noonan, Dennis Hopper.
Directed by Brian Koppelman and David Levien.

Knockaround Guys is a Mafia story, set in Brooklyn. It shows young boys growing up in the shadow of the father generation. It also then moves to the present with the young adults trying to make their mark.

The film was written and directed by Brian Koppelman and David Levien who had written Rounders and then went on to adapt John Grisham’s The Runaway Jury and write such films as Ocean’s Eleven and The Girlfriend Experience for Steven Soderbergh.

The film was completed in 1999 but sat on the shelves for some years before release. The four young men are played by Barry Pepper, very serious, Seth Green, comical, Vin Diesel as the standover type, Andy Davoli as the young man who wanted to manage his restaurant rather than be a Goodfella.

The film has farcical overtones – Matty (Barry Pepper) has not been able to kill someone while a child, under the tutelage of his uncle (John Malkovich). He grows up wanting to be a sportscaster but is continually turned down because of the reputation of his father (Dennis Hopper). When he wants to prove himself to his father, his volunteers to collect some money and bring it back. He gets his friend, the comical Seth Green, a pilot, to fly the money back – but, while refilling at a Montana airport, two young kids take the unattended baggage and complications ensue. The young men join the pilot and fall foul of the locals, while trying to intimidate them so they can find out who took the money, as well as of the corrupt local sheriff (Tom Noonan). Then the uncle comes to sort out the mess – with plot complications.

1. A Mafia movie? The generations?

2. The Brooklyn world, the streets and restaurants, the offices? The musical score? The atmosphere of the Mafia? New York and Brooklyn style?

3. The contrast with Montana, the open spaces, the small town, the police, the bars?

4. The title, the two senses of knockaround?

5. The introduction to the Mafia world, the boys, the father in jail, the uncle managing business affairs? Tough gangsters, betrayals, shootouts, restaurants? Jobs? Matt and his fear, his uncle letting him off the shooting? The uncle looking after him while he was growing up? The effect on the boy?

6. The next generation, the four friends and their characters, the glimpses of them in the past, the transformation into adults? Matty, the presence of his father out of jail, wanting to have his own life, the interviews and the fallout, the reputation of his father, wanting to measure up to his father? Marbles, comic and inefficient? Chris and his managing his restaurant? Taylor, the standover type, tough? Their strong friendship?

7. Matt’s father, tough, his empire, his period in jail, his reputation, needing money for deals, his protecting his son, his expectations of his son?

8. Uncle Teddy, the hard man, relationship with Matt’s father, with Matt, advice?

9. The situation, the need for the money, to be collected, Matty urging his father to let him get it, using Marbles to fly the plane?

10. Marbles, his character, jokes, flying the plane, his confidence, the trip, collecting the money, landing in Montana, wary of the sheriff, leaving the bag unattended, its disappearance, his desperation?

11. The kids lounging around, taking the money, thinking big, wanting to spend it? The confrontation with the sheriff, their families? Giving the money back?

12. The reactions of the young men, Matt and his desperation? Their coming to Montana? With Marbles, the strategy, trying to give an impression of toughness, frighten people to confess, the picking of the fight in the bar, the violence of the fight – and the later repercussions? The types in Montana?

13. The sheriff, on duty, his family? His assistant? Tough, working out who had the money, pursuing the kids, threatening them? Pursuing the men, the arrest?

14. Uncle Teddy coming, acting tough? The fights, the locals, the treatment of the boys by the sheriff, his assistant, the violence? The shootings?

15. The revelations about Uncle Teddy, the confrontation with Matt, his fears with the gun, shooting his uncle?

16. The resolution, going home to his father, the future in the Mafia? A picture of the Mafia types, tough, corrupt, crime?

SANTOORI (THE MUSIC MAN)

Iran, 2007, 105 minutes, Colour.
Bahram Radan, Golshifteh Farahani.
Directed by Dariush Mehrjui.

Santoori is a later film in the career of Dariush Mehrjui who had begun making films in the 1960s. He was one of the principal pioneers of the Iranian film industry of the 1970s and after fall of the Shah and the Iranian revolution. However, a number of his films were banned for some time in Iran, The Cycle, about corruption in the blood transfusion industry was banned before the revolution. This film was banned in 2007, allegedly for its image of Iran and its drug problems. However, the main actor, Bahram Radan, won the best acting award for his performance at the Fajr International Festival in 2007.

Mehrjui is unpredictable in his choice of subjects for films. He often has social criticism. This is particularly the case in this film with the difficulties experienced by professional musicians, the prohibitions by government for recording permits, for performances. The film indicates the depressing consequences for musicians who have to eke out a living at private functions. However, the film has as its focus drug addiction in Tehran, the availability of drugs, the access to drugs by middle-class people, the depths to which addicts will go, even to living in carton communities on the outskirts of the city.

Bahram Radan gives a very strong performance as the musician who is criticised by his mother for his music, has been abandoned by his wealthy doctor father, has had a happy marriage, but because of government restrictions has become depressed, addicted, his wife leaving him for another musician, losing his house, going into the depths. However, the film also shows the possibility for treatment, shock treatment, cold turkey, rehabilitation.

The film is interesting in terms of the world’s image of Iran and the image that the mullahs of the Islamic republic want the world to have.

1. The impact of the film, Tehran in the 21st century? The drug situation and addiction?

2. The title, the focus on music, the santoori as an instrument, the players, the band accompanying the santoori, the range of songs, the classic music, the sounds in the film?

3. The focus on Ali, the flashbacks, his story, despair? Remembering his success, going into the depths? The voice-over and his self-assessment? His series of losses? The portrait and the delineation of his character?

4. The city of Tehran, the homes of the wealthy, the middle class, concerts and venues, the contrast with the slums, the hills, the carton city? The image of Tehran, the reality? The western-style rock star collapse story in an Iranian context?

5. The director and his career, social interest and concern, critique?

6. Ali in himself, the background of his parents, the spoilt child, the toys, his brother not being able to break out of the family hold, his discovery of the santoori, the realisation that he was born to be a musician? The exhilarationof his playing, of his singing? Ousted from the house by his mother? His father’s disappearance? His desperate wanting some of the money from his inheritance? His playing with zest, the government impositions? His girlfriend, their enjoying life, the comedy of the marriage, their giggling? Home, the big TV, success? Possibilities for him?

7. Depression, drugs, alcohol, addiction? The clashes with his wife? Her infatuation with the violinist, her leaving her husband, going to Canada with the violinist? His jealousy? His telling the story of his collapse, drinking, collapsing on stage during performances, not turning up? The reaction of his fans?

8. The wedding sequence, the possible success, the rival families and the brawl, the thugs, Ali and his arm being injured, the destruction of the instruments, his being rescued?

9. His lying injured, the drugs, the supply? The flashbacks?

10. Going to his family home, intruding on his mother and her guests, the aristocrat, the lessons for the women? Wanting the money? His interactions with his brother, his brother lamenting his dependence, not being able to marry a woman of choice, his admiration for his brother standing up to his mother? The phone call, the melodrama of there not being a pen available, Ali desperate? His mother giving him money quietly? Her strictness?

11. His father, the visit to his home, surveying the situation, participating in the injection, but refusing to give him money?

12. The house being torn down, the boxes for his goods, his being ousted from the garage, going to the hills, with the addicts, his needs, his friend and the money, trying to get a supply, injections? His being robbed? His mental collapse, emotional collapse, in the depths? His wife searching for him to say goodbye, her phone call to Ali’s father, the father coming to search, the men reacting as if they were the police? The rescue?

13. Ali in the institution, the treatment, the shock treatment, his agonies of withdrawal, the pain, ultimately his fear in leaving, offering to give music classes? The scene of him teaching?

14. The realities of life in Tehran, especially for musicians and the government treatment? The warning about drugs, the critique of the drug situation, treatment? Music and signs of hope?

GRIDAMI

Italy/Afghanistan, 2010, 70 minutes, Colour.
Directed by Razi Mohebi.

Gridami was made by a couple who were living in the Trent area of Italy. They have a background of migration from Afghanistan.

The film is poetic rather than narrative. It focuses on a worker in a factory in the area around Trent, the treatment by his fellow workers, the infidelity of his wife, the difficulties in being a refugee from Asia in a western European country. The film also focuses on his wife, her relationship with a local Italian, her attitude towards her husband. A number of other characters from the area, including the lover, a prostitute, workers are part of the framework of the film.

However, rather than telling the story, the film focuses on the characters, showing them in a range of situations. It also relies on symbolic photography, for instance sequences in an apple orchard, with the overtones of pomegranates being symbolic of Iranian and Afghanistan women.

The film is difficult for major audiences – but, with explanations, could be a useful poetic experience of the suffering of people who yearn for their place of origin, have to adapt to new situations, find human and relationship difficulties.

COUSIN BETTE

US, 1998, 108 minutes, Colour.
Jessica Lange, Elisabeth Shue, Bob Hoskins, Hugh Laurie, Aden Young, Kelly Macdonald, Toby Stephens, Geraldine Chaplin, Laura Fraser, John Sessions.
Directed by Des Mc Anuff.

Cousin Bette is an oddity, a lavishly mounted and costumed piece set in 1840s Paris, a picture of intrigue and social decay calling for another revolution and finishing at the barricades. It is based on a Balzac novel. Jessica Lange glowers as impoverished and imposed upon Bette who sets herself to destroy (after using) her relatives and the young sculptor she encourages and loves. However, the treatment of these themes and the other performances are in the farcical 'Tom Jones' mode, irreverent and bawdy, symbolised in the final images. While Balzac's Paris seems remote and artificial, some of the themes are relevant to today's quests for money and power. Period oddity.

1. The adaptation of Honore de Balzac’s novel? 19th century French literature? A perspective on France in the first half of the 19th century? Society, standards, hypocrisy? The build-up to the 1848 revolution?

2. The sardonic tone of the film, cynical? Exploitation of others?

3. The sumptuous look, the levels of society, the wealthy and their style, poor relatives and apartments, the world of the arts? Theatre, music halls? Paris and the variety of styles of living in the 1840s?

4. The title and the focus, Bette as the poor cousin? Her place in the family, as servant, her bitter attitude towards her wealthy sister? Envy? Her capacity for exploitation? Her high expectations after her sister’s death, their not being fulfilled, her reaction, bitterness? Her life and her look, the black clothes? Her decisions, her plots, cover-up, seemingly nice? The confidante of so many characters? Her work in the theatre, the clothes? Her discovery of Wenceslas, saving him, her hold over him, her ambitions for his art, the sexual relationship? His moving away from her, her anger, his marrying Hortense? Her reaction to Baron Hulot, his money and his offering her the job of caretaker? Hortense, Wenceslas’ marriage to her, Bette’s anger? Hortense and her being used and humiliated? Victorin and his management of the finances?

5. The revelation of Bette’s character, her age, beauty, mystery? Her smooth manner, navigating all channels? Her passion for Wenceslas, the scenes at home, her growing jealousies? Her satisfaction at his destruction? Her meeting with Jenny, designing the clothes, sharing their background, being Jenny’s confidante, also enabling Jenny to have the sex appeal by removing the piece of material from her dress? Her destruction of her victims while shaping their lives?

6. By the end of the film, what had Bette achieved, for herself, and her plans?

7. The household, Adeline and her lingering illness, her death? The money, her will? Hector and his life and style? Snobbery? Contempt for Bette? His spending the money, his mistresses, giving up Jenny, developing the infatuation, lavishing everything on her? The clashes with Crevel? The rivalry? His setting up Jenny, his discovery that he had no money, the collapse, in hospital?

8. Victorin, serious, his analysing the accounts, wanting to borrow?

9. Wenceslas, his background, illness, Bette helping him, his response? His art? Hortense, marrying her, the ceremony, Bette’s presence? The possibility of money? His being idle, the grant to do the sculpture, the block, doing nothing, eventually chipping away at the marble? The dedication, the old military presence, the condemnation, his failure? Infatuation with Jenny, going to the theatre, his infidelity? Jenny spurning him on advice from Bette? Hortense, her anger, killing her husband?

10. Jenny, her performances, the lyrics, the sex appeal, Bette in her clothes, the revelation – and the mockery with the girls dressed as nuns and then turning round? Bette and her exploiting her?

11. Crevel, his place in society, money, women, Jenny? Hector and his wanting to borrow? Crevel and his control? Wanting to marry Hortense?

12. The ultimate vengeance? The family ruined, Wenceslas dead, Hortense in jail?

13. The scenes of the oncoming revolution – memories of 1789, the barricades, and the attack on the wealthy and the bourgeoisie?

THE TENANTS

Iran, 1986, 130 minutes, Colour.
Directed by Dariush Mehrjui.

The Tenants is, in the words of the director, theatre of the absurd.

Mehrjui continues his critique of social situations in Iran, so prominent in his classic film of 1974 (released 1978), The Cycle, the story of rackets for blood transfusions and supplies to hospitals in Tehran? This time his focus is on planning in the suburbs, buildings and regulations, frauds and double-dealings.

The film focuses on an apartment block which is collapsing, is subject to legislation for the owner of the building to develop it. However, the owners have died in a train crash, something which is concealed from the tenants. There are also rival estate agent companies, acting like thugs, perpetrating fraud.

The film shows the dilapidation of the apartment block, the characters who live there, comic style. The film also develops the plans of the different agents, the counter-plan of the tenants, the possible resolution.

Mehrjui spent some years in France during the early years of the revolution but returned to make films in his native country, including this one. In the succeeding twenty years he made a number of films in Iran.

Mehrjui’s films have won awards from OCIC and SIGNIS, including The Cow, Mama’s Guests, Beloved Sky.

1. The work of the director? His social critique? In the context of Tehran in the 1980s? The early years of the revolutionary government?

2. The outskirts of Tehran, the mountains in the background, the open land, the block, offices? The opening tracking shot of the city and the highways? The musical score – and the use of Handl’s Largo?

3. The film as theatre of the absurd, plot, characters, situations?

4. Issues of urban planning, the buildings, roads, shops? Transport? Homes? Documents, lawyers, estate agents, fraud?

5. The picture of the block, its situation, the alley, number 19? The interiors, the rooms? The different storeys? The collapse, the need for repair, water, the walls? The comic touches in the collapse?

6. The people in the block: the mother, aged, her fuss, cooking, the arguments? Her son who was manager of the block, his deceit, the other tenants, going to the office, his butcher’s shop? The meetings? His brother the architect, his studies, trying to repair the house, his wife and her nagging him about a position? The brother in the wheelchair and his anger? The fat man, the farcical aspects? The lawyer and his information to the group, his wife? The singer on the roof, the flowers and the water? The situation for each of the tenants, their rights? The accidents and the collapse? Discussions?

7. The argumentative nature of each of the characters, the loud arguments?

8. The estate agent and his cronies, his plans, the deaths of the owners, the issue of ownership, concealing the truth? The plans and documentation? No receipts? The rival agent? The attack on the building, the fight, the gangs, knives, the slashing, the pursuit in the car? The further fights?

9. The wealthy lady, her visit, going through the house, the roof, the singer, the flowers, her comments on the materials? Her plans?

10. The fat man, going to his office, the explosion? His urging the rival to criticise and do something with the other group?

11. The plans and the plot, the brother overhearing, bringing in the workers, the cheques and payment?

12. The decision to have the meal, everybody cooperating, getting the food, the preparations, from the butcher’s? Sitting down, singing? Unity?

13. The visit of the fake owner, signing documents?

14. The tenants using their wits, countersigning the cheques? The deal offered, rents, ownership, payments?

15. Audience response to the theatre of the absurd, the over-the-top characters and action? The critique of social corruption?

TOM ATKINS BLUES

Germany, 2010, 80 minutes, Colour.
Alex Ross, Stefan Lochau, Megan Gay.
Directed by Alex Ross.

Tom Atkins Blues is a short film which combines a documentary look at a neighbourhood in Berlin as well as a fiction about Tom Atkins who works at the shop and has made living there, working there and meeting the people his full life.

The film was made on high definition video in eleven days with Alex Ross directing as well as responsible for the screenplay and as Tom Atkins himself. Watching the film and seeing Ross’s enthusiastic and empathetic performance, it is clear that only he could play the role to satisfy the director, himself. It is a heartfelt performance – genial and enthusiastic as well as rueful (as the film is itself).

While the film focuses mainly on the shop, Tom’s life there, the range of people that he meets, it also focuses on his rather idle friend, Kalle (Stefan Lochau who had appeared in Alex Ross’s other films). Lochau is a smaller, younger version of somebody who could pass in looks and voice as Arnold Schwarzenegger’s brother.

The film has a mixture of British and German actors, captures the atmosphere of the neighbourhood – which is changing, becoming gentrified, the smaller shops being things of the past, memories of Berlin as it was during the Cold War times.

The film has a lot to entertain as well as to remind people about the nature of change, its irrevocability, and the need for people to find the courage and the ways to move on.

1. An entertaining film? The documentary aspects? The fiction? The comment on Berlin and the passing of the years and change?

2. Alex Ross as writer and director, as actor, his zest in the film, genial, communicating his character and his message?

3. Berlin, Germany post the fall of the war, memories of East and West, change? The old neighbourhood, the people there, moving away, becoming more impersonal, the supermarket and its opening till midnight, the film’s attitude towards this change?

4. The production, filmed in eleven days, high definition, the locations, streets, interiors of the shop, the wide sequences in Berlin itself? Performances, scripted and improvised? The feel of the story and characters?

5. The title, Tom Atkins himself, his experience, his blues? The voice-over and his tones?

6. Tom Atkins and his history, his background in Britain, moving away, unable to move back because this England had gone? Finding his place in the shop, an ideal way of life, easy, the days’ routines, the cup of coffee, reading, selling things, meeting the people? His relationship with Jess and her moving out and her criticisms of him? Kalle and his presence, irritating Tom yet Tom tolerating him, the cup of coffee from Nora, the men outside drinking and their having grown up from Coca-Cola? to beer, Frank and his being drunk, Tom refusing him credit? Walter, the accountant, his breakdown? Viktor, working in the abattoirs, drinking and his memories, nostalgia? The odd couple, Korean and Spanish? Their fights, Tom making peace? Kalle’s wife coming for the payments? The obnoxious customer?

7. The interviews on the step, the couple and their finding the shop, their liking it and coming to it? The two women and the definitions of happiness? The family who had come to the neighbourhood but had moved on, coming back to the shop?

8. The start, Jess moving out, Tom not having hung the picture, their argument, Tom and his comfort zone, Jess’s return, the talk, her friend coming to see Tom and size him up? Her urging Tom to move on?

9. Kalle, from jail, the tattoos, idle, drinking, eating, reading? Chatting? His flirting with all the women, especially the potential buyer? His wife coming, threatening to take him to court, his not paying the maintenance?

10. The couple, Korea, Spain? The Spaniard and his memories of shops like this? Their arguing, the DVDs, the pizza, Tom giving them the wine? Their later return? Friendship with Tom?

11. Walter, his age, his cigarettes, accountancy, his breakdown?

12. Viktor, the drinking, the eighteen years, his description of his work at abattoir, the sausage, offering them to Tom? Tom as a vegetarian?

13. The woman wanting to buy the shop, looking around, Kalle pretending he was the proprietor, her motivations, tourism? The shop as an antique? Tom and his negative reaction?

14. Kalle’s wife, Tom’s friendship, her desperation, the money, Kalle not paying?

15. The obnoxious customer, the criticism of the goods, insulting to Tom – and his return, being Jess’s boyfriend? Jess and the boyfriend arguing and talking things over in the car? Tom knowing what Jess liked?

16. The couple not coming into the shop, Tom’s insulting them, the yuppy accusation, their coming in and demanding an apology? Tom saying that this was not what he was usually like?

17. Tom’s moods, the explanation, the arguments, his friend and their memories about how well the shop had worked? The need for change?

18. Tom’s future – would he find something that satisfied him in Berlin?

THE CYCLE (DAYEREH MINA)

Iran, 1974/1978, 101 minutes, Colour.
Saeed Kangarani, Esmail Mohammadi.
Directed by Dariush Mehrjui.

The Cycle is considered one of the best films of Dariusch Mehrjui who began his career in the 1960s and was continuing to make films into the 21st century.

Trained at UCLA, he returned to Iran and was one of the contributors to the fine standing of Iranian films in the 1970s.

This film was based on research into Mafia-like corruption for the getting of blood for hospitals, no scruples, clients from all walks of life but especially those who were poor and destitute, even drug addicts. For this reason, the film was banned for three years, completed in 1974, released in 1978 just prior to the Iranian revolution. The Medical Board of Iran considered it as an attack on hospitals and administrations (which it is).

The film is well shot, use of light and darkness, use of exteriors like the roads and the countryside as well as interiors, especially the corridors and basements of hospitals.

The film focuses on a cranky old man who is very ill, brought into the city by his eighteen-year-old son. The son has some care for his father but is also careless. When they don't find any help at the hospitals, they are rounded up amongst those who are to give blood. The son gives more blood than expected and is pleased with the money. He sees a nurse (putting on stockings, rather risqué for Iranian films – and unthinkable after the revolution). She helps the old man with food, gets the son odd jobs as well as flirting with him. What the son learns is that there is money to be made, power to be exercised in the racket for blood. He gets involved in a lot of odd jobs, even finally confronting the boss who admires his talent. He goes to his father’s funeral and is attacked by a colleague from the hospital – and the final image of the film is the face of this young man. But presumably he will go back to his rackets.

The film also has some social comment about doctors and nurses, their lackadaisical attitude towards their work and to the patients. One of the doctors, however, is very enthusiastic about setting up a proper laboratory for the donation of healthy and clean blood – but is stymied by the bureaucracy, and becomes a target of the gangsters.

1. The film as a classic, the work of the director over many decades, 1970s Iran, the social issues?

2. A pre-revolutionary film, life in Tehran, the social chaos and corruption, the poor management of hospitals? The presentation of women, clothes and hair? The presentation of relationships and more overt sexuality than in later decades?

3. The city of Tehran in the 70s, the buildings and the streets, hospitals, slums? The musical score?

4. The title, the cycle of blood and health and sickness leading to death? The cycle of corruption?

5. Ali and his father coming to the city, the opening with the boys pushing their tyres and bumping them, the father being sick, weary, their getting to the city, the father’s needs, the interplay between the father and son, the over-demanding and abusive father, Ali and his care for his father – but also careless?

6. Meeting the men and the destitute and the homeless, the alcoholic and the drug addicts? The father and the car, the blood agent, talk about money, the promise, the two being taken with the group for blood donations, in the truck?

7. The centre for giving blood, the doctor and his administration, the staff, the lack of equipment, the range of clients, the agents and their deals, getting the numbers? The father, scrawny, unable to give blood? Ali giving two bottles, pleased with himself, his observing what was going on, the money?

8. The old man being given a note to go to the hospital, going to the doctors, their being busy, delays in appointments? His desperation? Yet the old man always praying and wishing well to people (except his son)? The nurse, her kindness, Ali watching her with the stockings, the relationship, taking the old man outside, getting him food, his gobbling it down? The old man staying, his demands on his son, wanting hot tea, waiting, the samovar and the tea shop? The pathos and quietness of his death?

9. Ali and the nurse, the stockings incident, flirting, the nurse and her kindness to Ali’s father? Taking him to the doctors? Getting the job? the kiss, the relationship? The odd jobs man, Ali driving with him, the man thinking he was being spied on, the chickens, the boss, the disposal of the chickens, issues about prices, buying the eggs? Complaints about the quantity for the hospital? Ali and the various jobs, selling old rice at the market? Being involved in the rackets? His being efficient, his getting clients, the boss and his confronting him, talking of the plans, especially against the doctor with the laboratory? The episode with getting the A Negative blood, doing the transfers in the car, his being successful? Resented and bashed by the rivals? His plans, getting more clients, not going on a salary, control? His becoming a thug?

10. His father’s funeral, the friend supervising the funeral, Ali being late, his friend attacking him and telling him off? The final focus on Ali’s face? His future? Return to the world of corruption?

11. The presentation of the hospitals, busy, the doctors, idle, careless, the earnest doctor and his plea for the laboratory? Diagnosis of the woman with the bad transfusion, jaundice, death? His frustration? The sequence of the meeting, the doctors and nurses, shouting over each other? Visiting the secretary in his office, the frustrations with bureaucracy and hold-ups?

12. The nurses, some kind, some not, idle, preening themselves? The critique of the nurses?

13. The chaos in the hospital system? The exploitation by the entrepreneurs?

14. Doctor Sameri, his luxury, home, his phone calls, attacking the doctor and his laboratory, conferring with Ali, the plans?

15. The end of the film – Ali’s face? The future, the cycle continuing?

16. The banning of the film? Its insight? Social critique? Showing how films could offer social critique?