Celebrating 20 Years of Dedicated Service in Wadeye – Fr Leo Wearden MSC

Tribute from Bishop Charles Gauci, Bishop of Darwin.

Today, we give thanks and celebrate a remarkable milestone: Fr Leo Wearden MSC marks 20 years of tireless service in the remote community of Wadeye. For two decades, Fr Leo has embodied the heart of Christ through his compassion, steadfast commitment, and deep love for the people he serves.

Fr Leo has been a priest for 45 years, and his missionary journey has taken him to many places where his service has left a lasting impact. His ministry has included time in the Tiwi Islands, Papua New Guinea, and East Timor - places in which he retains a strong interest and close connection. These diverse experiences have enriched his ministry and strengthened his ability to walk alongside communities with respect and empathy.

Wadeye is a place of deep history, resilience, and cultural richness, and Fr Leo has played a key role in fostering mutual respect and understanding between faith and culture. His commitment to walking alongside the local Aboriginal community is an example of what it means to live out Pope Francis’ call to be a Church of encounter, dialogue, and care.

I extend my heartfelt gratitude to Fr Leo for his courage, humility, and perseverance. The bonds of trust and friendship he has built in Wadeye over these 20 years reflect the profound impact of living out the Gospel with sincerity and love.

On behalf of the Diocese, I thank you, Fr Leo, for your service, sacrifice, and example of missionary spirit. May the Lord continue to bless you with strength and joy as you continue this mission. You are a living witness to what it means to serve with compassion and fidelity.

With the warmest blessings and gratitude,

+Charles

Croydon Monastery, Down Memory Lane, Ground Floor

A January visit to the Monastery, now Sacred Heart Parish, Croydon. Previous posts have shown the chapel extensions to become the parish church.

Now we move around the cloister to check whether those of us who studied or worked at Croydon remember what these locations looked like.

The top photo is from the centre of the cloister at the entrance to the stairs

Check your memories of the laundry

And the kitchen

The scullery looks much the same

The dining room even more so (tables and chairs are the same as we knew them)

And Patrick O'Carrigan's large painting is still in place after almost 50 years.

Who would have thought the theologians’ class room would look like this?

Even more so this renovated “Fathers’ recreation room”?

Next Croydon post we will go upstairs.

PNG Mission activity and challenges in the 21^st century

Brian Cahill writes from Tapini, Diocese of Bereina, PNG where he has lived and worked for almost thirty years:

I've just had a few stressful days working through appointment issues for our teachers appointed to Catholic Agency schools in the Tapini Area. It all has to do with false and misleading postings put up for teachers appointed to our schools. Originating from government officers overstepping their authority. Their are only two appointment authorities under the Education Act 1983: the agency being the recommending authority and the PEB being the appointment authority (acting on the recommendation of the agency).

The appointments posted at Konedobu for Goilala schools contained multiple errors, not reflecting the recommendation of the Agency or a decision of the PEB. Most telling were the so called tenure appointments put forward without the recommendation of the Agency that were all rejected by TSC and returned to the Province. WHO IN THE DIVISION OF EDUCATION OR GOILALA DISTRICT EDUCATION IS DOING THIS? ...NOT THAT WE DON'T KNOW!

Moreover to stage a signing of resumption forms on mass at the Granville Hotel yesterday, rather than in the district, is a total disgrace. The DEC, School Inspectors, Appointment officers and whoever else on the government side of things with education responsible for this should be charged. The Granville is where you buy beer, not resume duty as teachers! This gathering was orchestrated through the bugle call of phone messaging (largely done by black listed teachers with the agency) trying to pull teachers into a resumption activity contrary to the lawful instruction given by the Agency through the CES. This is confusing to our young teaching officers, who are left questioning what is going on. Things are hard enough given the situation in Goilala. Government officers with your own agenda, back off and respect the role of the Agency. Stop this corruption! CC, Governor, Member, Goilala CEO, PA, Education Adviser, Bishop.

Rochus Tatamai MSC was Bishop of Bereina in the past. He is now Archbishop of Rabaul.  He wrote:

Thank you Fr Brian Cahill MSC for raising this ongoing and chronic pandemic that undermines and destroys the mutual spirit of genuine partnership for the sake of the common good of our younger generations and for the promotion and enhancement of proper integral human development. As a major player in the development of this beautiful country, the state agencies responsible for delivering quality services. Education in this regard, there had been chronic disrespect and lack of commitment in the spirit of true partnership for the sake if the common god of our people. We will not sleep nor be silent until both the letter and the spirit of the Unified Education Act is restored and upheld to its full integrity and dignity.

THE GLASSWORKER

Pakistan, 2024, 98 minutes, Colour.

Voices of: Art Malik, Sacha Dhawan, Anjli Mohindra, Tony Jayawardena, Teresa Gallagher.

Directed by Usman Riaz.

The Glassworker is the first animated film from Pakistan. And it has hand painted animation rather than CGI. And, it has a debt to the styles of Japanese anime.

The film focuses on a father and son, the father and expert class blower, instructing his son, homeschooling, confidence in his son’s talent and artistic imagination, derived from his now deceased mother. So, many beautiful sequences of glass blowing, glassmaking, finished products.

The young son, Vincent, is spurned by the local boys, encounters a young girl who comes into his shop, the various ups and downs of the relationship, especially with the theme of war, rather vividly portrayed by the animation, Vincent’s father a pacifist, looked down on by the militant population, admiring the general in charge. The young girl emerging as his daughter.

Over the years, friendship, misunderstandings, the daughter a talented violinist, inviting Vincent to her recital but his being prevented entry by prejudiced guards. Later, the adult Vincent has an exhibition of his glass artwork in the city – and an imaginative meeting again with his lost love.

The Director, Usman Riaz, co-wrote the screenplay and also composed the quietly plaintiff score.

1. Title, audience fascination with glassblowing, the process, the quality of the sand (and the beach nearby), the fire, the blowing, the moulding, the cover? The finished products and their beauty?
2. The style of the animation, and drawings, the different characters, the settings, the home and the glassblowing, town, the buildings, the cliff and the sea, the cave? The tone and melodies and orchestrations of the score?
3. The vividness of the war sequences, the military, parades, fighting, the plains, the bombs, the devastation, the fires?
4. Thomas Oliver, the glassblower, the story of meeting his wife, her talent, her death? Living with his son, Vincent, a young boy, learning the trade, his skills, his imagination, the various objects created? The bond between father and son,, keeping him at home, boy wanting to be at school, is ridiculed by the others? The years passing, the talent?
5. The moving between times, the adult Vincent, relationship with his father, his father support, the plan for the exposition, the planning of the program?
6. The encounter with Alliz, in the shop, his dropping the flower, her saving it, the beginning of the bond between them, her mother taking her away, the military parade, and the carriage, her father the military commander? A character, going to the boarding school, her talent with the violin, the fellow student carrying the instrument everywhere, the boys and their attention? Her skill at playing, the teachers?
7. The war, the parade, Thomas and his shouting, his pacifism, reputation the town, Vincent suffering? The confrontation, the threats to take Vincent away, his collaborating with the glassware for the war effort, the bombardments? Father and son working together? Vincent, a crisis, his emotions, tampering with the products, the lowering of the chests to the shore, his father’s reaction, lifting they carton, losing his arm? The repercussions for Vincent?
8. Later, the meetings with Alliz, he showing her the glassblowing, his father ordering her out? The meetings, the conversations, the gift, Vincent’s comment that she needed inspiration for her out?
9. Allize and her success, the recital, the invitation, Vincent dressing up, being held up by the prejudiced guard, losing the invitation, not being admitted, on the roof, hearing her performance? In honour of her father, his being rescued, the flashbacks to the military action, the young man and his heroics, the father being saved, kissing the young man, Vincent upset?
10. The adult Vincent, his exposition, the quality of the artwork, his father speech, the admiration of the crowds?
11. The finale, the style, the aspects of magical realism and the Magic presence? The beach, Alliz and her reappearance?

A COMPLETE UNKNOWN

US, 2024, 141 minutes, Colour.

Timothee Chalamet, Edward Norton, Elle Fanning, Monica Barbaro, Eriko Hatsune, Scoot McNairy, Dan Fogler, Boyd Holbrook.

Directed by James Mangold.

For audiences with long memories, singer-songwriter, Bob Dylan, has been a constant presence since he first went to New York City, aged 20, in 1961, made contact with Pete Seeger, admired Woody Guthrie, was given opportunities to sing in clubs, at festivals, and to record. And, he has done so ever since, awarded the Nobel Prize for Literature in 2016 for having created new poetic expressions).still at work in his 80s.

For younger audiences, becoming aware of the Bob Dylan of later years, memories of his songs, his contribution to folk music, his developments and musical talent, may have made a strong impression.

Which means that this two-hour 20 film about Bob Dylan’s earliest years, from a complete unknown in 1961 to a star, acclaimed, also criticised for his transition from folk to electric instruments in developing music styles at the Newport Festival in 1965, will be a significant experience.

And, there is the performance by Timothee Chalamet as Bob Dylan, a physically slight figure, characteristic wavy hair, intent on singing, writing his lyrics, always with a cigarette in his mouth, bringing Dylan to life. (In 12 months to Timothee Chalamet has been Wonka, Paul Atreides in Due 2 and now Bob Dylan, indicating that in his talent, Chalamet is a screen chameleon. It is worth seeing him in interviews as his ordinary self to appreciate his versatility )

Not that Bob Dylan in his early years was always an attractive character to meet. He was self-obsessed, ambitious, intent on writing and composing at all times and all places, fickle, often casual and of-hand, in relationships, especially with singer Joan Baez – but this is a young man in his early 20s. But he knows what he wants for himself and his creativity and career.

However, one of the great values of director, James Mangold’s film is situating the early songs, including some songs from Woody Guthrie and Pete Seeger as well as Blowing in the Wind, The Times are Achanging and quite a catalogue of other songs. And, impressively, Timothee Chalamet sings all the songs himself, plays the guitar and harmonica. In fact, all the supporting cast do their own singing, Monica Barbaro impressive with a beautiful voice as Joan Baez, Ed Norton in a very impressive performance as a sympathetic Pete Seeger, Boyd Holbrook as Johnny Cash. (Incidentally, James Mangold directed the film portrait of Johnny Cash in 2005, Walk the Line.)

There are some moving moments at the beginning of the film and at the end with Pete Seeger present and singing for a chronically ill Woody Guthrie in hospital.

Bob Dylan has been a significant figure in American and world music for more than 60 years. This is a welcome opportunity for us to go back to this introduction to a complete unknown.

1. Audience response to Bob Dylan? In the early 60s, from unknown to celebrity, 1965 and his changing of music style, the succeeding decades of success, Nobel Prize for Literature, continuing into his 80s?
2. The focus of this film, 1961-1965? Audience knowledge of the period, in the world, the Berlin Wall, the Cuban crisis, the assassination of Kennedy, the March on Washington, the Vietnam war…? The insertion of this information into the narrative?
3. The music styles of the 1950s, popular songs, the place of folk, the influence of Woody Guthrie, Pete Seeger, Joan Baez and others? The influence of Bob Dylan, his music, lyrics? The peace movement? (And other movements in this time, The Beatles, Elvis Presley, The Rolling Stones…?)
4. The opening and Woody Guthrie’s So Long…, Pete Seeger in court, the judge, the song, the support, This Land is my Land…?
5. The atmosphere of New York City in the 1960s, the venues for concerts, the Newport folk Festival, Monterey? Recording studios? Flats and apartments?
6. The music, the range of Bob’s Dylan songs throughout, their insertion, the film as a collection of his songs? Woody Guthrie’s songs? Pete Seeger’s? Guitars, harmonicas? The transition to electric, bands and the range of instruments?
7. Audience response to the character of Bob Dylan, in these four years, aged 20 to 25, unknown, the way he presented himself, his obsession with music, his ambitions, relationships with Joan Baez, with Sylvie, how committed? The focus on his self-absorption, the consequences, some arrogant behaviour, his devotion to Woody Guthrie, appreciation for Pete Seeger, the clash with him at Newport? Not a character one would like to meet in ordinary life?
8. Sympathetic portrait of Woody Guthrie, ill, no speech, Pete Seeger’s visits, Bob’s admiration, the hospital, the song, his final visit to the hospital and complaining orderly?
9. His background, enigmatic, Zimmerman, changing to Dylan, the story of the carnival, keeping his life in mystery? The opening, arrival in New York, wanting to see Woody Guthrie, going to the hospital, encountering Pete Seeger, singing the song, the response? Pete Seeger and his wife helping out, his composing, the children? The continued friendship with Seeger and his family?
10. The opportunities, his continued singing, the scenes of his composing, the music, the lyrics, writing, typing? His being introduced by Pete Seeger, the response? Joan Baez and her singing, her response, his acclamation? The beginning of the relationship, Joan’s attitude, sharing the songs with him, at Sylvie’s apartment? The later relationship, the clashes, even on stage, his turning up at her apartment, composing, her ousting him? Her later accounts of the relationship? The songs?
11. Meeting Sylvie, at the church, talking, together, seeing Now, Voyager, the cigarettes, the comparisons with the story? (And the prevalence of cigarettes throughout the film?) Sylvie, her personality, her art, the attraction to Dylan, the relationship, going to the concerts, her time away and his infidelity, her suspicions, the breakup, his returning, on the bike to Newport? The influence of The Times are Achanging?
12. Going success, the records, the producer, latching onto him, staying with him, the other executives and their hopes? The record companies, the takes, the initial song and his missing the microphone, his increasing competence and success? Appearances, a claim? People seeing him in the street pursuing him, escaping the taxi? The claim at the concerts, applause, standing ovations? His later speech and denunciation and people’s puzzle?
13. The discussion with the young musician, going to see him play, their working together, the transition to electric guitars, bands?
14. The background of the Newport Folk Festival, the personnel, the discussions, the tradition, Pete Seeger and his investment? Successful years? 1965, Dylan and his choices, the public wanting Blowin’ in the Wind and other classics? His refusal, the clash with Joan Baez? Sylvie departing and the final talk with her? His concession to a popular song?
15. The clash with Pete Seeger, the interventions of his wife? Dylan, his friends, going to the new phase of his life, wanting to continue and develop the music?
16. The final information, his relationship with Pete Seeger and reconciliation, with Joan Baez, the continued success? His career, the Nobel Prize and his not attending? Into his 80s and his approval and consultation for the film?

SING SING

US, 2023, 107 minutes, Colour.

Coleman Domingo, Clarence Maclin, Sean San Jose, Paul Raci.

Directed by Greg Kwedar.

Sing Sing is one of the United States most well-known prisoners, in upstate New York, on the Hudson River. And it featured in early films, 20,000 years at Sing Sing with Spencer Tracy and Bette Davis in the 1930s and subsequent locations for various prison thrillers.

This is not that kind of film.

For some time at Sing Sing, there was a program RTA, Rehabilitation through the Arts. This Is what this film Is about, a focus on the prisoners themselves, their response to Theatre, the effect on them personally, for morale in the prison. It was based on an article of 2005 in Esq magazine, written by John Whitfield who is the central character of this film. (In 2005 there was a documentary, set in California, Shakespeare Behind Bars, with the same theme.)

Of course, there are some scenes in the yard, the sudden siren and prisoners having to prostrate themselves, some focus on the cells some harassment of guards ransacking belongings in cells… But, the perspective of this film is very positive.

The principal feature is the fact that most of the cast consists of actual prisoners from the past or the present, re-acting what they lived through with this theatre rehabilitation. On face value, literally, they don’t seem likely candidates for drama but tough, one with a tattooed face, mainly African-Americans, in fact. They enter into this film with great zest, the discussions, exploring their characters, discussing whether to put on comedy or drama, finally opting for comedy.

But, at the centre, is the character of Whitfield himself, wrongly convicted, long time in prison, turned down by parole boards, but writing creatively, plays for the prisoners, part of the steering committee for the theatre group, coaching, acting. And along with him is the director, who comes from outside, long time working with the prisoners, writing the plays, some powerful scenes where he trains them, directs them in movement, has some quietly closing their eyes, contemplating memories of a friend, encourage and to express what they have seen and felt.

There are two other prisoner characters, a great friend of Whitfield, following him around, full of enthusiasm and suggestions. His played by an actor, Sean San Jose. The other principal character is the former prisoner, Clarence Maclin, replaying his own experiences, drug dealing in the yard, any demands from the dealer, it interested in the theatre, initial clashes with Whitfield but forming a bond, the audience understanding the impact of the rehabilitation through watching him, his Hamlet soliloquy, the director urging him to intensity, his moods, his developing a relationship with Whitfield, support for him when Whitfield breaks after an interview with the parole board.

Colman Domingo has won many awards for his portrayal of Whitfield, many nominations including Golden Globe and Oscar. For this reviewer, the film could have been longer, more development of the prisoner characters in themselves, more scenes of rehearsals and performance. But, Domingo holds it together on the whole project is, of course, a most worthy cause.

1. Audience knowledge of Sing Sing, prison, history, eye security, guards and administration? This film’s focus on the group of prisoners, and the work of Rehabilitation through the Arts?
2. The views of the prison, outside, the Hudson, trains? Inside, the yards, the cells, rehearsal rooms, theatre? Musical score, final song?
3. Nominations for awards, Coleman Domingo’s performance, the professional members of the cast, most of the cast as former prisoners, prisoners, reliving their experiences?
4. The atmosphere of the prison, comparative freedom for the theatre group? Scenes in the cells, sharing, discussions, conditions? Harassment of the prisoners, sirens and falling to the ground in the yard, visiting the cells and wrapping them up…?
5. The film based on the reality of the Rehabilitation for the Arts, John Whitfield's article Esq, 2005? His story? Long years in prison, meetings with the Parole Board, the focal meeting, the documents, the accusations, the lack of evidence, the crime, his innocence, the phone call to his mother? His children? His career in writing, the players, the performances?
6. The introduction to the range of prisons, their appearance, characters, actual prisons and experience, the use of their audition videos in the film? Their interest in theatre, the discussions, the steering committee, discussion about drama or comedy, the interchanges, the initial visuals of their performance at the credits, the audience interest in what they could achieve?
7. The director, his working with the group, his personality, encouragement, they’re welcoming him? The discussion about the play, the comedy, the range of ideas, from Hamlet to Freddy Krueger, his going away, writing a text, bring it to them, their responses? The scenes of him training them, walking, shooting their eyes and imagining, communicating their images?
8. Clarence Maclin, in the yard, the drugs, the young man, the bad drugs, $500? His relationship with Whitfield? The nicknames of Divine? The gradual bonding, the discussions, the issue of Hamlet’s soliloquy? Macon and his attitudes, with the group, surly, gradually harmonising, succeeding, his encouragement to be intense with the soliloquy? The later scenes, the discussions with Whitfield, sitting with him, supporting him, helping Whitfield come out of himself? Final performances?
9. The character of Mike Mike, professional actor, sharing with Whitfield, their discussions, following him round, ideas, creativity, his loss with the group, their response?
10. Whitfield, his character, strengths, moments of depression, intervening, encouraging? The bond with Mike Mike? With Maclin? The impact of the board meeting? The documents, Maclin and his being able to leave?
11. The rehearsals, the costumes, performance, happiness, the absurdity of the play, the women coming in for their roles? The director? Whitfield and his interruption, disastrous, the reactions?
12. Whitfield persuaded to come back, the performance, the success – and the collage of sequences, especially drawing on those from the actual past?
13. Whitfield, quiet, reflecting, his leaving, meeting with Maclin, the exhilaration of freedom?

JULIE KEEPS QUIET

Belgium, 2024, 100 minutes, Colour.

Tessa Van den Broek, Grace Biot, Noah Leclloux, Claire Bodson, Pierre Gervais..

Directed by Leonardo Van Dijl.

A significantly topical theme.

In recent years, issues have been raised about the relationship between sports coaches and their athletes, especially inappropriate behaviour, even harassment and abuse. This film takes of this theme in the context of a high school and specialist training for a tennis star.

The duly of the title is a teenager, working hard at school, popular with the other students, conscientious about her work. She is completely dedicated to tennis, training and exercise, with hopes for future selection. However, she has her quiet and taciturn moments.

The film has a great number of tennis sequences, tennis practice, exercises, immersing the audience in Julie’s world of horizons.

But, an investigation has been raised about her former coach. There are meetings with the head of the Department, discussions with her parents, but Julie being reticent. She also meets up with the former coach with there is the revelation as he explains to her that he stopped when she asked him to stop.

There is tension with the new coach, her wariness, but a gradual acceptance of him. There is the complication that one of her previous coaches students committed suicide.

This is a film of the emotions and talk rather than any explicit sequences of flashbacks, focusing on the investigation, the behaviour of the coach, the response of the students and the effect on Julie.

1. The topical theme? Athletes, trainers, relationships, behaviour, harassment, abuse? The Belgian setting, universal? The school, classrooms, the tennis courts, practice, competition? Classes, schoolfriends, travel for tournaments? The tennis atmosphere?
2. The significance of tennis, the impact for tennis fans, non-tennis fans, the initial practice, the focus on Julie, the ball, her returns, serving, multi-courts and the players, the coaches, the spectators, in the background of physical exercises – even to the final credits and Julie’s final push-ups and at rest? The musical score?
3. Julie, her age, seeing her first tennis, sing her with her parents, her father support, the role of Jeremy, his coaching her, encouragement, his seeing her talent and possibilities, his withdrawal, the discussions with the head, the issues of the investigation, her seeming to ignore them, her clashes with the new coach, gradually accepting him, his highlighting her with the others, her serve? The trouble to the tournament, successful, the relationship with the other students? In as and her rich family and demanding refunds? Laura and the confidentiality? And the story of the suicide and suspicions concerning Jeremy?
4. The management, the meetings, the discussions, the investigation, Jeremy suspended?
5. Julie meeting with Jeremy, her relying on him, his skill in coaching, his ambitions for her, the details of advice, the revelation of the relationship and his stating that he stopped when Julie asked him to stop? The repercussions of this experience for her? And the story of Aileen, her promise, Jeremy, her death?
6. The portrait of the youngsters, in class, tennis, their friendships, discussions?
7. The title, the focus on the victim, not wanting to communicate, self-isolation? And the need for further steps?

SAD JOKES

Germany, 2024, 96 minutes, Colour.

Fabian Stumm, Hayley Louise Jones, Justus Meyer, Ulrica Flach, Jonas Dassler.

Directed by Fabian Stumm.

Sad jokes is an evocative title, especially when the first few minutes of the film offering a range of characters telling said jokes, corny jokes, pun jokes.

But, this is a story of Joseph, and gay filmmaker, played by Fabian Stumm who has written, directed, starred in this film. After the success of his first film, he has discussions with the producer about making a comedy, the producer somewhat sceptical, asking what kind of comedy, Joseph floundering – but, this film itself probably the equivalent of what he was proposing, sadness and humour.

Joseph his co-raising a little boy, the son of Sonya, prone to depression and spending time in institutions. But Joseph relishes his time as the boy’s father and bonds with him. There are some neighbours, characters, who support him in trying to help Sonya. Sonya has some vivid scenes, frantic in the kitchen, going back to the institution, but emerging and a powerful sequence where she relates a therapy experience in imagining and telling a story, indicating hopes for the future.

Which means that this is a different kind of domestic comedy with serious overtones. And, probably reflecting some of the experiences of Fabian Stumm in his filmmaking career.

1. The title, the comedy aspects, the same human aspects? In the opening with the range of jokes told and audience response? The mood?
2. The German setting, German humour, German sadness?
3. Joseph’s story, Fabian Stumm and his writing, performing, directing? Character and personality, gay man, breaking up with the partner, the later encounter and their conversation, his partner moving on? His relationship with Sonja? Her pregnancy, the birth of the boy? The Platonic relationship, bringing up the boy together? His happiness in being a father? The scenes together? His work as a filmmaker, his success, the discussions with his producer, discussions about the film is set in filmmaking, the prospects for the future, his wanting to do a comedy, the producer asking what kind of comedy, his presenting the manuscript, the producer not finding it funny?
4. This film itself is the equivalent of Joseph’s proposal for the comedy, idiosyncratic humour, serious themes?
5. Sonia, the depression, in the institution, getting out, at home, frantic behaviour, the cooking, with her son, Connie and Alice and their supporting Joseph? Her going back to the institution? The later visit, karma, her April to discuss the situation, the telling the story of the therapy, imagining the situation, open to change?
6. The neighbours, Connie and Alice, characters, the subplot of their lives, their support for Joseph?
7. The boy, his age, with each of his parents, his situation, vitality?
8. Joseph, the art class, the men posing, the later contact, the message, Joseph responding, it is tension, the man moving off?
9. Joseph and the success of this film, the prospects for future film? And the prospects of his life, a combination of sadness and jokes?

FLIGHT RISK

US, 2025, 91 minutes, Colour.

Michelle Dockery, Topher Grace, Mark Wahlberg, Maaz Ali, Paul Ben-Victor.

Directed by Mel Gibson.

Best to consider first the issue of Mel Gibson, his reputation, personal, as a filmmaker. Many audiences react against Mel Gibson because of his strong views, his anti-Semitic outbursts in the past. (Catholic audiences are probably dismayed by his extreme views about the church, tradition, the inheritance from his father’s Conservative stances but will still go to see and even enjoy his films!).

In fact, Mel Gibson is an Oscar-winning director with Braveheart. He also directed Apocalypto and Hacksaw Ridge which have strong reputations. And, of course, there is The Passion of the Christ.

This 90 minute action show is a long way from these films. Gibson said he wanted to make it for sheer entertainment and that is what it offers. It is reminiscent of a number of films but that is the nature of the popular action show.

While Mark Wahlberg has top billing, above the title, the main strength of the film is with Michelle Dockery, Madolyn, taking some time off from Downton Abbey. She is an officer who has allowed someone to die on her watch and has been suspended, given the opportunity for rehabilitation, going to Alaska to apprehend a key witness against a violent financial criminal. The witness is Winston, played by Topher Grace, a timid desk person but shrewd in his management of money, incessantly chatty, but with the possibility of some kind of redemption and witness protection.

The bulk of the film takes place in the air during a flight across Alaska to Anchorage. Mark Wahlberg plays the good old boy pilot, even having the top of his head shaved which makes him seem more eerie! And, it very quickly emerges that he is not what he seems and, in fact, is a hired killer.

Which means then that there are lots of complications during the flight, guns, knives, but, especially, effective tasering. The plane is rickety, the mountain peaks ominously looming, Madolyn having to fly the plane, on automatic, getting guidance from an official who is flirtatious while giving his advice. Then there is the question of a leak in the department, suspicion on Madolyn’s contact, on her boss, and the taunts of the hitman pilot.

And, there is always the excitement of the crash landing.

Most entertainment action films are made up of elements that we are familiar with but with some variations. Same here.

1. Expectations of Mel Gibson film? Of an action film? Action in the plane?
2. The Alaskan settings, the town, the mountains, the city, the tarmac…? The musical score?
3. Situation, Winston, his background, accounting, doing deals for criminals, under threat? Hiding in Alaska? His personality, chatter, his mother, fearful? Wanted as a witness?
4. Madolyn, her history, the person killed under her watch, suspended, invited back, determined, the confrontation with Winston, taking him in? The plane flight to New York? Her contact with Janine through phone? Some suspicions of her? Contact with Coleridge the boss? The discovery of the truth? The ruthlessness, Janine’s death?
5. The plane, the pilot, Mark Wahlberg, jovial old boy, the bald head? The chatter, the blood? Madolyn realising the truth, pulling the gun, the struggle, Tasering him? The reality of his being a hit man, knowing all about her, taunting her? The fights, tying him up, the spectacles, cutting loose? His personality, taunting?
6. The pilot loose, the fight, Winston and the knife, his being stabbed?
7. Madolyn, using her wits, strength, talking with Winston, the threats to him, untying him? The personal story, his mother? Autopilot? Talking with Janine, talking with Coleridge? The discussions with Hasan, jovial, flirting, his helping her land?
8. The dramatic issues, the fights, the mountains, fuel diminishing, the landing, the wind, the crashing, the pilot thrown out, run over by the vehicle?
9. Landing, the hospital for Winston, her meeting Hasan? The threats by Coleridge, her recording them? Vindication?