THE BAG MAN

US, 2014, 108 minutes, Colour.

John Cusack, Rebecca De Costa, Robert De Niro, Crispin Glover, Dominic Purcell, Martin Klebba, Sticky Fingaz, David Grovic.

Directed by David Grovic.

John Cusack is the bagman, a hitman for hire, in the employer of a wealthy, well-educated, gangster, Dragna, played by Robert De Niro, momentarily unrecognisable because of his Pompidou his style transforming expectations of his appearance. The film opens in a luxury plane, the gangster explaining a test case for the hitman, to collect a bag, delivery, be paid off – and the gangster preoccupied with full loyalties.

The bagman follows through with the mission, is shot at, kills his assailant and buries him, goes to the motel as required, with Crispin Glover giving an eerie performance as the motel manager, Rebecca Da Costa as a prostitute loitering outside the rooms, FBI agents arriving at being shot by Jack, a pimp and a dwarf also menacing. There are shootings, the issue of the bag, hiding it, the prostitute coming to Jack’s room, hiding from the pimp, the intervention of the police and some brutality and sexual violence. Eventually, the gangster arrives, Jack having proved his loyalty by not looking into the bag – then the revelation of what the bag contains, confrontation between Jack and the gangster, the intervention of the prostitute, shootings all round, and the eerie truth of what is in the bag.

However, this story has an ironic happy ending. It is a curious neo-thriller, with more than a touch of the weird. There is an unexpected lengthy explanation, visualised, of the whole setup of the test and scheme. The co-writer director, David Grovic, appears in the final sequence as the gangster’s lawyer.

1.     Thriller, ported of a hitman, criminal power struggles, betrayals?

2.     The setting, the initial flight, luxury, the action over one night, the eerie motel, rooms, surroundings? The police station? The combination the forest? The New York office and finale? Musical score?

3.     The title, Jack and his role? Hitman? His relationship with Dragna? Interactions with his wife, her death? The discussion, Dragna wanting trust, the issue with the bag, not looking inside, collecting it, being paid? The meal and the cutting of the meat, the visualising of the deal? Robert De Niro, his appearance, Pompadour hair, manner?

4.     Jack, a John Cusack performance, listening to Dragna, agreeing to the task, test of loyalty, to be employed by Dragna? Collecting the bag, being shot at, killing the shooter, putting him in the boot of the car? The hotel, the proprietor and his eerie manner, appearing from under the desk, Jack wanting room 13, no interconnections? The discussions, the payoff, connecting the phone? Dragna and his calls? Jack waiting, not looking in the bag?

5.     The isolation of the motel, the FBI agents and Jack shooting them, finding their badges? Rivka, standing provocatively? The pimp, the dwarf, ominous presence? Looking for Rivka, her hiding in Jack’s room, the interactions, the discussions?

6.     The police, the shootings of the pimp and the dwarf, of the motel manager, burial? At the police precinct, Jack handcuffed, hanging? Rivka and the sexual behaviour, the guns, the shootings?

7.     Waiting for the phone calls, in a different room, Dragna arriving with his henchmen and the gun, the discussions, issues of loyalty, guns, shooting, Rivka wounded, Dragna and his explanation of the test, wanting absolute loyalty, the irony of Dragna and his literary quotations, explanations of his studies, choosing the criminal life? Ultimately opening the bag, the head of Jack’s wife? Rivka emerging, Dragna blowing up the hotel motel? The final shootings and Dragna’s death?

8.     Rivka, going to the office, the video of the agreement, the revelation about Rivka and her role, as Dragna’s agent? Getting the money? And driving off with Jack?

9.     Noir thriller – with more than a touch of the weird?

TRAMPS

US, 2016, 82 minutes, Colour.

Calvin Turner, Grace Van Patten, Michal Vondel, Mike Birbiglia, Margaret Colin, Mariola Mlekicki.

Directed by Adam Leon.

This is a small film, small budget, two semi-innocents abroad. British Callum Turner plays Danny, younger son in a Polish family, his mother conducting a betting system at home. He works in a restaurant. His brother proposes a scheme whereby he picks up a case and delivers it, getting money for his brother. The contact is a woman with a green bag. Also involved in the process is Ellie, Grace Van Patten. She has a shady background.

Most of the film is about these semi-innocents abroad, Danny taking the wrong bag, trying to right the wrongs, getting the train, encountering Ellie, the finding prescription medicine and an address, they’re organising themselves to go up state, adventures in the house, taking clothes and bikes, back to New York, some doublecrossing, phone calls and warnings, Danny taking the bag, E chasing the bus and confront him, his leaving the bag and going home.

However, there are decisions for Danny, to leave home. Ellie has decisions to give half the money to Danny and go to her future. They meet up at the bus station…

1.     The title, for Ellie and Danny? Their lives, the job, upstate New York, wanderings, the future?

2.     The New York settings, homes and betting groups, restaurants and kitchens, criminal meetings? The railway stations, the trains, upstate New York, the mansion? The final bus station? The musical score?

3.     Danny’s story, his mother, Polish, the betting, his brother and the criminal connections, Danny and his cooking, the restaurant, the phone calls, agreed to do the job for his brother, the bag, going to the station, the rendezvous with the woman, the green bags, the wrong bag, the encounter with Ellie?

4.     Ellie, her background, explanations, clubs, men, connections? Her doing the job, the fee, further demands?

5.     The frantic search for the right bag, the connection with the criminals, their waiting, the prescription and the address, finding it, travelling the train, on the road, the car stopping and questioning, the mansion, staying the night in the hut, the bonding? The next day, the family going out, taking the clothes, the bikes, back to New York?

6.     The phone calls, the doublecrossing, Danny taking the bag, stranding Ellie, her chasing the bus, confrontation, his leaving the bag, her taking it, delivering it to Evelyn, finding out what was in the bag, the illustration, the payment?

7.     Danny, at home, his brother, settling down?

8.     Ellie, coming to the house, giving Danny half the money?

9.     Danny, the decision to chase Ellie, the bus station, the change of destination, the future…?

MEG 2: THE TRENCH

US/China, 2023, 116 minutes, Colour.

Jason Statham, Jing Wu, Shuya Sophia Cai, Cliff Curtis, Page Kennedy, Sergio Peris-Mencheta, Skyler Samuels, Sienna Guillory.

Directed by Ben Wheatley.

Meg 2 has to be big. And it is! The focus on the film is a mega shark, the prehistoric shark which has survived in the depths of the ocean until today (and not only just one). During the last 40 years or more any audience seeing a shark on a film poster will immediately think of Jaws. And rightly. It is the archetypal shark film. This film pays some homage to Jaws especially in the final sequences at a crowded beach resort, lots of people in the water, the celebration of a wedding and a poodle falling into the water (will it be chomped - so we are led to believe and, for those of tender emotions towards dogs, spoiler alert, it is saved!).

However, with the shark being prehistoric and surviving into the present, there are memories of Jurassic Park, so this is a kind of Jurassic Deep Ocean Floor. Chinese producers have invested heavily in this film as have the Americans - with a climax at the above-mentioned beach resort, some key Chinese characters in the drama and lots of extras on that beach resort.

Jason Statham, who has survived 20 years of action shows and shows no sign of easing off, is a popular hero of this kind of film. He is something of a kind of antihero, when there is an emergency but, of course, persuaded to do so. The centre of most of the action is a huge facility (perhaps something of an understatement given the size, affluence, high-technology) in the ocean.

Up till here, with a few omissions, this is the initial review of The Meg. So, the same basic plot and the same emphasis on characters.

Meg 2 opens with a prologue set in prehistoric times, small creatures, bigger creatures, each devouring the other – until the Megadon devours all. The difference with this sequel is that it is set in the Mariana Trench, could have been called 25,000 feet under the sea. There are crises, Jason Statham Jonas coming to the rescue again, working with friends, going down to explore the deep in a special submersible vehicle, crises, having to walk along the sea trench with all the deep sea dangers, finding the below surface enormous facility, this time involved in mining rare earths (rare sea beds) and smuggling them, masterminded by a ruthless boss (Sienna Guillory) with a traitor on board the surface vessel. Jason with his Chinese friends is also guardian to the young girl of the previous film, lots of dangers, rescue, confrontations, and the finale like the first film (remembering the scene in Jaws), even to the young girl rescuing the dog!

Which means, there is plenty of tension, plenty of action, plenty of heroics, plenty of dangers, the arrogant boss getting her comeuppance, a touches of family care and a super-abundance of mayhem. This is what The Meg 2 promises - and what it delivers. Some of the caustic comments come from viewers who haven’t read the film correctly and discuss it as if it were meant to be completely serious! Otherwise, it is often tongue--in cheek somewhat bloated entertainment – just think of the scene where Jason Statham pierces the Megadon with piping and, single-handedly, holds and supports it, vast mouth agape, with beyond human strength.

1. The title, a variation on Jurassic Park and Jaws, Jurassic Ocean Depths?

2. Audiences, interest in films about sharks, sharks in danger?

3. The background of science, technology and developments? Rare earths on the ocean floor? Smuggling?

4. The underwater sequences, the action? Terror?

5. The special effects, computer graphics, the musical score?

6. The plausibility of the plot? The characters, the situation with shark, its menace, dealing with it, the threat to humans?

7. American and Chinese money? American and Chinese audiences? The Chinese settings and characters? World appeal? Box office success?

8. The prologue, crustacean era and creatures, the danger, the undersea rescue, the impact of the depths, the team, the vessel being shaken, the threat of the Meg? The reactions, Jonas and the symbolism of his name?

9. The confrontation with the boat, the crew, Jonas in danger, the rescue by the plane in the sea?

10. The group, the decision to go to the ocean bed, the group going down, the menace, the danger, the vehicle, 20,000 feet under the sea, the group, malfunctioning, Jonas and his decisions, the dangers, walking along the trench bed, finding the facility, vast, computers, the rare earth collecting? Smuggling? The personalities of the group, interactions, dangers, death?

11. The villains, the team on the surface, the traitor, her machinations and plans, Jonas and the group surfacing? The imported villain and confrontations? Vengeance? Jonas and his two friends, the plane?

12. Meing, her uncle, Jonas as her protector, the dangers?

13. Bonus, his decisions, in the boat, lowering the shark, the pursuit, dangers, explosions?

14. The resort, people enjoying themselves, satirical presentations, the young girl, safety, going into the sea, to rescue the dog, rescued herself? Mayhem all round? Survivors?

15. The finale, rescues, defeat of the sharks? A popular entertainment - doing what it intended?

HEART Of STONE

US, 2023, 122 minutes, Colour.

Gal Gadot, Jamie Dornan, Alia Bhatt, Matthias Schweighoffer, Sophie Okenado, Jing Lisu, Paul Reddy, Enzo Cilenti, Archie Madekwe, Glenn Close, BD Wong, Mark Ivanir.

Directed by Tom Harper.

It would seem that the villain of this film - and a review can’t reveal the twist and revelation, that would be quite a spoiler - does have a heart of stone, motivated by revenge, allegedly motivated by doing good in the world, but unscrupulous in achieving his aims, no compunction about the many dead in consequence of his actions.

But, the title is something of a play on words. Heart actually refers to an extraordinarily developed AI system, seemingly in an elaborate capsule, safely in the balloon in the stratosphere, but able to provide all kinds of information, vast information charts appearing at the sweep of a hand, offering probabilities of success and failure for various aspects of the mission. The group looking after this is called Charter, former members of such organisations as MI6, having their own control, seeking world peace and order, and having names from the various cards in the deck as the codenames.

And, as regards Stone – the leading action star is Rachel Stone, played by Wonder Woman herself, Gal Gadot, having to do some of the stunts which Wonder Woman might have hesitated about. She is supreme at derring-do.

At first, her action on the snowy mountain slopes brings to mind some of James Bond’s action stunts. But, we soon realise that she is on quite a mission impossible and that Rachel Stone is the female equivalent of Ethan Hunt (though, admittedly, Tom Cruise does do his own stunts.).

And that is probably the main thing to say in a review – this is the beginning of a new franchise where women are key to the action, to the saving of the world. In charge of Charter is Nomad, played by Sophie Okenado. And, initially in the background is Keya, an IT expert, especially in hacking, who is drawn into the plot against Charter but soon realises she has been mightily deceived and joins in the final heroics with Rachel.

In the initial action are quite a number of MI6 agents, led by Jamie Dornan with his Irish accent. And at Charter headquarters there is the leading expert, Jack (of Hearts), a genial Matthias Schweigerhoffer. A number of character actors play key agents in Charter, including a prominent guest star who will surprise audiences if they have not heard already who it is!

With action, often spectacular, in the Alps, moderately so in London and Lisbon, but dramatically in the desert in Senegal and, finally, in Iceland.

So, full of energy, full of female action, and high hopes that world peace and order could be achieved. But…, No…

1.      The title? The AI, the heart? And Rachel Stone?

2.      Action adventure, in the James Bond vein, the female version of Mission Impossible?

3.      Action, stunt work, CGI, feats of impossible daring, fights, the heart and the technology, the role of MI6, Charter, world peace, order? The world of espionage?

4.      The location photography, the Alps, Lisbon, London, the desert in Senegal, Iceland? The cable car, the slopes, downhill skiing? The head of Charter in London, the technology? The shadows in Lisbon? The desert, the capture of the Heart, being picked up in the desert, the confrontation? Iceland, the University, technology, the locations? The musical score?

5.      The introduction to the characters, the team, the target, the coordinated surveillance, in the vehicle, in the club, communications, opposition, getting the target into the cable car, the couple and surveillance, Parker, with the target in the cable car and confrontation, fight, the cyanide pill? Rachel, seeming inadequate, the range of the stunt work, controlled by Jack and his vast resources? Downhill, the crashes, the deaths, the later revelation about Parker and his killing the target?

6.      The surprise in twist in Parker emerging as the villain, the action in Chechnya, MI6, supplying of arms, the deaths, Parker surviving, revenge? The revelation that he had killed the target in the cable car?

7.      London, the headquarters of Charter, Jack and his work, Nomad and her being in charge, the other members of the staff and their talents? Rachel, the dangers, giving an account of herself, Lisbon, the dangers, the revelation about Parker? The clash with Charter in Chechnya, the deaths, his survival, revenge?

8.      The glimpse of other members of Charter, guest roles for BD Wong, Glenn Close, BD Wong in Iceland, the attack, trapped? The other members killed?

9.      Parker, his character, revenge, killing the target, capturing the heart, the balloon in the air, his being aided by Ker, her talents, her parents, motivations, confronting Rachel? Rachel, her talents, in the balloon, the fights, the plane and take off with Parker and Kayla, her leaving and hanging on, cut off, the freefall descent, saving Ker?

10.  In the desert, believing Ker, the savagery of Parker, the control, in London, cutting off the air, the 50 minutes, tactics, the group prepared to die?

11.  The difficulties in Senegal, the blonde operative, shooting and chases, Rachel diving into the water, saved, the plane, en route to Iceland? Parker and Keya going to Iceland, the University, setting up the trap, closing down the air for Charter?

12.  The dangers, Rachel on her bike, the pursuit, using her wits, the truck, getting to the University? The contact with Nomad, a device? The confrontation was Parker, Keya and her eluding Parker, confronting him, saved by Rachel, the indication of the steam pipes, the gun, Keya slipping the gun to Rachel during the fight, Parker’s death? The resolving of the problems?

13.  The humour in the episode with Charter and its AI failing, ringing Rachel on the landline! And her ringing Nomad?

14.  Four weeks later, the re-establishment of Charter, Keya and her being given a card? Sequels?

From the General Bulletin, News of Hope -  Some Highlights

New Country. New MSC Presence. New MSC Formation House.  Kenya.

It is with great joy and hope that we announce that at the beginning of August 2023 a new MSC presence will start in Nairobi, Kenya (East Africa). It is an initiative of the Province of Ireland, through the MSC Southern Africa Section.

This mission also begins as a community with international collaboration: a confrere from UAF (Lucien Beh Evina) and one from India (Antony Peter), together with a native Kenyan MSC belonging to the South African Section (Peter Ng'ang'a). Congratulations to our confreres and courage in the new mission.

DOMINICAN PROVINCIAL CHAPTER

The XIV Dominican Provincial Chapter was held on the week of April 17-21, 2023, at Monte de Oración, San Victor, Moca, Dominican Republic.

Bernard Mongeau and Fr. Marc-André Gingras, from the community of Quebec, and Joel Dépré, from the community of La Malbaie, Quebec, Canada, recalled the process that led to the merger of the Canadian Province and the Dominican Province, pointing out that it was the first time in our Congregation that a Province was dissolved so that its members could join an- other Province.

Fr. Marc-André Gingras spoke on behalf of the companions of the community of Quebec, Canada, and of their views on the consultation on the elderly to which they responded. He thanked them and emphasized the climate of welcome and fraternity experienced during the Chapter.

FRENCH AFRICAN UNION, UAF

On March 5, 2023, coming from Italy, Senegal, Congo, and Cameroon, we started the Chapter, trusting in God's Mercy and carried by his Spirit. Our interest broadened when we heard about the vision of our schools in relation to the Educational Project of the Missionaries of the Sacred Heart developed by Fathers Charles Biloa and Yvon César Banackissa.

PROVINCE OF FRANCE-SWITZERLAND

Issoudun on March 27 to 31, 2023. we talked about the future of Issoudun, with our buildings now oversized in relation to our needs, in the context of the strong secularization that is invading us and forcing us to think differently about how we live out our mission. Proclaiming the Gospel is part of a new paradigm that we cannot ignore. This is bound to have an impact on the way we feel, our dreams, our expectations, our hopes, etc. We need to consider the principles of reality, without which we could become utopians and wishful thinkers. The very mystery of the Incarnation obliges us to this principle of reality: we are not above ground! But we also need to know how to trust as Father Jules Chevalier and Mother Marie-Louise Hartzer did in their day.

We are also moving towards the creation of a new community close to a major urban area, with the mission of being present on the "periphery" according to the pastoral intuition of Pope Francis. This community would be proposed to an entity of the Congregation that would come on mission to Europe. Once again, we realized that JPIC (Justice, Peace, Integrity of Creation) is a concrete expression of our Spirituality of the Heart.

IRISH MSC OPEN PROVINCIAL CHAPTER

Our first Open Chapter with 40 members present from all territories of the Province. This week has been one of honest conversation, sharing, struggle, and searching. The discerning conversations began in the pre-Chapter process and will continue over the coming years. As we shared together on the Chapter Road, five areas of our MSC life emerged, calling us to deeper re- flection and consideration:

• Our MSC Mission
• Our partnership with the laity
• Healing of past and present hurts
• Mapping the future of Venezuela and South- ern Africa
• Our MSC Mission for Justice, Peace, and the Integrity of Creation

This week’s cheerful news of Greg McCann’s celebration – and most heartening news from Vietnam, official recognition.

The Vietnamese Government has approved the establishment of the Missionaries of the Sacred Heart in Ho Chi Minh City. We can now openly and publicly live and minister as Missionaries of the Sacred Heart.

Last week, the MSC, OLSH, and MSC Sisters gathered for a beautiful celebration in the scholasticate in Thu Duc City. Before the mass, Tinh announced the great news, and Fr Danh read the approval letter from the Government. Fr Hoang spoke about the difficult process of getting to this point but how happy and blessed we now feel.

Hoàng (Superior) and Tinh (Bursar) receiving “Approval of City People’s Committee about the establishment of MSC in Ho Chi Minh City” by Mr Ngo Sy Tuan (staff of professional office 2- City Religious Committee) on July 27th 2023."

                                                                            ________________

• Greg McCann’s Jubilee: Greg was 60 years an MSC on Saturday and celebrated the weekend at Douglas Park with family, friends, and fellow MSC. Greg mentions,

o    “As well as my immediate family, two of the profession group of 1963 (August 5th) could attend; they are Bernie McHugh and Ken Moroney. Unfortunately, Terry Hurley was unable to attend. Greg McEnnally was in our noviciate year at the time.

o    It was a wonderful occasion, and the whole group agreed that the weekend's highlight was the Mass at Heart Works with Dominic Gleeson.

o    Thank you to all the people who helped make this a real MSC celebration, Catherine Molihan and Nurse Jane for the cake, John Bosman for the Didgeridoo playing, Fred and Susan for making it all possible and all the Community at D.P. for your hospitality and friendship.”

o    Greg said he remembers his first profession well, which was in the presence of Fr Leo McDougall The last sixty years have been a “wonderful adventure”. The words ‘Life is a Celebration’ were printed on the cover of the mass booklet for Saturday’s anniversary.

THAT WAS THEN

THIS IS NOW

Apologies

The computer malfunctioned for the photos for the Vietnam-Greg McCann post. It will be rectified later, Saturday.

RACHEL’S FARM

Australia, 2023, 87 minutes, Colour.

Rachel Ward, Mike Greene, Bryan Brown.

Directed by Rachel Ward.

Rachel is writer/director/actor Rachel Ward. Before we visit her farm, there is a brief introduction, some footage from the past, reminding us who Rachel Ward has been, English-born, international actress, award-winning director, and, after meeting on the set of The Thorn Birds, marrying popular Australian actor, Bryan Brown, and they have been married for 40 years, parents, grandparents. A genial start to this documentary.

Rachel Ward introduces us to the farm that they bought some decades ago, small, in the Nambucca, mid North-Coast region of New South Wales. Rachel is a forthright personality, speaking very articulately to camera, her commentary running right throughout the film but she knows that, while listening on the part of the audience is important, there is more importance in seeing. So, a visually impressive documentary as well.

In her early 60s, after devastation of the area by the 2019 fires, and in collaboration with her neighbour, Mick Green, Rachel committed herself to farming, finding it exhilarating even if constant hard work. However, it was not just farming in the traditional way, a smaller property, running some cattle, checking the best departure, reliant on fertilisers and other chemicals… Rather, this is a documentary about regenerative agriculture. It might not be a phrase on everybody’s lips – but one hopes that after seeing this film and being persuaded by what we see and hear, we will be enthusiastic about developments, ecologically sound, about regenerative agriculture.

Rachel and Mick eventually combine their properties, working together, he introducing the regenerative aspects of the farming, along with some consultation of indigenous elders about care for the land, greater wisdom about grazing and grasses, allowing time for regeneration, learning about the nature of the soil, moisture, dung beetles, best use of paddocks. Rachel goes to cattle auctions, talks about farm maintenance and regeneration, does some studies herself.

Rachel notes that Bryan Brown might prefer to be at the beach rather than at the farm. And he says that he couldn’t be a farmer – too much hard work. But he does help in his way. But more help from their daughter, Matilda, who with her family has joined, especially in meat production, with her mother.

The action takes place from the fires of 2019 into 2020-2021, 2022 and Rachel’s learning, going into action, held up for some months by Mick’s motorcycle severe accident and his recuperation, her having to take greater responsibilities (despite criticisms of her shortcomings in driving), careful financial planning, and her making a commitment at this stage of her life to farm work, productivity, regeneration of the land.

One has to say that Rachel Ward is very persuasive in what she says and in showing what she does. And, in these global warming (global boiling) difficult ecological times, the message about regenerative agriculture is more than timely.

ON THE WANDERING PATHS/ SUR LES CHEMINS NOIRS

France, 2023, 95 minutes, Colour.

Jean Dujardin, Josephine Japy, Izia Higelin, Anny Duperey, Jonathan Zaccai, Dylan Robert.

Directed by Denis Imbert.

The English title highlights the various paths taken by the central character, Pierre, his 1300 km walk across France from east to west, from the mountains to the Atlantic: wandering paths. The French title with its emphasis on black and dark, offers a more sinister perspective on the track as well as Pierre looking back on the meandering paths of his life, his career as a writer, the accident that almost destroyed him.

The audience is invited to accompany Pierre, having recovered from a severe fall and injuries, on this walk through France. This has two impacts on the audience. First of all, we are invited into areas of the French countryside that we have rarely or never seen before, isolated landscapes, extraordinarily rugged, sometimes barren, sometimes alive, the wonder of the photography exciting us. And, secondly, we are invited to share the life of Pierre, a kind of man about town writer in the past, chronicling his travels, acclaimed by the public, but careless in his way which leads to his devastating fall and injuries. As PN our walks, there are many flashbacks to the past, we understanding him better, not admiring him particularly in his past, but a growing admiration of his determination (though he should let up at times on his stubbornness) and his perseverance.

At times, this is a lonely walk, plenty of time to share Pierre’s recollections, his observations, writing in his notebook. But, for a pleasingly, there are many encounters along the way, engaging cameos – a young woman selling cheeses to any passers-by, an isolated farm offering some relief, an old man reminiscing about the countryside and settlement after World War II, family heritage, shepherds, and the pressures of modern developments, an evening at a monastery, a silent meal with the monks, listening to Reading in the refectory… Is joined by a close friend for some days, just as well because he has an epileptic fit and needs some medical attention. Another time he is joined by his sister, playfully, reminiscing. There is a small town, the young man behind the counter of a bakery and delicatessen, a town progressing towards abandonment.

There is great humanity in this story, Pierre seeing his walk as a recovery of part of his past life which seemed beyond recovery, but also seeing it as a chance of some recuperation of life, as well as a possibility of some redemption. As he nears the Atlantic the end, there is a vision of the monastery of Mont San Michele, rising majestically, something of a transcendent vision of achievement.

Pierre is played by the celebrated French actor, Jean Dujardin, a strong career in French cinema and then, rather suddenly and unexpectedly, winning the Best Actor Oscar in 2011 for The Artist. This enabled to showed and to continue his career even more successfully, internationally in such films as The Wolf of Wall Street and The Monuments Men as well as continued presence in French cinema, The Connection, the terrorist film and the 2015 massacres in Paris, November. The story, based on fact, is from Sylvain Tesson, his adventures were also narrated in the film, The Velvet Queen, on the search for snow leopards in Tibet.

1.     The title, wandering paths, black and dark paths?

2.     French sensibility, French characters and determination, the French landscapes, from the mountains to the Atlantic?

3.     The structure of the film, identification with Pierre, his career, writer, seen him set out on his track, the discussions, the feasibility, medical advice? His intentions, motivations? The insertion of the range of flashbacks, to his previous career, relationship with Ana, difficulties, his walking, drinking, friends, scaling down the wall, his fall, injuries, surgery, recuperation, scarred? Pierre and his journey, memories, writing, wanting some kind of redemption and rehabilitation?

4.     Audience empathy with Pierre as a character, seeing him on the walk, his determination, interactions with those he met, solitary, joined by Arnaud, joined by his sister, their personalities, interactions with him, memories of his mother, the greetings to his father? His collapse, the epilepsy, Arnaud, the ambulance, on his way again? Encounters along the road, the young woman selling the cheese and give him an extra, the farmer and the water, the old man and his reminiscences about the changes in the countryside, flocks and cattle? His staying with the monks, the room, the community dining room and the reading at meals?

5.     The film offering a portrait of Pierre, but also a portrait of France and its interior landscapes? The loneliness, the peaks, piers standing on them, looking down to the valleys, the rivers? The plains, the cattle, the sheep, his condemnation of the coming of the herbivores? His writing, observations, reflections, from the past, the experience of the walk?

6.     The audience walking with him, the continued signalling of places and distance covered? The range of French to rain?

7.     The blend of the rugged outdoors, camping out with Arnaud? The hardships of the walk, dangers, broken rock, the heights? And his memories of climbing with Anna? His relationship with her, the accident, her walking out, her blaming him for the break?

8.     The achievement, monsoon Michelle as a symbolic destination, at the Atlantic, the sense of achievement?

9.     The audience walking with him, sharing the experience of France, showing the hardships, the exhilaration?

THE COMEDIAN

US, 2016, 120 minutes, Colour.

Robert De Niro, Leslie Mann, Harvey Keitel, Edie Falco, Danny DeVito, Patti LuPone, Charles Grodin, Cloris Leachman, Lucy DeVito, Veronica Ferres, Lois Smith, Happy Anderson, Billy Crystal, Bobby Rydell.

Directed by Taylor Hackford.

When The Comedian was released in 2016, everybody commented on the link with Martin Scorsese’s The King of Comedy, with Robert De Niro as Rupert Pupkin, wanting to be a stand-up comedian but failing. This time, a personal project for Robert De Niro, he is a successful stand-up comedian, but better known and appreciated by audiences for his young role in a television series of the past. He is continually trying to assert himself as his real name, Jackie, rather than Eddie in the sitcom. (In 2019, De Niro was again a stand-up comic against Joaquin Phoenix’s Joker in Joker.)

While audiences will be interested to see how Robert De Niro handles the character, there is the issue of jokes and issues in stand-up comedy itself, the subjects in more recent decades focusing on sexual issues, sexual behaviour, explicit in the expression, the focus on bodies and bodily functions. The Comedian is full of these jokes, sometimes verging on the extreme, no holds barred, and delivered by De Niro. Which means that the humour may be offputting to audiences of more sensitive sensibilities.

And, De Niro’s character is egotistical, failures in life and marriages, a long alienation from his brother, Danny DeVito, with his angry and aggressive wife, Patti LuPone, and their daughter, marrying, a lesbian marriage, and played by Lucy DeVito, Danny DeVito’s daughter. Jackie also has a long-suffering agent played by Edie Falco.

At the opening of the film, Jackie is hostile towards a heckler, confronts him, is taken to the court, gives a grudging response, insults the judge and is sentenced to community service – where he entertains the homeless people he is serving. He encounters a young woman, Harmony, played by Leslie Mann (who knows comedy well because of the long time she has been the wife of director, Jud Apatow). There is a pleasant relationship which later becomes demanding, especially with the pregnancy and her future. And her protective father is played by Harvey Keitel, strong scenes with De Niro, 40 years and more after Mean Streets and Taxi Driver.

There are a great number of comedians playing themselves in guest roles throughout the film. Most notable is that of an elevator sequence with Billy Crystal (with whom De Niro played in the Analyse comedies). Charles Grodin, looking quite old, had played with De Niro in Midnight Run. Here he is a compere for the roasting for the 95-year-old stand-up comic an actress played by Cloris Leachman.

Direction is by Taylor Hackford, a director of varied themes including White Nights, Officer and a Gentleman, Dolores Claiborne, Devil’s Advocate, Ray.

1.     The title? Expectations? Audiences enjoying comedy? Stand-up comedy? Jokes, themes?

2.     Clubs, comedy clubs, venues, audiences? Television studios? Courts? Restaurants? The wedding? Contrast with Florida in the aged care home? Musical score?

3.     Stand-up comedy, the themes, raunchy, emphasis on sex and sexual behaviour, bodies, bodily functions? Themes for comedy? Issues of sensitivity? Taste?

4.     Robert De Niro, The King of Comedy, his role in Joker? Talent as a stand-up comedian in films? His career, screen presence? His reputation on television when young, audiences calling him Eddie, his real name, Jackie? Age, performances, cantankerous, ego, aggressive, the heckler, his confronting him, in court, the nature of the apology, behaviour towards the judge, the sentence, community service, with the street people, serving, entertaining? The encounter with harmony, attraction? His visit to James, absentee, Florey and her hostility? Borrowing money? The issue of the wedding, Brittany wanting him to be there? Working, with Harmony, the bond between them, sexual? The outings? His taking her to the wedding, his repartee at the wedding, Brittany enjoying it, the innuendo and bluntness in the humour? Florey and her anger, ousting him? Harmony enjoying the wedding, the dancing, the guests, the confrontation with Florey?

5.     Harmony, her relationship with his father, a Harvey Keitel character, possessive, cantankerous, his demands on his daughter, the birthday party, encountering Jackie, memories of the television, the imitations, his anger at Harmony being with Jackie, the threats, demanding that she returned to Florida?

6.     Jackie, his relationship with Miller, her father being his agent, her attempts to get him jobs, present in the court, exasperated, patient, a character, getting in various options, the gig in Florida, the television show, Jackie agreeing, “Cry Uncle”, the producers, his television manner, with the audiences, the man in the tub, the scorpions, crying Uncle, his walking off the show? His visit to Florida, with Harmony, with her father, with the aged care residents, singing, Making Poopie…? The man filming it, its going viral on social media, his behaviour on the television show successful on social media?

7.     Mac, a Harvey Keitel character, standover tactics, love for his daughter, demands on them, hostility to Jackie, the visit to Florida, his hosting the show, the prospect of a grandchild?

8.     The sketch of the aged care of people at the centre, the repartee, the interviews, the comments, laughing at the human, sexual, bodily functions, joining in the chorus?

9.     Jackie and his return to James, the discussions, the money, James as a loving brother? And yet the jokes at the wedding, about their father and his attentions to each?

10.  Harmony, a character, erratic, a service of the shelter, the encounters with Jackie, the sexual encounter, going to Florida, walking out on him, not answering his calls, his going to Florida, pregnancy? The clash between them, his walking out? Jackie returning with the box of photos?

11.  Eight years later, the children, the performance, the granddaughter, imitating his jokes, Harmony cautious, her partner enjoying it, Jackie and his delight in the grandchild?

12.  Portrait of an egotistical comedian, failures in his life, wanting to perform, relying on the response of his audience, bitterness, wanting some happiness?