THE JACKALL

US, 1997, 124 minutes, Colour.

Bruce Willis, Richard Gere, Sidney Poitier, Diane Venora, Mathilde May, JK Simmons, Jack Black, Tess Harper, Leslie Phillips, Stephen Spinella, SophieOkenado, David Hayman.

Directed by Michael Caton-Jones.

Based on the screenplay of the 1973 adaptation of Frederick Forsythe's very popular The Day of the Jackall.  Most would remember Fred Zinneman's film and the extraordinary performance of Edward Fox as the heartless and calculating assassin, targeting de Gaulle.  This time it is the 90s - and a detailed focus on weaponry as in the original, but far more techo-developed.  The setting is the US, although the payers for the killing are those very frequent villains of recent American thrillers, the new Russian mafia.

The jackall is Bruce Willis who plays cold and calculating but who always looks bemused - which suits him when he is hero but looks strange when he is villain.  Richard Gere, on the other hand, is genial as the Irishman who also can identify the Jackall.  It is entertaining while on screen, helped by many international locations and the presence of Sidney Poitier and Diane Venora, who seemed the most interesting character.  But, there are some plot-holes that defy explanation.

1. The title, based on Frederick Forsyth’s Day of the Jackal, adaptation to the 1990s, American-Russian relationships? Assassination attempt? Espionage complexities?
2. The range of locations, the US, Washington, Chicago, Russia, Azerbaijan…? The musical score?
3. The portrait of the Jackal, a Bruce Willis role? Military background, American, for hire, the Azerbaijan connection, the revenge assassination, the head of the FBI, emerging as the First Lady? Preparations, getting equipment, storing it, the gay bar, the garage, the murder? The setup, clash with Mulqueen, disarming the gun, firing at random, deaths? Mulqueen and the gun, shooting the jackal?
4. Motivations, the Russian major, Valentina? Contact with the US? The background of the assassination of the brother of Murad? Murad and his revenge? Hiring the Jackal?
5. The character of Preston, role with the government, espionage, the FBI, the links with Mulqueen, the final shootout, his promises to Mulqueen, breaking the promise, the prestige of the episode and his career?
6. Mulqueen, Richard Gere character, sniper, his relationship with Isabella, the Jackal and the pregnancy, Isabella knowing the identity of the Jackal? Employment by the FBI, liaison with Preston, the investigation, building up to the assassination attempt, thwarting the attempt? Preston not giving him his freedom?
7. Ian Lamont, the gay bar, the Jackal chatting him up, the garage, storage of the weapons, the TV revelations, killing Lamont?
8. The range of supporting characters, International, diplomacy, militants, Russians, Americans, British?
9. The scope of the story, the characters, political tensions?

BARTKOWIAK

Poland, 2021, 91 minutes, Colour.

Jozef Pawlowski, Zofia Domalik, Szymon Bobrowslo, Bartiomiej Topa, Rafal Zawierucha

Directed by Daniel Markovicz.

This is a kind of martial arts and crime thriller that could have been made anywhere. It could be easily read remade in the United States. And, it is the type of film that was popular with such action stars as Jean-Claude van Damme and Steven Seagal.

The film opens with a mixed martial arts fight, the hero, Tomasz being defeated, retiring to the country, abandoned by his trainer.

The hero is managing a nightclub owned by his brother who is mysteriously killed in a car-truck alleged accident. However, Tomasz makes the connection between the truck and companies involved in urban development plans. Much of the action takes place in board rooms as well as consultations with the various chiefs and their enforcers. One of these is Tomasz’s opponent in the first bout, now a bodyguard and an enforcer – which, of course, would lead to menacing of Tomasz’s girlfriend, Dominika, daughter of his trainer, secretary of committees considering urban development.

A great number of sinister characters in the business world. Heroism on part of the MMA fighter, his trainer and Dominika, David and Goliath story with David obviously prevailing.

1. Polish crime thriller? Character studies? Mixed martial arts background? Politics, urban development and corruption?
2. The Polish city, homes, mixed martial arts arenas, gyms and training? Nightclubs? Urban development, offices, meetings, business leaders, mansions? Musical score?
3. The opening, the MMA fight, Tomasz, champion, his supporters, his trainer, the commentators, the crowds, his defeat? The consequences? The reaction of his trainer? His disappearing to the other town?
4. Tomasz, relationship with his brother, the club? The family? His retirement from fighting? Managing the club? News of the death of his brother? The truck, the company, the political and business connections?
5. Tomasz and his decision to investigate his brother’s death? The reconciliation with his trainer? The trainer, drinking, disillusioned? Relationship with his daughter?
6. The urban development, falling down of all buildings, pressurising tenants and evicting them, violence? The meetings of the committee, Dominika present, her contribution? Her boss and his role? The other leaders, links, the controllers? Money?
7. Dominika, with her father, with Tomasz, the growing relationship, her giving information?
8. Tomasz’s initial opponent, bodyguard for the corrupted chief, taunting Tomasz, his attack on Dominika, the buildup to the confrontation, wounding the trainer, Tomasz and the fight, death?
9. Tomasz and the investigation, the various leads, Dominika’s boss, his connection with the chief, his attachment to Dominika, trying to help her, his taking the money, court, death?
10. The local authorities, the mayor, the connection with the building, corruption?
11. Tomasz going to the mansion of the chief, the confrontation, the fights – to the death?
12. The David and Goliath story, overcoming the wealthy and corrupt opponents? A future?

Some update stories and photos

Michelle Vass departed St Mary’s Towers on Monday. Her plans were delayed as she waited for her new car to be ready. She will enjoy a year of travel in her vehicle, which she named Penny.

Michelle wrote, “All a bit emotional- a wonderful send-off! [this morning]. I am so very grateful for the extraordinarily prayerful community that has befriended and supported me these past 11 years. A beautiful home that will always have a special place in my heart. So, lots of prayer for you all as I head off on this ‘missionary’ expedition!!!” Photos of her departure and her first stop at Mallacoota.

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Downlands is the first of our schools to start for the year. The staff came back this week. The school added four year levels, Prep to year three and has an extra 30 staff members on board. Andrea Collins (AP Mission) led a prayerful liturgy to begin the school year, and Stephen Koch (Principal) welcomed the new staff. All staff who spoke did so with heart and conviction about the MSC charism embedded in the school. Vince Carroll blessed the name badges for the new staff and addressed everyone about the MSC missionary spirit.

The theme for the year is Come, Walk with Us, Grow.

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Vince Carroll enlightening and energising Downlands’ Staff on the Indigenous history in his hometown of Taroom

Vince installed a gallery of photos of all those MSC who have spent time at Downlands.

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PS, Anticipating Brian Gallagher turning 86 on 21st, celebrations at Blackburn. 

Thanks, Khoi

ALONE TOGETHER

US, 2022, 98 minutes, Colour.

Katie Holmes, Jim Sturgess, Derek Luke, Melissa Leo.

Directed by Katie Holmes.

Katie Holmes emerged in the 2000s as a film star. In the 2010s, while continuing to act, she began to direct films including All We Had. This film she is not only producer and director, she has written the screenplay and starred.

However, the important aspect of the film is its time and location, mid March to mid April 2020, the realisation around the world and in the United States that the pandemic was severe and would last a long time. Audiences watching this film will probably be making comparisons of where they were and what they were doing, the experience of lockdown and restrictions, at the beginning of 2020 and throughout that year and on.

However, the story is a basic romance. Katie Holmes is June, a journalist with further ambitions, tense in a relationship, coming to an Air B&B and finding it already occupied. Jim Sturgess is Charlie, with his own back story, also booked into the Air B&B. He is accommodating, allowing June to come in, but they begin to relate very well, sharing the B&B, talking, bike riding, romantic, sexual. And there is the isolation of lockdown keeping them together, even if alone.

Derek Luke portrays June’s boyfriend who turns up with the expected consequences – and then both June and Charlie leaving, but returning!

1. American romance? Middle-aged characters? In the context of the pandemic?
2. The work of Katie Holmes, writing, directing, acting?
3. The New York setting, New York State, the countryside, homes, takeaways? New York City, the streets, deserted because of lockdown? The musical score? Singing Blue Moon, the credits, the song for June’s grandfather?
4. The film was something of a time capsule, March April 2020, the beginning of the pandemic, the consequences, lockdown, businesses shut, masks, distance…? Audiences identifying with the times and what they were experiencing wherever they were?
5. June’s story, age, journalist, writing on restaurants, ambitions, from the midwest, to the city, her relationship with John, one year, the tensions? The booking of the Air B&B? Her desperation for the train, cancel, the lift, conversation with the driver, the house, locked?
6. Charlie, his story, relationship with his mother, the phone calls, the death of his father? Broken relationship, sense of betrayal from his girlfriend? The Air B&B?
7. The situation, June tired, Charlie, inviting her in? The initial tensions, the one room, shower, his sleeping on the couch?
8. The development of the situation, the bonding, talking together, telling their stories, more about family and relationship backgrounds? Drinking, card games, the bike ride? The sexual encounter, the consequences? The weeks passing, lockdown, takeaway food? Cooking?
9. John, the background, family death, arriving, puzzle, Jim’s reaction, Charlie leaving? The discussions, tension, sorting out the issues?
10. Charlie going back to the city, his talent for repairs, his mother?
11. June, going back to the city, offices shut?
12. Her returning to the house, Charlie present, the ending – and the future?

A GOOD WOMAN IS HARD TO FIND

UK/Belgium, 2019, 98 minutes, Colour.

Sarah Bolger, Edward Hogg, Andrew Simpson, Jane Brennan, Rudy Doherty, Macie McCauley..

Directed by Abner Pastoll.

This is a small budget revenge film made in 14 days filming in Ireland and Belgium. It played in a number of festivals, many of them with an emphasis on horror, and won awards. It can be said that while there are two gruesome sequences, this is more of a revenge drama rather than a horror film.

The film opens with the central character, Sarah (Sarah Bolger) covered in blood, transfixed, then showering – leading to flashback drama. The film captures the atmosphere of the Irish city, a widow with her two young children, ordinary life, going to the supermarket, taking her son who does not speak to a counsellor, clashes with hard mother, memories of her husband the murdered and no results from the police, and the implication that he was a drug dealer because of the manner and place of his death.

While there are many scenes of family life and Sarah’s tenderness with the children, especially reading the bedtime stories, she passes a young man, hooded, in the street and the camera then follows him. He is a young dealer, observes local deals from a car in the street, steals a car, crashes it into the dealer’s car, steals the drugs from their boot, escaping, and coming into Sarah’s house.

There is tension in his entry, for Sarah, for the children. He explains himself and tells her that he will return, leaving the drugs in the cupboard under the bath. Then he gives her commission money for holding the drugs which she does not want. Ultimately, he terrorises her, especially after the little boy finds the drugs, plays with them, drugs over his face, Sarah desperately washing them off. The young man makes sexual advances, Sarah warding off, hitting him with a vibrator, stabbing him.

The film then changes tone, Sarah deciding to dismember and dispose of the body, the first of the very gruesome scenes and the effect of working with saw and axe. But, she disposes of the body parts in a variety of rubbish bins in the neighbourhood. Ultimately, the chief drug dealer works out where the young man would escape with the drugs, intrudes into the house, threatens Sarah – and, in the second gruesome scene, she goes to the office of the dealer, produces the young man’s head, concealing a gun, a shootout, leaving everything to the police, and no trace of her presence.

The film is well written, well acted, an effective revenge drama where audiences identify strongly with the person taking revenge.

1. The title? With reference to Sarah? Her story? Ironic tone in the title?
2. The Irish settings? The city, overviews, the streets and homes, the parks, supermarkets, clubs and drug dealing headquarters? The musical score?
3. The opening, Sarah, blood on her, the shower? An hour of flashback building up her character and story? The rest of the film and revenge?
4. Sarah, her marriage to Stephen, his being murdered, implication that he was a drug dealer, their two children, Ben, his age, witnessing the murder, unable to speak (and the sequence with the counsellor explaining the suppression of the memories and inability to speak), Lucy, older, her vitality? Sarah as a devoted mother, reading the children’s stories, the meals, teaching them to eat spaghetti…? The episode in the supermarket, then taking the chocolate, the supervisor and his eyeing her, to pay the costs?
5. Sarah, making ends meet, the scene with the vibrator and the battery, the discussions with her mother, the severity of her mother’s attitudes, condemning Stephen, concerned about the children, concerned about Sarah’s health, the fact that the marriage prevented Sarah’s possibilities in life? Her taking care of the children, the confrontations, Sarah telling her mother off, the mother wanting an apology, the mother later telling the story of her own marriage, the death of her husband, the reconciliation? Acknowledging that Sarah had experienced true love?
6. Sarah in the street, Tito passing by, the camera focus on Tito? Age, his roommates (and the drug dealers’ later visit, interrogation, torture and bashing)? Observing the drug dealers in their car? His stealing the car, crashing it, stealing the drugs from the boot? Escaping, going into Sarah’s house, confronting her, hiding the drugs under the bath, leaving?
7. The effect on Sarah, fear, his continued visits, explanation of his name, buying the groceries, giving her a cut of the money, her refusal? Ben discovering the drugs, playing with them, the drugs over his face, Sarah desperately washing him? The later visits, breaking the window in the door, the sexual attack, her hitting him with the vibrator, stabbing him, his death? The police arriving, complaints about noise, the suspicions of her because of her husband? (And her visiting the police and their brushing off with no information?)
8. Sarah, the decision about the body, sending the children to her mother, buying the axe in the saw, the initial dismembering, the blood, her cutting up Tito, in the bags, delivering them to the variety of rubbish bins? Carrying on as normal, the visit to the counsellor and her being upset?
9. The drug dealer, his headquarters, his voice, attitude, the henchmen, working out about Tito, speculation as to where the car was parked, suspicions about Sarah? Sarah’s children in the street, the dealer and his having bashed the garbage collector? Ben identifying him as the killer?
10. Sarah reading the stories, Lucy filling in the gaps, Ben speaking a word?
11. The dealer, confronting Sarah, demanding to know where Tito was? Her promise to come in an hour? Make up, clothes, into the club, her bag, confronting the dealer, producing Tito’s head, their laughing, Sarah removing the gun from Tito’s head, the shootings? Her leaving, getting rid of the head, returning home?
12. No trace of Tito, leaving the deaths of the dealers for the police, no suspicions on her?
13. Going to the supermarket, the supervisor, intrusive, Ben and the chocolate, Sarah’s threat to report the supervisor as exposing himself? Her satisfaction? And the glimpse of her looking into the camera after the final credits?

MIRACLE AT MANCHESTER

US, 2022, 87 minutes, Colour.

Kory Getman, Eddie McClintock, Daniel Roebuck, Dean Cain, Nick Avila, Kathy Patterson, Ella Mae Louise Smith.

Directed by Eddie McClintock.

For almost 20 years, especially with the impetus of Mel Gibson’s The Passion of the Christ, faith films have been very popular in the United States, many travelling beyond the States. Initially, they were very church-focused. In more recent years, church has seemed less important and the focus is on personal faith. Practically all of the films have some kind of evangelical background.

This film, based on actual characters and events, is a Catholic faith film. There are scenes of religion classes, personal prayer, the chaplain and sermons and exhortations, religious devotions – and the setting is a Catholic high school. However, the theology of the film and the focus on Scripture tends to be of the rather literal interpretation, which relates to the more evangelical films.

The film is the story of a young sportsman, baseball and football, full of promise, experiencing dizziness, physical collapse. At first, this is considered normal, even migraine. However, insistence with the doctors, especially on the part of the young man’s father, leads to a diagnosis of a tumour on the brain. Surgery, infections, some deterioration, the possibilities for further surgery.

Kory Getman plays Brycen Newman, the enthusiastic young student. Film director, Eddie McClintock, plays his father, devoted, proud of his son, sceptical about miracles but praying, putting pressure on the doctors. The main doctor is played by Dean Cain. There is a subplot concerning a Vietnam veteran, played by Daniel Roebuck, who fixes cars, charges former veterans minimum prices, has had health problems, and has pressure on him from his wife who works at the hospital, meeting Brycen and his family, learning of a group who visit the sick and urge them to their Best Wish. Brycen wishes for a vehicle – and, the veteran, urged by his wife, gives his prized car as a gift.

While the film plays is a drama about a sick, incurable young man, there is prayer, the chaplain at a sports event leading a huge crowd of students also in prayer and raising their hands and holding them over the sick young man. Soon afterwards, the doctors give a report that the tumour has disappeared. Hence the title of the film.

Brycen Newman and his father were part of this production, giving technical advice, taking on some smaller roles – and providing photos and actual video footage and interviews which are screened during the final credits.

1. A true story? Based on actually characters and events? The characters as technical advisers, small role performances? And the actual footage and photos at the end?
2. A faith film, Catholic background of the characters? Similarities to evangelical faith films? Differences?
3. The American town, family and homes, school, church, religion classes, sports, practice, matches, fans and parents? Hospitals and treatment? Car repairs and garages? The musical score?
4. The story of Brycen Newman, his age, 15, place in the family, bonding with his father, the less presence of his mother, sports, Champion, popular with fellow students, girlfriend? Everything before him?
5. Brycen and his success in the match, the dizziness, collapse, checking out hospital, his parents’ attention, his father’s presence and encouragement? The response of the doctors, offhand, urged to greater consideration? Further collapses, diagnosis, migraine, surgery, brain tumour, infections, the experience in hospital? The doctors and their advice, prognoses? The father and his being upset?
6. The members of the team, support, the girls? The visit of the the group for Best Wishes, his wish for the vehicle, Ed Hanson and his story, health, the concern of his wife, her work at the hospital, his work for veterans, charging them a dollar, his wife’s concern about his health, checking on him, the car, the gift, what it always wanted? His hearing of Brycen’s wish, his wife and her urging, the gift of the car? Brycen and his response?
7. The faith dimension, the father not believing in miracles, yet the scenes of his praying, the religion class in the letter to the Hebrews, the chaplain and his classes, leading the groups in prayer, quoting the letter to the Hebrews, letter of James, the holding out of hands and cures?
8. The efforts made for Brycen, to attend the matches, his special award and receiving it?
9. The sequence at the match, the chaplain leading, the big crowd and their holding out their hand over Brycen?
10. The doctor, the news of the disappearance of the tumour?
11. Brycen and his continued career, and the production of this film is a testimony?

LESSON PLAN

Poland, 2022, 101 minutes, Colour.

Piotr Witowski, Jan Wieczorkowki, Antonina Jarnruszkeiwicz.

Directed by Bette Daniel Markowicz.

Lesson Plan is a Polish film but the action and characters could be found in action shows from any country, especially the models from the United States – and thinking of Jean Claude van Damme, Steven Seagal, Chuck Norris…

The central character is a Detective, Damian,, retired, difficulties with authorities, his friend, a teacher, murdered and set up as the manufacturer of drugs in the high school. Damian then takes his place to investigate what happened, tangling with the tough security guards and the school, some tough members of the classes, a lot of violence, sexual harassment, martial arts fights.

Eventually, the truth is made known, the headmaster of the school being in control of the production and dealings.

Mainly for those who enjoy an action show.

1. Action film? Police detection? Teens, school, drug dealing and production? Martial arts fights? The combination?
2. The Polish setting, universal? Police and detective work? Burnout? Authorities? Undercover work, posing as a teacher? Collaboration with students, investigating students, school staff, threats? The drug network, including the students, including the principal?
3. Damian as hero, background, character, police work, burnout, attitude to authority, his teacher friend, his death, the framing for being the drug producer, Damian and his decision to go undercover, interview, the other members of the staff, the headmaster and questions, the classes, the teenage students, spirit of rebellion, taunting?
4. Damian and his investigations, the accusations against his friend, the science laboratory, the science teacher and his being forced to be complicit, the security guards in the school, working for the dealers, the attacks on Damian, the fights? Agata, her place in the school, the threats, her denying the truth? Later change of heart? Interactions with the students, the tough gang and their leader, the fat boy and his wanting to be part of the group? Taunting behaviour? The contrast with the other students and their assistants?
5. The plot of the teacher and his family, his wife and her concern, the son, finding Damian at the school, sense of betrayal, Damian trying to protect him?
6. The details of the investigation, Damon and the dangers, the threats, the security guards and their violence?
7. The headmaster, the reputation of the school, his acceptance of Damian? And his unmasking, the framing of Damian’s friend? The control of the drugs?
8. The set-ups, the fat boy and his change of heart, collaboration, the unmasking, the fights, and vanquishing?

GUESS WHO'S COMING TO DINNER  

US, 1967, 109 minutes, Colour,   

Spencer Tracy, Katharine Hepburn, Sidney Poitier, Katharine Houghton,  Cecil Kellaway, Beah Richards,  Virginia Christine. 

Directed by Stanley Kramer.

Guess Who's Coming to Dinner was a most popular film and a great money maker that will go the rounds again and again.    In fact, along with A Patch of Blue and To Sir With Love, it is one of the most popular films highlighting the race problems in the United States.   So many people saw it, enjoyed it, appreciated its message, that it probably helped to soften a lot of prejudice which angry and satirical films do not.

Critics were generally against it, although it was nominated for many Oscars - winning the best original screenplay (by William Rose (Genevieve and It's a Mad World) and a second Oscar for Katharine Hepburn.   Critics saw it as too unreal, too noble and too sentimental.

It is;   yet this modern American fairytale is what many people have needed to remind them that the race problem is real enough.    The film wants them to make the jump from Sidney Poitier to any black man, from Spencer Tracy to any white. The main stars go through the film giving it their best and many audiences watched Katharine Hepburn's face as Spencer Tracy gives his final rock of America speech in the film which she knew and we now know was to be his last.    Stanley Kramer made tough films with a message in the 50's - The Men, The Defiant Ones.    He became more spectacular and popular in the 60's, moving from Judgment at Nuremburg to It's a Mad World, Ship of Fools, The Secret of Santa Vittoria, R.P.M. and Bless the Beasts and Children.

1.    What kind of mood was set by the opening - jet, airport and the theme song:   'you 've got to give a little,  live a little ..  that's the story of,  that's the glory of love'?

2.    The film was about the engagement and marriage of two Americans. Although it was a modern fairy tale, it had a lot to say on the beliefs, actions and prejudices of Americana,    How do you think this film contributed to the improvement of race relationships?

3.    Did you find the story too unreal,  the conditions too good -wealthy people, qualifications etc.   - and the whole thing too artificial and sentimental  (as did many critics), or were you satisfied?

4.    Can you see haw Dr. John fell in love with Joanne and why they Wanted to get married so quickly?    Was Joanne a sensible girl or did she seem too giddy and irresponsible?

5.    Comment on the reactions of each set of parents to the news.    Why were they taken aback?    What was their main cause for concern and worry?

6.     The film used many devices to bring home to the audience the basic equality of all humans -e.g.  the praising of John as a man, as doctor and then the parent seeing him and experiencing a conflict of ideas and feelings.    How successful were these dramatic devices?

7.    The white parents were liberals who had preached equality for years. Why were they so hesitant?    What does this say about the need for assimilating ideas and principles with feelings?

8.    Did the engaged couple put too much pressure on the parents?   If John could not get full consents, he would not marry.    Was this an ultimatum on the parents?

9.    Why was Tilly the maid so prejudiced against John?

10.    Why was Hillary so  'bitchy' and snooping?    Why was Katharine Hepburn's giving her 'comeuppance' a high point in the film - and yet so many people share Hillary 's assumptions?   Did Stanley Kramer manoeuvre audience feeling at this stage?

11.    How did Monsignor Ryan appear at this stage - how well did he use his cliches, experience and commonsense?    What influence did he have on the parents?

12.    How did John and Joanne 's friends at the club provide a contrast of generations with the parents - in ideas and permissiveness?

13.    Why was John afraid to tell his parents about the marriage?   Did their reactions differ from Joanne 's parents?

14.    What were the high points of the final confrontations (did you enjoy this part of the film?

- the mothers and their awareness of happiness;

- the examining of all problems consequent on a mixed-race marriage; opinion,  the children,  etc.;

- John telling his father he loved him deeply but owed him nothing and he had his own life to lead;

- John's mother saying that the old forget and that they lose their passion and then make decisions for -their children

- Spencer Tracy 's final summing up (did it make a difference that it was Tracy who was making this speech?)

15.    How much good did this film do?    Why?

BABYLON

US, 2022, 190 minutes, Colour.

Brad Pitt, Margot Robbie, Diego Calva, Jean Smart, Jovan Adepo, Li Jun Li, Olivia Hamilton, PJ Byrne, Lukas Haas, Max Minghella, Rory Scov, Katherine Waterston, Toby Maguire, Flea, Jeff Garlin, Eric Roberts, Ethan Suplee, Samara Weaving, Olivia Wilde, Spike Jonze, Patrick Fugit.

Directed by Damian Chazelle.

Vast is a word that comes to mind while watching Babylon, vast in its budget, Hollywood vast, and, running at 190 minutes, and in vast. And it is fair to say that this film is both ambitious and indulgent, written and directed by Damian Chazelle (Whiplash, La La Land), an attempt to portray the Hollywood of the 1920s and 1930s, both the production side and the often-decadent side of the emerging industry contributing to the growth of Los Angeles. And, it is indulgent in so far as Chazelle has chosen characters and situations which are of great interest to him, to explore, to dramatise, but which may not be of such interest to the popular audience.

This is immediately to the fore in the first half hour of the film, initially a comic episode concerning an elephant, towing it up the mountains of California, but then indulging in a very long what critics have named a Bachanal, something of an orgy, or a party, over-crowded, fuelled by drugs and alcohol and sex. While it certainly creates an atmosphere, it is very long, and has the potential to turn off a lot of viewers.

Actually, many of the characters are not very engaging either, for or against. Brad Pitt is at his best in his creation of a silent movie- heartthrob, completely self-indulgent, yet absolutely controlled as soon as the director says “action”, married many times, seemingly carefree. Margot Robbie’s Natalie Le Roy is a character of contradictions, from New Jersey, claiming that she is a star before she has appeared before a camera, absolutely wild at parties, and Wilde in front of the camera, hopeful, gambler, making an absolute mess of her life. There is an impressive performance by Diego Calva as Manny, Mexican, hopeful to get into movies, the audience not seeing anything of his private life, only the various stages as he progresses from assistant to executive producer. And, Jean Smart is persuasively repelling as the aristocratic-styled gossip columnist. The other main character is an African-American trumpet player played by Jovan Adepo. A number of other well-known names appear in cameo supporting roles, Toby Maguire, Lukas Haas, Max Minghella, Eric Roberts, Samara Weaving, Olivia Wilde…

So, no complaints about the cast. But, over the 190 minutes, there is a mixture of episodes, many illustrating the changes in filmmaking from the silent era, a huge mediaeval battle, camera breakdowns, drunken star, leading to the transition from silent to sound and all its technical difficulties in demands on director and cast.

But, some of the characters and their behaviour are portrayed in performances that seen frequently over the top, too much for an audience. And that is the impact of a strange episode torture the end, a visit to a hidden series of caves filled with what used to be called free shows and culminates in a giant chewing on a rat.

On the other hand, there are many striking serious sequences which help to make Babylon worthwhile, a powerful quiet dialogue sequence between Brad Pitt and Jean Smart about feeding careers, a mini-take attempt at trying to get sound issues right, with flareups between technicians and cast, and many of the sombre sequences as Manny watches, is concerned about Nellie, is at the beck and call of stars and executives. And, the story of the trumpet player, his work with the band, playing at the parties, but finding acknowledgement, starring in films, feted by society is one of the best aspects of Babylon.

The musical score has won many awards and many nominations.

As Manny visits Hollywood in 1952, reminiscing, going to see Singing in the Rain, the plot of this most popular musical replays what Manny has experienced, and the screenplay then provides a rather psychedelic tribute to Hollywood.

1. The title, echoes of ancient Babylon, culture, decadence? Hollywood in the 1920s as Babylon?
2. The work of the director, ambitious in the scope of Babylon, indulgent in selection of characters, incidents, long running time?
3. The recreation of Hollywood in the 1920s, the city of Los Angeles, Bel-Air, touches of the desert, mountains, not yet built on? The contrast with the Hollywood mansions? Movie offices? The movie sets? The visit to New York and the premiere of The Jazz Singer? The locations for filming? The transition to the 1930s, the sound stages, films and editing, the end of the silent era?
4. The musical score, many awards, the range of music throughout?
5. The tone of the opening, the lost elephant, towing the elephant, the excretion – and a film starting with such a load of defecation?
6. The film following the character of Manny and his career? Managing the elephant, getting it to the party, his Mexican background, the exasperations, driving the executives, outside the party, the initial encounter with Nellie, her behaviour and attitudes, his getting into the party, carrying out the body of the dead girl, the elephant a distraction? His encounter with Johnny Conrad, driving him, Conrad impressed, hiring him, getting him to do jobs? His being happy on a film set, the issue of the broken camera, driving, his long wait, taking the ambulance, success? His devotion to Nellie? Being on set, making suggestions – about choreography and Singin’ in the Rain? Taken to the other studio, executive producer, his talents, being busy, ambitions fulfilled, a companion but no story of his private life? His plans for Nellie, transforming her into a serious star, her behaviour, disappointments, gambling, coming here to him for the $85,000, the drug dealer, paying the money, fake money, being taken to the caves, the freakshow, the alligator, the giant chewing the rat? Escaping, wanting to get to Mexico, the death of the drug dealer, Manny let go, Nellie and the plans, his proposal, her disappearance? Hollywood seen through his eyes?
7. The impact of the party, bachannal, orgy, crowded, the music, costumes, nudity, drugs, alcohol, sexual behaviour? The fat actor and the deaths of the actress? Getting the body out, the elephant? The Chinese actress, her song, the lesbian tone, dancing with Nellie? The kiss, the effect on Nellie? Nellie leaving, driving away, her hopes? The reprisal of this sequence at the end, another opportunity to indulge? The importance of the orchestra, the black musicians?
8. Johnny Conrad, star, his many wives, pretentious with Italian, the divorces, the Hungarian bombshell and her exploding, the stage actress and her condescending attitude towards movies, advising Johnny, his break with her? Drinking, indulgent? Taking on Manny and relying on his help? On location, the delay, his costume, drinking, stumbling up the hill, immediately sober and performing perfectly? The long kiss, on screen, the audience? His status? His beginning to fade, the long discussion with the gossip columnist, facing reality, contact with Irving Thalberg, agreeing to play the part to save him, the gossip columnist and the magazine article, his disappointment, killing himself?
9. Nellie, New Jersey origins, ambitions, wild, costume, at the party, making a show of herself, noticed, but Manny helping her to get in, the beginning of the bond with her? Her opportunity to come to the set, her seeming nervousness, working with the director, the scene in the bar, her immediately opening up, uninhibited, the central actress coming in, prim, Nellie and her ability to weep, turn it on and off, the many takes? The firing of the prim star? Nellie and sound, the college sequence, her lines, the many takes, finding her mark, too loud, too soft, her anger with the sound technician? The attempt to make her a serious star, re-made, the gossip columnist taking her to the party, people taunting her, her ignorance of literature, the issue of the jokes, the crass joke about the fur? Her eating, vomiting, the dismay of all concerned? Years passing, gambling, debts, going to Manny for help? His proposal, to go to Mexico, her acceptance, on drugs, getting out of the car, wandering and lost? The later small note of her obituary?
10. Palmer, his skills as a musician, with the group, clashes, his promise, noticed, his performing in the films, success, mansion and car, the issue of lighting and his looking too white, the charcoal? His walking out, later playing to appreciative audiences?
11. The range of producers and directors, wealth, knowledge or not, ambitious for studios, taking care of stars, their deaths, scandals? Attitudes towards Johnny Conrad, towards Nellie, towards Manny? Johnny Conrad and his friendship with George, saving him, the girls, George killing himself and the emotional impact on Johnny?
12. The technical aspects, filming, the range of sets, cameras, different films being made, the spectacle, the costumes, the battle, and the impaled extra? The desperate director and his tantrums? Manny going to get the camera? The delay, lunches, sitting about, the gossip columnist and interviews? The camera, the sun setting, the final kiss?
13. Sound, changing technology, the difficulties for cast and crew? The episode of Johnny and the long kiss? His going to the cinema, the audience laughing, the gossip columnist and her explanations?
14. The excursion to the caves, the freakshow, the alligator, the grossness? The cameo of the film director, on drugs, manipulative, his bizarre scenarios?
15. Drugs, pervasive, on the set, the dealers, the cast and their reliance? Manny relying on him, his help with the payment, the fake money, and he and his companion being shot?
16. 1952, Manny, wife and family, working in New York, visiting Hollywood, walking the streets, memories, going into the cinema, Singin’ in the Rain, the dialogue in the 50s recapitulating the 1920s? Manny sad, the smile?
17. The psychedelic summary of the film, clips from the range of movies, a tribute to the movies? Movies for ordinary people – in contrast with the comments about wealthy intellectuals going to the theatre?