WILD IS THE WIND

South Africa, 2022, 123 minutes, Colour.

Mothusi Magano, Frank Rautenbach, Mona Monyane, Nicolus Moitoi, Deon Coetzee Brendon Daniels, Michelle Douglas.

Directed by Fabian Medea.

This is a slice of life in South Africa in the 21^st-century, post-apartheid, the experience of change of government, government corruption, local corruption and the police, the effect on the police, on ordinary citizens.

The screenplay does not pull any punches about corruption and its effect on ordinary men who otherwise would have led a good life upholding the law. There is a prologue where the police take a bribe from a driver – and the indication that he has a woman, tortured, in the boot of his car. Audiences alert to the impact of this early scene will realise that in the police investigation of the murder of a young girl in the town, pressure on a suspect, that the driver is the person involved.

At the centre of the film are two police, partners, and effective performance from both actors, middle age, marriage, family difficulties, wanting something better, participating in the drug read and shooting the dealers and stealing the drugs and the black African, Vusi, doing the deal with local drug lord to get money especially to help his pregnant wife.

The film also give some background to life in the town, starting with the local butcher and his staff, his 18-year-old daughter, giving her permission to stay out with her friends – only to find that his daughter is brutally murdered.

Because of the political connections, the police have to give priority to the investigation, and because the two central police have found her body, they are in charge of the case. The white policeman decides that the nephew of the drug lord, seen in surveillance video with the murdered girl, is the murderer, arrests him, the brutal interrogation and bashing, then deceiving him into making his mark on a paper that he could not read which is a confession. The black policeman clashes with his friend, fighting him, drinks more, especially with his wife leaving him after she discovers his brutality bashing a man and then the issue of the money.

There is a dramatic climax when the mother of the murdered girl shoots the suspect publicly. The black policeman then goes in pursuit of the driver, DNA proof, the confrontation where he allows himself to be bashed by the murderer, some kind of atonement for guilt.

The film was very well received in South Africa.

1. The title, the final song, the whirlwind?
2. A South African story, post-apartheid, government, corruption, police, drugs and crime, family life, serial killer? The pessimistic story?
3. The location photography, the town, the surrounding mountains and valleys? The musical score?
4. The opening, Vusi and John, the bribe from the driver, the sadist with the tortured girl in the car boot? The indication immediately of who would be the villain?
5. Three years later, the character of Vusi, his relationship with his wife, tender, her pregnancy? Her work as a domestic? His work with the police, partnership with John over the years? With the police command? The raid, the shooting and deaths, the drugs, Vusi taking the drugs, going to Mongo, the deal, the money, Mongo and his thugs following Vusi? His wife discovering the money, seeing him in action bashing the man in the house, the decision to leave, packing, going to her mother, the car? Vusi and his work, the death of Melissa, the search for her, discovery of the body, the news to her parents, the mother’s outburst? The police meeting, the priority being given to discovering the murderer?
6. John, his family, partnership with a Vusi, his character, the friendship, impulsive, the shootout at the drug house? The search for Melissa, the command for priority on finding the killer? Sonnyboy, his relationship with Melissa in the video, the arrest, his running, the pursuit, bashing? The interrogation? The assumption that they had the murderer? His denials? John, the document, Sonnyboy putting an X, his confession? The challenge from Vusi for the alternate killer? The confrontation with John, punching him? John taking Sonnyboy to the court, the crowds and protest, Melissa’s father and the attempted shot, the mother and her anger, shooting Sonnyboy?
7. The subplot with Melissa, her father as the butcher, Hennie and his work, the past relationship with Melissa, broken? His being interrogated, his violence, the surveillance video? Her permission to be with her friends, the billiards, the club, Sonnyboy and the kiss? The later flashbacks to her being taken by the killer, the torment, her defiance, and death?
8. Mongo, drug lord, the woman associate and her style, the bar, his influence, the drug dealing, the thugs? The deal with Vusi, going back on it, the assaults on Vusi, his willingness to give back the money, its being taken? The raid, Sonny boy as his nephew?
9. Vusi, the clash with John, his drinking, his wife leaving, his collapse? The evidence from the video, the car, Sonnyboy identifying it? The DNA, the memory of the driver and the bribe in the past? Vusi driving to the countryside, the confrontation with the killer, the guns, the brutal fight, Vusi taking a bashing, some kind of compensation for guilt? Shooting the killer?
10. Bring him into the town, at the stop sign, the fire?
11. A South African slice of life in the 21^st-century?

LYLE, LYLE, CROCODILE

US, 2022, 106 minutes, Colour.

Javier Bardem, Shawn Mendez, Winslow Fegley, Constance Wu, Scoot McNairy, Brett Gelman.

Directed by Josh Gordon, Will Speck.

A show for the family. Actually, a family show, Dad, girls high school maths teacher – and champion wrestler from college days (Scoot McNairy), Mother, a cook, writer of recipe books (Constance Wu) and Josh, a timid boy who comes out of himself, rather astoundingly (Winslow Fegley), a litigious, grumpy neighbour and his special cat, Loretta. Who could ask for anything more? Well, probably, a young daughter to complete the family image – although Josh does have a friend and she comes good to help for the climax.

Most audiences will willingly suspend disbelief about a singing crocodile, sweetly serenading with the voice of Shawn Mendez.

And, of course, there is a Lyle. This is a film version of a series of popular children’s novel is written in the 1960s by Bernard Waber.

But, first, we meet a wood-be-successful magician, Hector. And, he is in the surprising form of Javier Bardem, unlike his roles in earlier Spanish dramais and, indeed, the opposite of his bond villain (Sky full) and definitely of his Oscar-winning sinister performance in No Country for Old Men. He is better at singing and vaudeville dancing turns than in being a magician.

And Lyle. Hector, looking for an exotic animal for his act, here’s little Lyle, baby crocodile, singing in a cage in the shop. Just the trick – but Lyle get stage fright and the act is an instant flop.

Hector disappears from the story for a while with the Primm family moving to his New York brownstone building (with a large attic now housing a much larger Lyle). Some initial scares but Lyle has a song for everyone, transforms everybody’s lives, of course, and becomes part of the family. But the grouchy neighbour down stairs is still complaining.

Reappear Hector, reunion with Lyle. But stagefright prevails – and Lyle finds himself in a cage with crocodiles of the Zoo. Build up to a lively climax, no spoiler in revealing that Lyle sings again, for a television talent show – and brings the house down. Formerly timid Josh is there on stage urging on Lyle on.

As mentioned, a show for the family (though wondering about the teen audience, but they might identify with Lyle, especially his disruptions).

The composers created the songs for The Greatest Showman. Now, they can add to their credits: The Greatest Showcrocodile.

1. The popularity of the stories in the 1960s? 21^st-century adaptation? With songs and dances?
2. Audience willing disbelief about her singing crocodile! Audiences responding to the little Lyle, singing, the shop, being taken in by Hector, singing, enthusiastic, preparing for the performance, on stage, the deal with the manager, stage fright, flop?
3. The New York settings, 88th Street, the brownstone building from the past, attic, rooms, at home? The high school and the classroom? The outings in New York, the streets, the taxi? New York atmosphere? The musical score?
4. The range of songs, for Hector and Lyle, for Josh, for the rest of the family, the final performance and everybody joining in?
5. Hector, would-be magician, his bad acts, the pigeons in his coat, his trying for a better act, going to the animal shop, hearing Lyle, buying him, bringing him home, bonding with him, their singing, training him to sing, the preparation for the show, Hector and his finances, the deal with the manager, the big audience, Lyle and stagefright, the curtain coming down? Hector disappearing?
6. 18 months later, the house, the family coming in, settling in, Josh and his timidity, his phone and timing his journey to school, with his mother? His father wanting wrestling? The wrestling scenes and Josh being thrown around? Dad and his work at the school, the rowdy girls, maths? His background of being wrestling champion? Mother, cookbooks, health, the chocolate cherries and throwing them out…?
7. Josh, the sounds of night, discovering Lyle, scared at first, then bonding, out the window and down the stairs, the pursuit, catching him, Lyle leading him home? Josh and his using the route to school, his mother upset? Good timing? Confident?
8. Mother, discovering Lyle, upset? Later Dad and Lyle, expected scares?
9. The grumpy neighbour, the estate agent, his threatening the law and lawyers? His pet cat? His wanting quiet, the scenes of his being disturbed, the disappearance of Loretta, his threats? Gathering everyone together, Hector arriving and exposing him? Going to the court, Hector with the 19^th century document, everybody able to stay, and Loretta going with the family? The grouch insulting the judge and getting the verdict against him?
10. Family life with Lyle, Lyle upstairs, in the bath, singing? Never talking? But understanding and nodding? The exhilaration of the trip around New York City in the taxi?
11. Hector returning, bonding with Lyle, planning a new show, the training, the costumes? Lyle reluctant? Hector upset, ringing the zoo, their taking Lyle to the zoo, with the other crocodiles, the family visiting? Josh planning the escape?
12. Lyle getting out of the Zoo, Josh and the TV station, his girlfriend and her letting them in, the mocking of the other children? The program, the audience?
13. Lyle coming on stage, people frightened, Josh singing, encouraging Lyle, his beginning to sing, enthusing, the duo, everybody joining in, the children dancing, the host happy?
14. Hector’s return, in court with the document, enabling them to stay in the house – even with a pet of their choosing?
15. Happy ever after – or, perhaps, a sequel?

THE LAST SHIFT

US, 2020, 90 minutes, Colour.

Richard Jenkins, Shane Paul McGhie, da' Vine Joy Randolph, Ed O'Neill, Alison Tolman.

Directed by Andrew Cohn.

A small film about ordinary people, the common people, the taken-for-granted people, the forgotten people among the millions in the American population.

Perhaps, for this reason, so many of the comments and criticisms about the film say that it is boring, that nothing happens – ordinary characters and events that tend to be ignored or taken for granted. Yet, with strong performances, these characters come alive, in their very ordinariness, hopes and desires, disappointments, failures.

The main focus is on Stanley, yet another marvellous performance, a masterclass in acting, from Richard Jenkins (The Visitor,) the setting is Michigan, an independent diner which is just surviving, Stanley having worked there for 38 years, doing the same things, preparing the food, packaging the food, serving the customers. He is satisfied with his life although his main concern is his mother in a nursing home in Florida, his promise to do better for her, his plans to buy a secondhand car, finishes job and drive south.

The other character is Jevon (Shane Paul McGhie, reminding audiences of a young Will Smith). He has been a good student, writing a column in the school magazine, but getting tangled in petty crime, serving his sentence, out on parole, being supervised, advised to get a job and is applying for Stanley’s position, Stanley training him with the handbook that has the rules for the diner. Jevon stays with his mother, has a tense relationship with his girlfriend, not responding attentively to his baby son.

Stanley and Jevon begin to bond during the last shift, the night shift, talking, sharing their experiences, dealing with drunken customers, Jevon rather offhand, seeing his work is very temporary, not understanding how this has been Stanley’s life and commitment.

0, nothing seems to happen, the bonding between the two men seems boring to many audiences but, in the writing and the performances, there is a great deal of humanity to be appreciated.

Stanley’s life has been hard but he is taken that for granted, buoyed up by his friend Dale (Ed O’Neill). Stanley buys the car with the money he has saved, experiences an accident, confronts his brother, phone calls to his mother who is alcoholic in their past does not remember the phone calls. And, he is challenged by Jevon into something of self-the solution. And, race issues emerge, Stanley’s memory of the murder of a boy in 1971 at school (and this nagging at his conscience), discussions about being white in American society, the frustrations of being black.

Comments have also criticised the ending or, rather, the lack of an ending. Audiences who have appreciated the characterisations of Stanley and Jevon will be saddened at the developments, the break, the consequences for each of them. There may be hope for some kind of resolution but the audience is left with the taken-for granted lives, the pain, disappointments, uncertainties.

1. The title, the focus, Stanley, Jovan, bonding, yet the breaking of relationships?
2. Michigan, the town of Albion, the traditions, school, sports, the racial murder in 1971? Memories, the trial, quite injustice to African-Americans? The diner, the kitchen, the drive-in, the neighbouring supermarket, the alleys? Homes? Parole officers? On the Road, motels? The bus on the bus route? The musical score?
3. A film about ordinary people, taken-for-granted? The ignored people, their work and lives overlooked? Somebody response saying that this was boring, that nothing happened?
4. Stanley story, Richard Jenkins performance, age, limp, 38 years, doing the same thing, the cooking, the burgers and his finesse, the packaging, serving the customers? His belief in his work? The poor pay, his saving money, his mother in the home, unhappy memories of her alcoholic past, clashes with his brother? The phone calls, promising to move his mother to better conditions? Examining the car, going to the test drive, no license, the crash with the door, $500, the repair? His friendship with Dale, from school days, talking, bonding?
5. Oscars, the independent diner, on its last legs, the big chains? The supervisor, the accounts, employing Jovan? Her coming in, the theft, blaming Jovan, sacking him?
6. Jovan, the past, intelligent, writing, the school column, his relationship with his girlfriend, the birth of their baby? In prison, parole, the meetings with the parole officer? The conditions? The interviews on the requirements? Applying for the job at Oscars, getting it, at home with his mother, clashes with his girlfriend, ignoring the baby, going out to work every night?
7. At the job, meeting Oscar, the background with Fernando and his Latin American background, earning more in America? The manual, Stanley taking Jovan under his wing, to read the manual, sign the contract, the details of the work? Jovan and his minimalist approach to work? Stanley and his being conscientious?
8. Stanley, the conversations with Jovan, the complaint about the woman with the frozen burger? Stanley instructing, reminiscing about his life, 38 years, satisfied with his life? Jovan, urging him to think about it, some self-assertion – and Stanley later breaking out, angry? Cigarettes, Stanley the supermarket, the three men, challenge, interactions, the mugging, Stanley being robbed? His thinking that Jovan was behind it?
9. Dale, a good friend, their meetings and conversations? Memories of the past, Jovan asking about the murdered boy, memories of the case, Stanley hesitant, talking with Dale, wondering whether they should have spoken?
10. Jovan, Black, lack of opportunities, always under suspicion? Discussion about white and black with Stanley? Stanley reacting with some underlying racist tones? Jovan’s reaction?
11. Stanley, taking the money from the safe, letting Jovan take the blame? The car, going to the motel, the touch of luxury, the car not starting, returning the bus, meeting Dale, accommodation? Getting a new job? The talk about salary, the token final gift?
12. Jovan, coming to work, the supervisor not thinking that Stanley would be the thief, firing Jovan?
13. Jovan, at home, the girlfriend walking out, accusations that he was not interested in the boy? His mother? His being upset at being fired? The parole officer and her feeling oppressed, his outburst? Going to the library, the computer, starting to write?
14. Stanley, the bus stop, in the bus, Jovan and playing with his son and the book, Stanley getting out of the bus, his face, conscience? Jovan’s reaction?
15. The complaint that there was no ending – but the audience seeing each of the characters, the possibility for a resolution in the future, or not? The reality of life?

7 DONNE E UN MISTERIO/ 7 WOMEN AND A MURDER

Italy, 2021, 82 minutes, Colour.

Margherita Buy, Diana Del Bufalo, Sabrina Impaddiatore, Benedetta Porcaroli, Micaela Ramazzotti, Luisa Ranieri, Ornella Vanoni.

Directed by Alessandro Genovesi.

A slight entertainment, a murder mystery. In fact, the film is based on the film 8 Women by François Ozon, 2002.  A much shorter film – and the reduction of one woman from the title and screenplay.

The action happens over a couple of hours. The daughter of the family, Susannah, returns from Milan early, finding a new maid, Maria, in the house. Her mother, Margherita arrives home. Also in the house is the grandmother in a wheelchair, prone to drink, and the maiden aunt who is infatuated with her brother-in-law. And there is also the younger sister at home. The seventh woman is a neighbour, friend of the father of the house.

The maid discovers the father, Marcello, dead in his bed, stabbed in the back.

What follows is panic, mutual suspicions, arguments, the arrival of the neighbour who is also under suspicion. Phones are cut, car wires cut, the gate to the mansion locked – and a blizzard is blowing outside. Christmas Eve.

It is left to the women to argue and find out what happened. In the process, a great number of secrets are revealed about each of the women, and the fact that each of them visited the dead man during the night. It is revealed that the wife is about to leave her husband, something of a loveless marriage, and suspicion is on the neighbour. However, it is the maid who has been in a relationship with the dead man. The maiden aunt is infatuated but the maid transforms her in make up and evening dress! The old grandmother has visited her son-in-law who is in need of money and refuses to give him her stocks which she hides under the bed. The older daughter had returned early to tell her father that she was pregnant. And the neighbour had also come back and visited during the night.

Various changes of attitude of the women towards each other during the film – until the final revelation that the man is not dead, the younger daughter and the maid set up everything for the revelation of secrets!

And 80 minutes pastime for those who enjoy murder mysteries – this time Italian and emotional style!

THE FABLEMANS

US, 2022, 151 minutes, Colour.

Gabriel LaBelle, Michelle Williams, Paul Dano, Seth Rogen, Mateo Zoryan, Judd Hirsch, Jeannie Berlin, Sam Rechner, Oakes Fegley.

Directed by Steven Spielberg.

The Fabelmans – a.k.a. the Spielbergs or, at least, the Spielberg’s of Steven’s blend of memory and imagination.

Spielberg has worked with his frequent collaborator, Pulitzer and Tony award-winning writer, Tony Kushner (for Munich, Lincoln, West Side Story). Spielberg has supplied the story and the imagination, Kushner has supplied the framework and the dialogue. The decision has been made to focus on Spielberg’s early life, from age 6 in 1952 to age 19 in 1965, then on the verge of his television and film career.

The film opens with the young Sammy (for Steven) being taken to the movies by his enthusiastic but increasingly wary parents, Burt and Mitzi, watching DeMille’s The Greatest Show on Earth, and the famous train crash and disaster, carriages held everywhere. The little boy seems gobsmacked, dreaming of crashes, then finally realising that what he wants Hanuka is a train set. And to crash it. His mother makes the suggestion of filming it so that he doesn’t have to repeat the crashes but can watch it over and over. Origins of the movie career. And Spielberg’s memories of DeMille.

Burt Fabelman loves technology, is inventive, appreciated and promoted. His played by Paul Dano, creating the character an upright father, work-preoccupied, loving his wife but unable to fulfil all family expectations. Michelle Williams plays Mitzi, a talent for piano playing, a sometimes fey personality, devoted to her children. And, in the background, and the foreground, is Burt’s best friend, Bennie (Seth Rogen), at the family meals, at the family picnics, close to them and to Mitzi.

An acknowledgement of Gabriel LaBelle playing the adolescent Sam. And John Williams’ piano score rather than his usual orchestral.

The screenplay emphasises the Jewish background of the family, feasts and celebrations, candles, songs, meals. Later, with Sammy, now Sam, as a teenager at high school in California, he is the victim of anti-Semitic bullying.

In 1962, Sammy watches The Man Who Shot Liberty Valence, absorbed, but then going out with his camera, with his scout friends, creating his own Western, relishing the camera work, a talent for directing his friends in their performances, working away at home editing his film, then, to the delight of the scouts and his family, screening it to acclaim. Not only does he make his own Western, but, anticipating Saving Private Ryan, his own war film, quite an emotional experience, but and again-exhilarated audience.

Judd Hirsch invades the film briefly as Uncle Boris – and steals it while he is there.

Sammy also films his mother, on a bending bough, dancing in a shimmering nightdress, but also at a picnic where, Sammy discovers her relationship with Bennie, an emotional blow, his wanting to give up filming, his curt treatment of his mother… Which highlights the tension in the family, his mother, Bennie’s presence, and Burt being offered advancement with moving to California. The family does, Bennie giving the reluctant Sammy a new camera, but everyone unwilling to move and settle.

In 1964, we see Sam at high school, rather diminutive, the all-American jocks dominating him, the anti-Semitic attacks, yet the attraction of Monica, a local high school girl, devoutly Christian, always praying, and Sam attracted to her, his first, ultimately disappointing, dating and love.

This was the era of the Beach Party Bingo movies and Sam makes his mark by filming a day at the beach with the students, screening it at the prom party – again to great acclaim and enthusiasm from the students. However, Sam is upset, is confronted by Logan, the tall blond and handsome Jock, whom Sam has made the star of his film. Logan is upset, has to confront his self-doubts, wondering why Sam did not get revenge but rather making him the hero of the film. He pledges Sam not to tell the story ever – but, here it is, almost 60 years later!

1965, Sam 19, an invitation to CBS, the support of his mother, the blessing of his father, the arrangement of an interview with veteran John Ford (played, in fact, by David Lynch!), With Ford asking Sam to look at pictures, asking where the horizon is, top and bottom of the picture is interesting, the middle is boring. Sam thanks him and steps outside into his career which will see him, even before 2000, in the movie directors’ pantheon (Jaws,, Close Encounters, Indiana Jones, ET, Jurassic Park, Schindler’s list, Saving Private Ryan).

And more to come.

1. The title, alternate for the Spielberg’s?
2. Audience appreciation of Steven Spielberg, his films, influence on American filmmaking, world audiences?
3. The period, 1952-1965? US? Families, homes, holidays? Arizona? California? High school? The beginning of television career? Costumes, decor, cars…?
4. The musical score by John Williams, piano, contrast to his orchestral work?
5. Steven Spielberg and his family, parents, uncle Ben, sisters? His place in the family? Aged six, to the movies, The Greatest Show on Earth, parents’ worry, the guns, crashes and the train wreck? The effect on Sammy, his dreams, the honeycomb gift, the train, setting it up, the crashes? Is mother’s support? The camera, his filming the crash, being able to play it over and over?
6. The Jewish background, celebrations, rituals, songs? Family meals? The grandparents? Mitzi’s mother dying, the dough deaths scene, the effect on her? Burt’s mother, dominating, later visits and criticisms?
7. 1962, Sammy at 16, his camera, going to see Liberty Valence, the chatter of his friends, his focus on the screen? The details of his work filming, camera, shots, directing, his cast, editing, camera tricks and protection, repeated shooting? The filming, showing the film to the scouts, friends, family? The war film, the setup, his friends, directing the boy to walk through the dead, his weeping, continued walking, having to call cut? And screening this film and its acclaim?
8. Burton, Mitzi, their marriage, the children, Burt and his inventiveness, his talk and the various theories, television sets, employment, promotion, to Arizona, success, the invitation to California? An upright man, love for his children, the Sammy, but calling filmmaking his hobby? Mitzi, age, background, as mother, piano playing, for the family, cutting her fingernails? Uncle Boris’s comment about her talent? Her supporting Sammy and his filmmaking? Being persuasive with Burt? Her mother’s death and the phone call after her death>
9. The presence of Uncle Bennie, Burt’s best friend, working together, sharing together, his presence of the family, at the dinner, his practical jokes, friendship with Sammy?
10. The visit of Uncle Boris, his background in the circus, films, his stories, Mitzi afraid of him from the past, his sister’s death, sharing the room with Sammy, sleeping on the floor for Shiva, encouraging Sammy in his ambitions, the farewell?
11. Sammy, his filming his mother, on the bending tree, her dance in the nightdress, close-ups, in the background with Bennie, hand, the kiss? The effect on Sammy, unable to speak to his mother, the effect on her, his eventually showing her the film, her response?
12. The move to California, the family not wanting to go, liking Arizona? Packing up? Sammy and his not filming after the episode with his mother? Uncle Bennie, the gift of the camera, Sammy refusing, paying $35, Bennie putting it in his pocket?
13. The setup of the house in California, the reaction of the family, the daughters? Burt, his work, being away, wrapped up in his work? Mitzi, adapting to California?
14. Sammy, the children going to high school, the girls pushing through the tall boys, Sammy and the bullying, his being shorter, anti-Semitic taunts, Chad Thomas and Logan? Anti-Semitic presumptions, superiority, violence? Sammy seeing Logan kissing the girl, his telling Claudia, Logan and his anger, bashing, threatening Sammy? The volleyball matches and the violence? Sammy confessing to Claudia and Monica, their realising he was telling the truth about the redhead?
15. Monica, attracted to Sammy, the very Catholic background, her room, the pictures of Jesus, of pop stars, her wanting to pray, rationalising her attraction in prayer, the breath, breathing into Sammy? Their being interrupted? At school, his bonding with the girls? The buildup to the prom, dressing up, the corsage, the necklace for Monica, their dancing, her moodiness, breaking up?
16. Sammy, the camera, filming the special day, focusing on Logan? The screening of the film, the audience response, delight, Chad Thomas humiliated, the focus? Sammy leaving the room, Logan finding him, upbraiding him, Logan’s self-confession, self-doubt, punching Chad, threatening Sammy? Sammy promising never to tell the story – until many decades later in the film?
17. The divorce, the announcement, the effect on the girls, the effect on Sammy? Living with his mother, college, the visits to his father, their Frank talking about the marriage, Burt’s devotion to Mitzi? His seeing the photo with Mitzi?
18. Sammy, not wanting to go to college, the letters of application, the letter from his mother, the photo? The letter from CBS? His going to the interview, his encouragement, his age, the setup of the interview with John Ford, his office, the posters and his achievement, the secretary and the tissue with the lipstick, David Lynch impersonating John Ford, the talk about the horizons in the pictures, the horizon above and below, not in the middle?
19. And the beginning of Spielberg’s extraordinary career at the age of 19? His achievement?

THE PALE BLUE EYE

US, 2022, 128 minutes, Colour.

Christian Bale, Harry Melling, Gillian Anderson, Lucy Boynton, Toby Jones, Timothy Spall, Robert Duvall, Fred Hechinger, Charlotte Gainsbourg, Charlie Tahan, Simon McBurney, Hadley Robinson, Harry Lawty.

Directed by Scott Cooper.

What do we know of the celebrated 19^th-century American writer, Edgar Allan Poe? Many of his stories, certainly, remembering the film versions from the 1960s by Roger Corman with Vincent Price, and his poems.  In fact, Poe was a strange mixture, adopted as a child, clashing with the adoptive parents, a talent for writing, editing a magazine, a famous literary critic, a key inspiration for the development of detective stories…

Here is a story about the young Poe, a fictionalised story but grounded in his life as well as in his literary imagination. And it begins with a quote from Poe about the line between life and death, and the pale blue eye of death.

Audiences who enjoy period dramas, who enjoy crime mysteries and their solution, will find this tale quite compelling. And, there are some twists to surprise.

The setting is upper New York state, the military Academy at West Point, the winter of 1830. And a snowclad winter it is. There has been a mysterious death at West Point, a student hanged, then, at the autopsy, the realisation that his heart has been cut from his body. Needless to say, the authorities are alarmed and decide to call in a veteran investigator, Augustus Landor, who had solved a number of cases successfully in the past.

The film does focus a lot of attention on the character and personality of Augustus Landor, yet another excellent performance from Christian Bale. Landor is a widower, his daughter disappeared, a brooding man, working slowly, observing, interrogating, following clues. But he asks the authorities for the assistance of a West Point cadet. He is approached by Poe, a mysterious cadet, mysterious -looking, who suggests that the murderer is a poet. Poe is, in fact, flattered to be invited to help with the investigation and he mixes with fellow students, ingratiates himself with a rather exclusive club, meets with Landor, but is also attracted to the daughter of the local doctor who suffers from seizures. (All important for the development of the plot.)

Poe is played by the British actor, Harry Melling – and, if one looks at portraits of Poe online, Melling does resemble him, an unusual face (to advantage in the Harry Potter films, in The Ballad of Buster Scruggs and, particularly, the sinister pastor in The Devil All the Time). He certainly makes a complex and intriguing character.

Interestingly, most of the central cast is British, including Toby Jones as the doctor, Timothy Spall as the superintendent of West Point. There is an interesting cameo from Robert Duvall (aged 90) as an expert on the occult. Lucy Boynton is the young woman and Gillian Armstrong as her often overwrought mother. Charlotte Gainsbourg serves at the local inn.

The murders are solved – but not quite in the way we anticipated.

One might call The Pale Blue Eye a brooding film – intriguing and inviting us to experience the brooding.

1. The title? The quotation from Poe about life and death? Death and its blue eye?
2. Audience knowledge of Edgar Allan Poe? His writings, poetry, stories, horror and the macabre, the development of the detective story, his work as a literary critic, his own life, marriage to his 13-year-old cousin, addictions, his death?
3. This film as a fiction, speculation about the young Poe, his background, adoption and family, his independence, going to West Point? Developing his character, in working with Augustus Landor? Detection, surveillance? His romantic eye, chivalry?
4. This fiction as murder mystery, detection, connection with the occult? In West point? Westpoint and its reputation? The government?
5. The introduction to Landor, in the winter, by the stream, silent and meditative, the approach of the military? His age, the summary of his reputation and detection? The background of the death of his wife, the disappearance of his daughter? The effect on him?
6. The authorities at West Point, the cadet hanging, his kneeling position, the cadet who found him, in the dark, the mysterious person with the uniform lacking bars, the autopsy, the hearts cut out?
7. Dr Marquis, his role as a doctor, at West Point, the examination, Landor finding the contusions in the neck, the doctor and his apology, later scenes of his family life, his son, the cadet, his wife, the touches of hysteria, his daughter, beautiful, sensitive, the epileptic -like fits, concern about her health? The family together? The meals, the melodrama with the mother at the table, aftermath, calming down, the daughter playing the piano?
8. Landor, the military relying on him, the superintendent, his concern, talking with Landor, Washington issues? In Hitchcock, his authority, dislike of Landor, yet respect for his work, the later apology? His continued presence and interrogation?
9. Landor, the in, Patsy, and his relationship with her, confiding in her, her asking questions, her role at the inn?
10. Landor and his decision to want a cadet to observe for him? The initial encounter with Poe, at the inn, his observing Patsy, observing Landor, talking about a poet being the killer? The interview with Landor, his agreement to observe, their meetings, the note at the foot of the statue (and its later relevance with the writing)? Landor and the slip of paper, the quote, the writing, Poe and his speculations concerning what was on the paper? Arranging the meeting at the Landing, to come soon?
11. Poe and the other cadets, Marquis and his spurning, Poe becoming credible, invited to the group, their time together, talking, gambling, the other members of the group? Their friendship? But the death of Fry? The mystery? The next death, hanging, the heart are missing? The previous encounter of the cadet with the Landor? The next cadet disappearing?
12. Landor and his suspicions of something of the cult, Satan? Going to consult the experts, the old veteran, his library, his indication of activities, the heart?
13. Poe, his gallantry, the Marquis family, invited to meals, the attraction to Leah, going for the walk, sharing, poetic, romantic, gallant? Her fit and the consequences?
14. Landor and the further investigations, visiting and revisiting the crime scene? Speculations?
15. The revelation about the family, the conspiracy, the ancestor and his crew and influence, his portrait, the touch of the cult, taking hearts, blood ceremonies, Leah at the centre, the participation, the motivations, the presence of the parents, the connivance of the mother and her desperate behaviour, the participation of the doctor?
16. The climax, Landor, the confrontation, the fire, the cadet killed by the falling burning log, the family and the destruction? Leah and her death?
17. The solving of the mystery, the appreciation of the authorities?
18. The significant twist, Poe and is coming to visit Landor, Poe reconstructing what happened, the true story of his daughter’s disappearance, the story of the rape under the bridge, the three cadets, Landor and his decision about revenge, hanging Fry? The irony of the coincidence of the family wanting a dead body, the heart and taking it? The murder of the second participant in the rape?
19. Poe, the challenge to Landor, his detection because of the writing on the two notes, his burning the note, leaving to Landor to himself?
20. Landor, the torment, memories of his daughter, desperate, happy days, the rape and the aftermath, her going to the cliff top, throwing herself over? Landor returning to the spot – and the audience being left to speculate on what he would do?

SALVATORE, SHOEMAKER OF DREAMS

Italy, 2020, 109 minutes, Colour.

Narrated by Michael Stuhlbarg.

Directed by Luca Guadagnino.

Italian Director, Luca Guadagnino, has built up a reputation for award-winning dramatic films for two decades – I am Love, a Bigger Splash, Call Me by Your Name – and a number of short films, television series, documentaries. After this documentary, he made Bones and All.

This is a documentary made with some affection. Its subject is Salvatore Ferragamo, born in Bonita, a village east of Naples, 1898 (and dying in 1960). From a big family, he discovered very early that he had a talent for making shoes, making shoes for his sister’s First Communion, then in the village, all before he was 10. He spent time in Naples, as an apprentice, with a flare for a creative designing and hands-on making of shoes.

At the time of World War I, he sailed to the United States, third class, but a kindly crewmember smuggling him into second-class for some comfort. Going through Ellis Island, having given some money for his comfort, he wrapped note around paper, which was accepted, is having the right amount of money to enter America. He stayed with his brothers, especially a brother in Boston who was in a shoe making factory. However, he then decided to go to the West Coast,, making his shoes, settling in Santa Barbara, able to join the early filmmaking studios, making cowboy boots, especially, which helped his reputation.

With the closing of the studio in Santa Barbara, and the establishing in 1919 of Hollywood, he moved there, was noticed, made shoes for a great variety of stars (and images of the stars for whom he created footwear). He also studied at the University of Southern California, Los Angeles, with particular attention to feet. At the opening of the film, the audience has been introduced to feet, with narrated voice-over of Salvatore explaining the wonders of the human foot, structure, engineering, importance for balance…

In 1927, he returned to Italy, setting up a shop in Florence where he worked during the fascist era, and during the war. This era, with his increasing lack of material, made demands on the creativity of Salvatore, not just in shape and design of shoes, but in the variety of materials that could be used during wartime scarcity is.

There are quite a number of talking heads throughout the film, including Martin Scorsese. And there are many images of the great range of Hollywood stars for whom he provided shoes, especially after World War II. He was a celebrity, even as he worked in Florence.

The film also highlights his meeting with Christian Dior, their winning an award, Marcus-Niemann, in 1947 and comparing notes, comparing their similarity of perspective on design.

A later age, he decided that he wanted to be married, fell in love at first sight with wonder, married her, had six children. Throughout the film there is testimony from wander, but also from several of the children, the company still being managed by the family.

While this is a portrait of Salvatore Ferragamo, and there is his spoken narrative, many photos, some home movies which he took, it is not as if we really meet him as personally as we would like. We know something about him, admire him, but, despite Guadagnino is technique, he seems something of a character more than a person.

Ultimately, there is a startling variety of shoes on display, in close-up, shapes, sizes, materials, colours, heels…, even a little designed ballet of shoes at the end of the film.

A very engaging documentary, the story of poverty and achievement, craft and talent, a successful migration to the US, a successful return to Italy, success and reputation worldwide.

THE LOST KING

UK, 2022, 108 minutes, Colour.

Sally Hawkins, Steve Coogan, Harry Lloyd, Julian Firth, James Fleet, Mark Addy, Lee Ingleby.

Directed by Stephen Frears.

Richard Plantagenet. Richard III transcending his winter of discontent to his summer as the usurping villain. Shakespeare’s version, of course (it’s deeply into this writer’s consciousness - in his last year at school, studying Henry IV Part I, the world of Hal, Falstaff and Hotspur, early in the 15^th century), he was overpowered by Laurence Olivier dramatically, forever Richard. (And a shock to learn now that Richard was only 32 when he died.)

Shakespeare prevailed but then the true believers and crusaders (from novelist, Josephine Tey, to Richard III clubs, Ricardians) laid down the gauntlet against a politically-inspired calumny by the Tudors and Elizabethan playwrights.

Philippa Langley. English, wife and mother, living in Edinburgh, suffering a debilitating ME and chronic fatigue syndrome, on whose exploits and book, The Search for King Richard, this film is based.

Watching a local performance, initially unwillingly, Philippa begins to question what she has seen and heard, buys books, reads intensely, makes contact with Ricardians, is intrigued, fascinated, obsessed, on a quest to vindicate the good opinion of Richard. And then to discover his burial place. We know that in 2012, she found it (in collaboration (stormy) with the authorities of the University of Leicester. MBE in 2015 for services. 2018, having persuaded the Royal Family to declare that Richard was a legitimate king of England and not a usurper.

This film by Stephen Frears (more than 50 years an interesting film and television work) in collaboration with Steve Coogan, writer, actor, as they did with Philomena, aims to make this a highly enjoyable cinema treat. And, judging by large crowds in cinemas, older of course, during high temperature summer days, they have succeeded.

Yes, it is pro-Philippa and, yes, some of the University boffins and managers appear as self-centred, acting unprofessionally, something which commentators question and refer to the documentary, King Richard, the King in the Car Park, 2013. But this is fine British filmmaking that knows its audience.

According to the rehabilitation of Richard and his mere 32 years, the questioning of his dastardly deeds, moves him from something like a manipulating, cruel tyrant (with, as actor Eric Porter once said of Shylock, “an ingrown soul”) to a portrait of a good man, possibly a great King, with a sense of justice (establishing the principle of innocence until proven guilty), a king who might have  united England. But, Bosworth Field, Henry VII, the Tudors… The way Philippa Langley speaks of him, he is all things to all people like the Jesus of the combined four Gospels or Jean Valjean in the various versions of Les Miserables, an omnivert. But, no, he was defeated, his kingdom for a horse (no, that was Shakespeare’s line). John, Philippa Langley’s ex-husband, wonders aloud what the 16^th’s century England would have been like with him, no Reformation…

Re the portrait of Philippa, an initial caution. We remember that she was suffering debilitating enmities and chronic fatigue syndrome, tired, sometimes listless, not always acting according to her true and full self. But, once she begins her quest to vindicate Richard, she comes alive, her ex-husband and sons discovering her at her best, as do we the audience.

The evidence from the screenplay is that she is quite introverted, certainly inner energy. She does not like going out particularly. She enjoys reading. But, once she is on her quest, out she goes into the world – although, it is interesting that at the final digging, she can’t stay watching, she retreats, by herself, to a cafe. It is when she goes on her quest, that she becomes more decisive than she has been, often relying on others for final decisiveness, but making moves for research, for fundraising, for pursuing the goal of finding the king’s remains.

A word of praise for Sally Hawkins. One reviewer remarked that she never gives a bad performance – and she usually communicates on screen the power of fragile strength.

The screenplay also indicates other aspects of Philippa’s personality. Several times during the film, the academics and business types tend to dismiss her because her perceptions are based on hunches (while they want facts) and she does use the word “feel” many times in her defence of Richard. Later, a friend from the city of Leicester does advise her to drop the words and language of hunches and feelings in her presentations for the future.

Which does suggest, perhaps more than suggest, she is initially somewhat self-effacing, it is her quest that brings her to her full of self. Her innermost drive is a subjective assessment of Richard III, critique of the prejudices against him, motivation that he should be rehabilitated. This is her inner strength, keeping her going on the quest. And while people observe this in her and react to it, it is in her face-to-the-world intuitions that they have to deal with her, the fruits of her detailed research, her discovery that Richard was not thrown into the river at Leicester but that he was buried, her exploration of maps, the possibilities of where he might have been, was probably, buried.

And her quest is dramatised in the film as the excavations in the Leicester car park begin, and the initial finding of some bones which the archaeologists think belong, probably, to some Friar. But, she becomes more determined that they are the bones of Richard, spending her remaining £800 to extend the excavation, and is proven right.

So, Sally Hawkins’ Philippa Langley, dramatises an affirmation/ vindication of the strength of this particular kind of personality and its potential for development/individuation.

1. Richard III? The last of the Plantagenet’s? Defeated it Bosworth field? Henry VII and the assent of the tutors? The blackening of his name? Shakespeare’s play, a successful play, performed over the centuries, reinforcing Richard III as villain? Shakespeare maintaining the Tudor version? Voices to rehabilitate him over the centuries? In the 20^th and 21^st-century is? Audience interest in Richard III and this search for him?
2. Based on a true story, the work of Philippa Langley? The portrait of Philippa and her quest? Audiences identifying with her, her cause, critical?
3. The Edinburgh settings, the city and Castle, the streets, the theatre, bookshops, atmosphere? Homes? Pubs? The train to Leicester? The station, the city of Leicester, streets, buildings, offices, the University, the car park? The musical score?
4. The initial impressions of Philippa Langley, at work, not being promoted, her confrontation of the boss? Her experience of suffering from ME? Chronic fatigue syndrome? The effect on her, insomnia, at work? Listless? The marriage, John and his leaving, with another woman, her being at home with her sons, her relationship with her sons? John and his collaboration with their upbringing, driving them to school, conversations, outings? Taking them to see Skyfall and the conversation about license to kill the number of characters killed? Going to see the play, her not wanting to go, with her son, the impact of the play, attention to Richard, the interval, the discussion with the parent, alleging that Shakespeare was contemporary, her later going to the car and telling him of 100 years between events and play?
5. The device of having Richard appear, in his robes, crown? The device indicating Philippa is growing obsession with the King, seeing him, part of the consciousness, his expressions, waiting, watching, eventually speaking, the conversations, his being hurt about the death of the Princess and the tower, on the bridge where his remains were allegedly thrown into the river? The final, her getting closer, her being summoned to the site, and his writing his horse through the city? His satisfaction, in armour on the battlefield, Bosworth, his farewell, the visor? And Philippa encountering Peter, the actor, with his daughter?
6. Philippa and her curiosity about Richard, buying the books, reading them, finding out about the club, visiting, the eccentrics, giving her opinions, conversations with them, the variety of leads, Internet connections, interviews, further information, John Ashdown Hill and his DNA investigations, going to the lecture at Leicester, asking questions of the lecturer, her being dismissed? Her communicating by indicating hunches and feelings and academics critical of her? John, the discussions, his initial scepticism, support, the selling of the car and the anonymous donation, from the boys? Wanting to make contact in Leicester, the connection with the former mayor, arranging the meeting with Richard Buckley, his listening, Matthew and the assistant, wanting to ignore the request, the cut off from the University, Buckley changing his mind, contacting Philippa, agreeing to the excavations, his signing away the exhumation rights – and the consequences excluding Philippa concerning the burial and coat of arms? The encounters with Richard Taylor, the authorities at the University, the board meeting, the sympathetic chair, Taylor and his interventions?
7. Philippa and the quest, coming alive, more activity despite her physical condition? The contacts, the information, putting it together, with Richard Buckley, the map of the city, the map from the past, Herrick’s garden, the Franciscan friary? The University making contact with Buckley again, his working for them?
8. The raising finance, the local group, sending out the email, the many responses? The city of Leicester supporting, then withdrawing?
9. The beginning of the excavations, the drama, the trenches, the limited funds? The finding of bones? Not in the place expected? Philippa and her hunch that this was Richard? The university against this? Her demanding further excavations near the bones? Buckley going off home? Philippa going by herself? The detailed brushing of the soil from the bones, the opening up of the skeleton, the hit on the skull, the curvature? Everybody gathering? Richard Taylor taking over? The verification?
10. The public announcements, the University taking over, Richard Buckley is Guest, chief archaeologist? Philippa not invited to the stage? The device of having the schoolgirls invited to give a lecture, the suggestion given by Buckley? The big reception, the University taking credit? Philippa going to the school? (And commentators and the documentary on the story indicating that Philippa had more prominence and Richard Taylor highly critical of this film for his characterisation.)
11. The funeral, the reinstatement, ceremony, the discussions about the burial committee and the coat of arms…?
12. 2018, the vindication of Richard, that he was a legitimate king, not a usurper?

ATTICA

US, 2022, 117 minutes, Colour.

Directed by Stanley Nelson.

At the time, and in retrospect, the prisoner revolt in Attica, the prison, from the 1930s, in the north of New York state, and the military and police putting down of the revolt, was a shocking event.

There have been a number of films about Attica over the decades, a documentary in 1974 enabling audiences in America and around the world to see something of what actually happened. Later, there was a docudrama reconstruction in a telemovie starring Charles Durning. This documentary was made on the 50^th anniversary of the siege in Attica.

The film is often distressing, harrowing in its portrayal of what happened, drawing extensively on film shot at the time, television footage, which immerses the contemporary audience in the experience of the prisoners, of the political response from the Commissioner of police, the non-intervention by Gov Nelson Rockefeller and his motivations, his contact with Pres Richard Nixon.

There is a range of talking heads, from prisoners at the time, reminiscing, frank memories, their perspective on what happened and who was involved. Among the talking heads is Sen John Dunne who is part of the observers committee, Clarence Jones (who had appeared in the 1974 documentary, African-American, part of the observer committee, John Johnson, prominent African-American journalist of the period. These last three, involved at the time, have the opportunity to reflect on the events are 50 years earlier, Clarence Jones noting at the end that never will he forget Attica, ever, ever, ever, ever, ever… Writer Tom Wicker is prominent in the footage material of the time, talking about the possibilities for mediation between authorities and inmates, and his bewilderment.

There are also interviews with relatives of some of the guards and hostages, the daughter of the guard, Quinn, who is overwhelmed, his keys taken which led to the opening up of gates and cells, who eventually died from his injuries. There are also interviews with relatives of some of the hostages, still emotional 50 years later.

And there are many scenes, outside the walls of Attica, the number of police ready outside to act, the final calling in of the National Guard, the range of relatives of the hostages also waiting – with the commentary that the guards came mainly from the surrounding towns, never having experienced black ghetto life in New York City, the prisoners, mainly black, seeming like aliens from another foreign world – and expressions of racist attitudes, hatred and revenge, the final image of a policeman raising a fist for quite power.

The structure of the documentary is to take the events day by day, the five days in September.

The inmates overcame a guard, taking his keys, opening gates, and a huge number of the prisoners experiencing some kind of freedom. While there was no one in charge, some characters emerged forcefully, especially young man, L.D.Berkeley, who became a vigorous spokesman for the further requests and proposals of the men. As listed, they were very basic, sanitary, meals, conditions, of which the Commissioner found 28 to be acceptable. The Commissioner himself came in and sat down with the men – but forgot that they could watch television and hear his rather different perspective in interviews outside the walls. Bobby Seale came for some short time but this did not seem to have much effect.

Negotiators came in. Acceptable journalists. Then a committee of 30 people who could be a committee of observers, discussions and negotiations.

However, when the guard, Quinn, died of his injuries, the situation changed. Police attitudes hardened – many ready to enter the prison and attack. Eventually, with the National Guard brought in, the attack began on the fifth day, the inmates having only iron pipes, baseball bats, sharpened sticks, no match for the military and police tactics and gas to subdue the crowds, and gardens.

The filming of the attack is alarming. However, audiences may be surprised to find the number of dead rather limited, 29 inmates, but 10 hostages – with immediate rumours that their throats were cut. However, the medical officer announces to the media that this is not the case – and, it emerged that the hostages were killed by the police, who because of their being dressed in prison clothes, assumed that they were prisoners attacking them rather than running to freedom.

The aftermath is also appalling, making the prisoners run across ground with broken glass, barefoot, hitting them if they did not run. Then they lined up naked, long lines of naked prisoners, humiliation by the police.

One of the National Guard of the time explains that his officer told them that they had seen excessive violent behaviour by the authorities but that they were not to speak of it because the public would not be ready for such truth.

In an aftermath, there is information that financial deals were done with New York State in 2000 and later with the surviving inmates as well as the relatives of the hostages.

In 2022, the film was selected for preservation in the National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

EMANCIPATION

US, 2022, 132 minutes, Black-and-white/Colour.

Will Smith, Ben Foster, Charmaine Bingwa, Stephen Ogg, Mustaf Shakir, Paul Ben-Victor, David Denman.

Goodbye Antoine Fuqua.

The title immediately suggests freedom, especially for the slaves in 19^th-century America, the abolition-movement, the leadership and decisions of Abraham Lincoln, his declarations, then the legislation for emancipation.

A note that Emancipation is filmed in a combination of black and white and desaturated colour.

This story, based on actual characters and events, is set in 1863, Lincoln’s announcement, but the slaves themselves not being informed by their taskmasters, hearing rumours, taking advantage of many possibilities for escape. And there is always the danger of professional shooters gunning down the “runners”.

We are introduced gently to the central character, Peter, transported from Haiti to Louisiana, his being gentle with his wife and daughters. But, abruptly, he is commandeered at gunpoint to work on a site where a railway is being built. Audiences have become familiar to scenes of African-American slave labour, but they are always jolting to watch, the sneering cruelty of the overseers, the yolks over the slaves, the collapse of the old, dead bodies being tossed into a mass grave, shooters setting the dogs on the men – but the continued defiance of the slaves despite the oppression.

Peter is played by Will Smith. (A situation note – this is Will Smith’s first film after the notorious Oscar-slap, a test of his popularity, a test of his reputation, a test of his acting skills.) This is quite a different character and performance by Will Smith, gaunt, lined, grizzled hair, chin beard, looking more like Samuel L.Jackson than himself. He presents his character with great strength, some tenderness, concern for others, dignity even in his being pursued.

The oppression by white masters is dramatised by the shooter, Jim Castle, played in his familiar, but always effective, grim, silent villainous mode by Ben foster.

After the setting up of the scene, the characters, the camp, the central part of the film is actually Peter’s escape story, in the swamps, using his wits, shot in the leg but defying his wound, eluding the dogs (and we remember that Jim Castle had taunted Peter, tied up, holding his dogs snapping in Peter’s face). The escape is relentless, Castle and his men ruthlessly pursuing, Peter ultimately finding a mansion where the white owners have disappeared leaving a wounded black slave. And this is a sequence for a confrontation with some of the pursuers.

However, there is more to the film and its latter part, Peter meeting the military reserves, the black platoons, his being sworn into the military after the recovery from his wound an ordeal, the march to the site of the railway, a vivid portrait of hand-to-hand combat, seen at close quarters, filmed from the air, a reminder of the do-or-die combat of the Civil War.

One of the features of the film, based on fact, is war photographers wanting to photograph Peter, discovering the mesh of whipping-scars on his back, a photo that went around the world as a critique of slavery and violence. The actual photo is reproduced during the final credits.

Perhaps the best slavery film of recent years is the Oscar-winning 12 Years a Slave by Steve McQueen. But, Emancipation, directed by Antoine Fuqua (best known for action and detection thriller is, often with Denzel Washington) is a worthy associated treatment of the themes.

1. The title? Expectations? American slaves, the South? 1863?
2. The location photography, the use of saturated colour, black-and-white, the effect? The landscapes, the railway-building camp, the quarters of the slaves, the mansions, the cotton fields, the pursuit through the swamps, the military headquarters, the hospitals, the march, the battlefield, the fighting sequences? The musical score?
3. The film based on a true story, Whipped Peter, his story, escape, fighting, the classic photo, his lacerated back and scars, the taking of the photo, its circulation around the world, condemnation of slavery?
4. 1863, Lincoln and his decisions, whispers in the south, the slaves overhearing? The possibility of escape? The pursuit of runners and their being shot, the shooters in their pursuit on a horse, the dogs, the men in the squad and their cruelty?
5. The situation, the quarters of the slaves, the families, the women working in the fields, the guards, their brutality, the guns, eyeing the young women, the threats of rape and attack? The fathers, working, forcibly removed to work on other projects?
6. The story of Peter, as portrayed by will Smith, Will Smith’s dedication to this performance? Age, lines, gaunt, hair and beard, washing his wife’s feet, the tenderness, coming from Haiti? His being forcibly removed, strength, resistance, working on the building of the rail line, the hard work, lifting the logs, the older men and their collapse, the trench with the dead bodies? The attitude of the overseers? Contempt?
7. The arrival of Jim Castle, pursuing runners, his horse, gun, sitting in his tent, observing? The scene of the camp, and his explaining the harsh background, his racial attitudes?
8. Peter, with the lime at the trench of dead bodies, throwing it in the face of the guards, the group fleeing, Peter with the other three, the dogs’ pursuit, at the river, the hesitant man, mauled by the dogs, interrogated by Jim Fussell, the promise, then shot?
9. The drama of Peter’s escape through the swamps, eluding pursuit, hiding, the mosquitoes, covering himself with mud, his being shot, tending his wound, sharpening the stake, finding the empty heart, some food and water, the beehive, up the tree, the smoke and the others seeing the signal? His encountering the other fugitive, the fugitive up the tree, his being shot? Peter hiding within the tree? The canoe, the snake, the oars, progress? His coming to the mansion, on fire, the owner is gone, the young black slave, her death?
10. The final confrontation with Jim Fussell, the relentless pursuit, at the mansion, Peter killing the two pursuers? The fight with Jim? His death?
11. The military, the authorities, Peter and the treatment in the hospital, the other patients, the amputations, the limbs been disposed of? The presence of the African-American nuns? Peter’s recovery, the photographers, his agreeing to be photographed, posing for the photos, his back and scars, the photo becoming significant around the world?
12. The offer for him to serve in the military, his agreement, giving information to the authorities about the railway building? On the march, the regiment? Arrival at the scene? The battle, graphic, and to hand, at ground level, the aerial shots, the overall view? The dead, the wounded, the effect on Peter? Rallying the troops, attacking the cannons? Overcoming?
13. At the slave camp, his search for his wife and family, at first not seen, eventually seeing them, the reconciliation?
14. Lincoln, the freedom of the slaves, the final legislation, the numbers of those emancipated? Consequent US history, in the south, in the north, continued racial prejudice?