Welcome to Melbourne, Andre and Humberto

On the way back to Rome and the General House, General Councillors, Andre and Humberto paid an almost=three days’ visit to Melbourne. Here are some photos as souvenirs taken by Hoa Tran and Peter Malone.

Hospitality from Brian Gallagher and part of celebrating Alo’s 30^th anniversary of ordination. (Big Mass and an Indonesian and Australian meal at St Thomas, Sunday evening.)

Saturday excursion, Nang driving, along the Great Ocean Road and seeing the Twelve Apostles famous rock formations in the sea.

Then back to Blackburn through Melbourne CBD and a visit to the War Memorial.

Lunch at Kew (while Philip Malone, community leader was in Launceston for our leaving Kings Meadow). (Photo, Nang)

Then a trip into MSC formation history.  First, the Yarra Theological Union, which our students have been attending and our lecturers teaching since 1972.

Then a trip to Croydon Monastery, our scholasticate from1939-1985, now the parish centre for Croydon – which means we are able to visit easily.

And back to base to Cuskelly House and present formation and studies.

PINOCCHIO/ GUILLERMO DEL TORO'S PINOCCHIO

US, 2022, 117 minutes, Colour.

Voices of: Gregory Mann, Ewan McGregor, David Bradley, Ron Perlman, Finn Wolfhard, Cate Blanchett, Francesca Fanti, Burn Gorman, Tim Blake Nelson, Tilda Swinton, John Turturro, Christophe Waltz.

Directed by Guillermo del Toro, Mike Gustafson.

Another Pinocchio? Well, not exactly. This version has the director’s name in the title. Del Toro is Mexican but has been very successful in films in the United States, Nightmare Alley, Shape of Water, to Hellboy films, as well as the Spanish classic, Pan’s Labyrinth. It is clear that he likes working in imaginative stories and treatments.

While the familiar story of Pinocchio is present throughout this film (without the story of the lost boys and their turning into donkeys), this version is very idiosyncratic and distinctive. First of all, it is stop-motion animation, striking characters, situations, action, but often with a very dark and grim tone. And the director has assembled a very strong voice cast, young Gregory Mann as Pinocchio, veteran actor, David Bradley, as Gepetto. Ewan McGregor does the commentary as Jiminy cricket. (And, the baboon character, Assistant to Count Volpe (a sinister Christophe Waltz) with his travelling show, has only strange sound utterances, from Cate Blanchett!).

Audiences will be taken aback immediately when they learn that the action begins in 1916, during World War I, Gepetto working with his beloveds son, Carlo, woodwork, carving, and a giant crucifix for the local church (and quite a number of Catholic references). planes flying over, bombs dropped, Carlo is killed. Gepetto goes into decline – but he does carve his puppet, Pinocchio. There is the dream where the Blue Fairy gives the gift of life to Pinocchio (which means that if he experiences death, he comes to life again). And Jiminy Cricket, more serious, perhaps, than usual, is there as Pinocchio’s conscience and guide as well is the narrator of the film.

The action now takes place during the fascist years of Mussolini (who also comes to the circus to see the puppet but receives some comeuppance!). The sinister Count Volpe controls Pinocchio and his performances with a contract. In the meantime, the fascist leader of the town demands that Pinocchio go to school. We are familiar with what happens to Pinocchio but this continues over a long period, the count becoming more exploitative, the baboon and the other puppets becoming more friendly, and Gepetto searching for his son and being swallowed by the huge sea-beast.

So, it is a strange experience, watching this story of Pinocchio and Gepetto during World War I, the fascist era in Italy, moving towards World War II (the same time as Disney’s original film, 1940, was screening round the world).

The theme of father and son is strong. The important message of telling lies – and Pinocchio’s branch-like extending nose is quite striking – is significant. There are a lot of funny slapstick scenes, especially involving Jiminy cricket. And there are some songs, especially on the theme of father and son.

This version of Pinocchio is not really geared towards a children’s audience, nor, necessarily, a family audience. Attentive younger audiences will find it intriguing. As will an increasingly curious adult audience.

1. The popularity of the story of Pinocchio? Italian origins? The Disney film of 1940? Images, characters, songs? Further versions? Roberto Benigni, Tom Hanks?
2. The range of the voice cast, variety of accents, producing sounds?
3. The work of the director, his career, Mexican background, his interest in fantasy?
4. The visual style, stop-motion animation, puppets and characters, backgrounds, home, the circus, the sea, the sea beast? The songs and their focus, on Pinocchio, on family?
5. The Italian settings, 1916, the war, the planes unloading their bombs, Carlo’s death? The action continuing throughout Mussolini’s fascist era, the fascists and their control, Mussolini coming to the circus, his being mocked? The impact of this setting in interpreting Pinocchio?
6. Geppetto, carving, the crucifix and the emphasis on Catholic imagery throughout the film? Carlo helping? The war, the bombs, Carlo going back into the church, his death? The effect on Geppetto?
7. The consequences for Geppetto, in mourning, his decision to carve, forming Pinocchio? The substitute son? Grief, drinking? The blue fairy arriving, the wish for Pinocchio, coming alive?
8. The role of Jiminy Cricket, more serious, yet the pratfalls comic sequences, his responsibility, Pinocchio’s conscience, the issue of school, the issue of the circus, his being the victim, forever squashed? Get perseverance, supportive of Geppetto?
9. Count Volpi, personality, exploitative, his circus, Spazzatura, servant, victim, advice to the count?
10. Pinocchio, going to school, the fascist authority in the town demanding, the temptation by the count, wanting to be important? The years of being in the circus, with the other puppets, without strings, his songs and the plaintiff tone, the contract with the Count, signing, unbreakable?
11. The issue of lies and honesty, Jiminy Cricket’s conscience, Pinocchio and his lies – and the device of having his ever lengthening nose looking like a branch?
12. Geppetto, his grief, going in search of Pinocchio? The experience on the water, swallowed by the sea beast? The beast, appearance, size, and Jiminy Cricket in the beast?
13. The audience, the success, the effect on Pinocchio, the significance of his not being able to die, the various experiences of death, the Queen, the sand going through the flask, his various resuscitations?
14. Spazzatura, reacting against the Count, helping Pinocchio? Pinocchio, the realizations, the escape? On the sea, swallowed by the sea beast?
15. Geppetto, Jiminy Cricket, surviving, the arrival of Pinocchio, banding together, the devices for their escape?
16. The future, Pinocchio and his experiences, his love for Geppetto, becoming a true boy, true son?

STRANGE WORLD

US, 2022, 102 minutes, Colour.

Voices of, Jake Gyllenhaal, Denis Quaid, Jaboukie Young-White, Gabrielle Union, Lucy Liu.

Directed by Don Hall, Qui Nguyen.

A Journey to the Centre of the Earth in the Jules Verne vein? Not exactly. Arh voyage 20,000 Leagues under the Sea in the Jules Verne vein? Not exactly. But, if Disney does an animated feature with some of these core elements, it is here in this Strange World.

This is a very colourful Disney film, with a great deal of action. We are in a strange world on a strange planet where the community seems to be prospering, especially with a special vegetable that is electrically charged and supports the life of the town, but, it is beginning to wilt, and there is a need to discover why.

And, this leads to an expedition, futuristic boat and vehicles, to go to the heart of the land to restore the ailing vegetable. (Jules Verne may well approve of this variation on his themes!).

However, we are initially introduced to a father and son, Jaeger Clade (Dennis Quaid), a big, bullish, moustachioed, explorer, Hunter as his name suggests will, demanding that his more fragile young son, Searcher (Jake Gylenhaal) accompany him across the forbidding mountain peaks. Searcher refuses, assert himself, goes home. But, it is Searcher who discovers the electric vegetables, building up the farms, harnessing the energy, the community prospering. Searcher now has a teenage son, Ethan (Jaboukie Young-White) and a strong and resourceful (crop dusting pilot) wife (Gabrielle Union).

The screenplay is definitely geared towards a younger audience, the children who enjoy colourful action, at times non-stop, in an exotic location in the seas below their community, full of strange and shape-changing creatures, menacing, playful, might become intrigued. This is a quest film to heal the energy source of the vegetable.

But, there are quite some twists in the plot – the sudden appearance of Jaeger after all these years and the awkwardness between father and son. Then there is the repeat of the father-son scenario when Ethan wants to assert himself against Searcher. Strong mother (busy driving and steering the craft) also intervenes. Then there is the expedition leader (Lucy Liu).

At times, the action stops, with some heart-to heart conversations between the various fathers and sons, which makes this a very strong theme for the younger audiences.

One of the difficulties with a number of animation films these years is that, at times, there is a lot of dialogue, using vocabulary that younger children may not be familiar with, and spoken more quickly than need to be. With Strange World, the talk and action move at a more acceptable pace for a very young audience, their being able to grasp the characters, what is going on and why. To that extent, it is, perhaps, more accessible to the younger audiences (and, again perhaps, something of a trial or endurance for older audiences to sit through).

[Some American audiences have expressed criticism that the screenwriters have made the young Ethan a gay teenager, a touch flirty with his friend. It would seem that younger audiences would not pick up on that, a brief indication earlier, but clearer at the end, the issue of teen role models these days.]

1. The title? The Disney action adventure? The Disney tradition? The variation on a Jules Verne theme?
2. The animation style, the characters, the backgrounds, colourful, inventive? The range of the voice cast?
3. The introduction to Jaeger and Searcher, father and son, the father and his name of “Hunter”? The expeditions, to get over the mountains, the life quest? Searcher, with his father, but unwilling, his father attacking him, despising him, Searcher returning, but the finding of the plant, taking it back to the community, his achievement?
4. 25 years later, the prosperity of the community, Searcher and his wife, strong wife, mother, Pilate and crop dusting, Ethan, the teenager, with the other boys, his work with his father, the farm? Ethan and the gay theme?
5. The situation with the plant, its electric qualities, powerhouse for the whole community? The prosperity, the farms, the markets, community life?
6. The failure of the plant, the beginning of the mission? Searcher and his sense of responsibility? The other members of the team, the vehicles, setting out on the expedition? Ethan hiding away?
7. The expedition, into the interior of the planet, like an underground sea, the visuals of the vegetation, the creatures, colour, movement, comic touches?
8. The succession of adventures, dangers, the vehicle, the crew, Searches wife and her skills?
9. The aggressive creatures, the dangers? The discovery of the truth about the plant, aggressive?
10. The heroics, Ethan and his wanting to be involved, captured, dangers? The defiance of his father, the repetition of Searcher rebelling against his father? Searcher eventually realising this?
11. Jaeger, his appearance after 25 years, Bluff style, his adventures, reuniting with Searcher? Their working together? Resolving difficulties?
12. The buildup to the climax, the aggressive plant, the power, the vehicles, the crew, the wife and her skills?
13. The resolution, new beginnings, family reconciliations?

MARGRETE, QUEEN OF THE NORTH

Denmark, 2022, 120 minutes, Colour.

Trine Dyrholm, Soren Malling, Morten Hee Anderson, Magnus Krepper, Thomas W Gabrielsson, Agnes Westeerlund Rase, Paul Blackthorne.

Directed by Charlotte Sieling.

1400. Europe. Conflicts, war – and possibilities for peace.

This is a period after the ravages of the 14^th century Black Death, uncertainties in Europe (as seen in the recent Czech film, Mediaeval), difficulties with Rome, popes and anti-popes. In France, the hundred years war and Joan of Arc soon to be put to death. However, as the century progressed, greater order throughout Europe and the opening up of the Renaissance.

Audiences outside Scandinavia will not be familiar with Queen Margrete, her achievements for peace and the unity of the Scandinavian countries – and threats to undermine the Union, especially on the part of Germany and the Teutonic Knights.

This is a sombre dramatisation as well as reflection on the use of power, the desire for power, exploitation by power.

Distinguished Danish actress, Trine Dyrhom, is the perfect embodiment of the Queen who has worked for peace, been able to bring different factions together. This is illustrated in the opening long sequence where she makes a speech about peace and demands, in loyalty, a strong peacekeeping force from all the nations. And they agree, providing infantry, archers. And, significantly at this time of European history, the power of the church and its influence is acknowledged.

So, by 1402 when this film is set, all seems well. There is a sad past, the death of the Queen’s son, Oluf, and Margrete bringing the grandson of her sister from Germany, renaming him Erik, and setting him on the throne, young as he is.

This is a very interior drama, most of the action taking place within the castle, some vistas of the castle itself, on a peak, and the sea, to give us a sense of location. And, the cinematography emphasises the darkness, the lighting design to indicate that these were the times of candles, rooms and people seen clearly, darkened, shaded.

And at the core of the drama is political intrigue, the influence of the Germans, betrayals within the court, the role of the very influential church leader and his influence on Margrete and her reliance on him, the planning of a marriage between Erik and an English Princess.

And at the core of the political intrigue is the reappearance of Margrete’s son, allegedly dead for 15 years, the question as to whether he is the real son who ought to be on the throne instead of Erik, the challenge to the inexperienced Erik who can easily be led, evidence attesting to the authenticity of the reappearing son, evidence against him.

Which means that this is a period drama that requires constant attention to follow the steps of the intrigue, which requires some empathy for Margrete and her disavowing this son, then supporting him. And, through all of this, the Queen, like rulers of the time, uses advisers, asks people to spy on others, tries to hold the union together.

But, at the end, while the issue is solved for 1402, information at the end of the film indicates the elements of mystery which still remain, and the burning of all the documentation of this episode.

1. Mediaeval history? Audience knowledge? Scandinavian audiences? Worldwide audiences – and supplying of background information?
2. The experience of the 14^th century, the black plague, this version of the papacy, Avignon? The Catholic background? Moving into the 15^th century – power, kingdoms, alliances, and the emergence of the Renaissance?
3. The settings, recreation of the period, the emphasis on costumes, the castle and exteriors, the beach? The film and its interiors, the rooms of the Castle, meeting rooms, banquets, dungeon rooms? The feel of the period? The musical score?
4. The background of the union and Margrete’s achievement? Illustrated in the long opening sequence, the Queen holding court, Erik as King present, young, listening? The leaders of the neighbouring kingdoms, the request for troops and support, their discussions, their agreements, pledges? And Germany as the common enemy? And the role of the church advisors? And the Church supplying means and arms and troops?
5. The character of the Queen, age, experience, strength of character, the union, the grief of the death of her son 15 years earlier, the decision to bring Erik from Germany, installed him as king? Expectations?
6. The range of courtiers from the other countries, loyalties, some undermining the Union? The conspiracy to bring back the dead son and the consequences for the union?
7. Erik, his age, wilful, arrogant? His relationship with the Queen? Sexual activities, the young German maid, captured, her role in the household, the Queen asking her to spy on Erik, the sexual liaisons, his devotion, the experience, the later denunciation and her punishment? Erik, his friends, training in the arts, fights, and the traitor giving him advice?
8. The Queen’s suspicions of the German present at the meetings, getting the knight to follow him, the connections with the pirate, his character, activities, going on the journey, pursuing the German, confronting him, the attack, getting the truth? The going to the court, returning with the news about the traitor?
9. The arrival of the Queen’s son, 15 years missing, the Queen and her disbelief, interrogating the young man, his being a captive, his responding as her son? The varieties of belief and disbelief in the courtiers? The nurse brought in for testimony and her saying she had trained him to sing, an imposter? The Queen, meeting with him, reflecting, her need for her son, accepting that he was the real son?
10. Conspiracirss in the court, turning against the Queen, Erik turning against the Queen, his reaction to being spied on, turning against the Queen?
11. The plans for her escape, the various nobles, in the Castle, outside the castle?
12. The final decisions about her son or imposter, the condemnation, his being burnt by fire?
13. Erik, the effect of the conspiracy, his power? The role of the Queen, the future?
14. The union surviving for many decades even after this conspiracy?
15. And the information that the documents were burnt with the imposter, and the details of the truth not known?

BONES AND ALL

US, 2022, 131 minutes, Colour.

Taylor Russell, Timothee Chalamet, Mark Rylance, Kendall Coffey, Andre Holland, Sean Bridgers, David Gordon Green, Michael Stuhlbarg, Jessica Harper, Chloe Sevigny.

Directed by Luca Guadagnino.

The title does give an indication to the themes of this drama, road film across the United States, themes of a young couple finding each other, dependent on each other. Emphasis on the Bones in the title.

Many audiences will be drawn to this film by the name of the director. He has had it had a strong reputation for dramas in his native Italy and then made an impact, internationally, with his emotional drama, Call Me by Your Name. And his star, the young actor Timothee Chalamet, emerged into greater prominence and significant lead roles, especially Dune.

But, audiences attracted by the name of the director but knowing little about the film and its themes, probably should be aware of the focus on cannibalism. The theme and some of the cannibal sequences, blood, bones and all, can be, an appropriate play on words, distasteful.

The focus is on a teenager, Maren (played by the strong young actress, Taylor Russell, Words on Bathroom Walls), initially feeling her hunger pangs which surface infrequently as she does her ordinary living. Her father, concerned, leaves and bequeathes to her her mother’s birth certificate. In Maren’s quest to find her mother, her journey takes her from Maryland to Minnesota.

To develop the eeriness of the theme, the writers introduce a bizarre character, Sully (a sinister and striking performance from Mark Rylance), revealing that the Feeders, have a powerful sense of smell and can discover and find fellow-Feeders. Sully helps Maren that she is wary of him – and, later he will appear in the film, following her, seeking her out, and sinister.

However, much of the film takes on the conventions of teenagers finding each other, friends and companions, falling in love. Maren is able to scent Lee (Timothee Chalamet) and we accompany them on their adventures, encounter with two strange policemen, one a Feeder, the other dependent on him, a man who runs a stall at a fair, which leads them deeper into the trap of cannibalism that is their lives, outsiders, outside the law, yet feeling the need to settle.

Maren is able to find some explanations, finding her grandmother (Jessica Harper), getting information about her mother (Chloe Sevigny), pursued by Sully,, finally finding some peace and the possibility of settling with Lee. But, given their condition, given society, given their needs and consequent action, can they survive? No definite answers here, for us to work out what we think and feel.

1. Response to the title? Themes of cannibalism? Inbuilt craving? Addiction?
2. The American setting, the period, the 1980s, costumes and decor, vehicles? Authentic feel? The musical score?
3. Audience response to the theme? Reality? Psychological realities? An affliction? Craving? Possibility of cure?
4. The director and his work, the young cast, Mark Rylance? The veteran women actors?
5. The introduction to Maren, school, the other girls, bonds, the sudden craving and eating? At home, her mother absent? Her father and his concern, protecting her, leaving? The birth certificate and the beginning of her quest?
6. The character of Maren, her age, past experiences, understanding herself or not, the craving? Her decision to go on the quest? For explanations?
7. The film as a road movie, from Maryland across to Minnesota, the various stops, states, terrains? Travel by bus, car?
8. The encounter with Sully, his approaching her, his age, manner, eccentric, the touch of the sinister, offering to help, his apartment, the shared reflections on the cravings, the victim, the body, the blood, eating? Maren and her reactions, suspicions of Sully, getting away?
9. The further travels, the encounter with the policeman, their friendship, discussions, the bond between them, the cravings? Her getting away from them? Later seeing them as police?
10. The encounter with Lee, the craving, the ability to smell out other cannibals? His age, personality, his family and leaving them, the bond with his sister? On the road? Seeking out victims? The encounters with Maren, conversation, company, sharing?
11. The episode at the fair, the shooting gallery, the man, gay attraction, the confrontation with Lee, his death? The revelation that he was a married man? Police investigations?
12. Lee and Maren, the bond between them, on the road? Travel, cars, encounters?
13. Maren, going to the family home, the encounter with her grandmother, the birth certificate, the information, the adoption, the situation with the cravings, her mother still alive, in the institution?
14. The visit to the institution, the authorities, her mother, her manner, behaviour, fears, reaction to Maren? Maren’s response?
15. The further encounter with Sully, his following Maren, stalking her? His behaviour, his sinister character emerging? The confrontation with Maren and Lee?
16. Maren and Lee settling down, college, studies, the apartment? Yet the cravings? And the victims?
17. The story seen as realism, as allegory for young adults and cravings?

POKER FACE

Australia, 2022, 94 minutes, Colour.

Russell Crowe, Liam Hemsworth, RZA Aden Young, Steve Bastoni, Daniel MacPherson, Brooks Satchwell, Paul Tassone, Matt Nable, Benedict Hardie, Molly Grace, Elsa Pataki, Jack Thompson, Jacqueline McKenzie.

Directed by Russell Crowe.

While there are some poker games in this film, the emphasis from the title should be more on the face, the poker face, rather than the games. Many of the adverse comments indicated that these audiences wanted to see card games and skills and missed the point of the film.

The film had some initial difficulties in production, losing its directir, Russell Crowe deciding to step in, and working on the original screenplay as well as taking on the central role.

The story is unusual, ending up as something of a morality tale.

In the prologue, we see a group of young boys, able to play poker, friends, at a waterfall with swimming hole, taking bets, winning, and protecting themselves from the older boys. Then the action moves to 40 years or so into the future, Jake, Russell Crowe, rather portly, a successful businessman with exploiting his poker skills for surveillance techniques, with a daughter, with a wife who is having an affair, but visiting the doctor and getting a diagnosis that he was to die.

He visits a guru his name is Shaman, and is played by Jack Thompson, listening to Jake, responding with words of wisdom, but also the possibility of drugs, even for pain and ending one’s life.

He invites his friends from the past to a poker game at his mansion. However, his aim is to challenge them, them to acknowledge the wrongs in their life, find an opportunity to rectify the wrongs – and he wants to achieve this before he dies.

There is a dramatic complication in so far as Jake has been an art collector (and a great number of authentic Australian paintings being lent to the production and many filmed in close-up). The older brother, memories of the aggressive past, has become a criminal and wants to steal some paintings and brings along an art expert. This provides for a great deal of melodrama – Jake able to conceal his friends in a kind of panic room, then able to make threats to the intruders. And, it is complicated by the arrival of his anxious daughter along with his ex-wife.

There is some complicated action, not helped by a rather over-the-top performance by Paul Tassone as the older brother, balanced by Benedict Hardie as the sometimes gloating art expert.

Jake has told his friends that he has poisoned them – but not fatally, the syrubge is actually used for the aggressive brother.

Aden Young plays a novelist who is having an affair with Jake’s wife. Steve Bastoni plays a politician who has become entangled with corruption and blackmail. Liam Hemsworth has become alcoholic and drug -dependent (and everybody comments that he looks far too young – and is – for this role). So, before he dies, Jake arranges that each of them puts his life in order.

Not quite what the audience was expecting, some audiences certainly not caught up in it, others intrigued.

1. The title, the emphasis on the face rather than on the game of poker? Audience responses expecting poker games and not understanding poker face?
2. Russell Crowe film, writer, director, actor?
3. The settings, the New South Wales countryside, the City of Sydney and vistas, the luxury apartment, the country mansion, interiors? The musical score?
4. The prologue, Jake and his friends, swimming, jumping into the water, playing poker, poker face, winnings, the boy asking for prescription money, the older boys coming on bullying, taking the money, jumping into the water and escaping?
5. The transition to the present, Jake, 57, his achievements, the narration about poker games, methods and tactics, the building up of the company, sales, military interest? Millionaires? Jake and his marriage, tensions with his wife, the vasectomy, his love for his daughter?
6. The visit to the guru, the reflections on mortality, on his life, the questions by the guru, taking time, peacefulness, thinking, mindfulness? The gift of the syringe and the doses? Jake taking them, keeping them safe?
7. The discussions with the lawyer, Jake and his health, mortality, the information about pancreatic cancer, short time to live?
8. His concern about his daughter, her reaction to his dying?
9. Gathering the friends for the poker game, his explanations, the odds, taking the cards, or not? The challenge?
10. The friends, memories of the past, their reminiscing, Paul and his being in politics, confident, the revelation about his affair, being blackmailed, by his older brother? Alex, writer, the affair with Jake’s wife? Mike, addiction, the gun, to take his own life?
11. The game, the consequences, Jake and his concern about his friends, despite their behaviour? The revelation about the poison, their reactions, sharing the death experience? Jake explaining that the dose was light?
12. The ex-wife and the daughter, driving to the mansion?
13. Drew, partner, his arrival, participating in the confrontation with the home invaders?
14. Victor, his colleagues, the art expert, the man with the code, death at the gate? Home invasion? The intention of stealing the art? The range of paintings, their being identified, Australian paintings?
15. Jake, his surveillance system, the friends or disappearing behind the door? Victor, abrupt, greedy, the art expert, the thuggish behaviour of the partner? The women arriving, the confrontation, tying them up?
16. Jake, his decision to come out, the gun, only one bullet, confronting Victor, the story of the poison, Victor’s apprehension, nerves, memories of the past? The gun? Jake and his injection, Victor injecting himself, lethal, going into the garden, death?
17. The friends, in the upper room, the expert and the thug coming to at the painting, the fight and overcoming them?
18. The morality play, Jake and his wishing well to everyone, forgiving, his death? The reading of the will? Paul to get out of politics, Alex to marry Jake’s ex-wife, Mike to go into rehabilitation? His daughter and her inheritance? Drew and his being the manager?

HEART OF CHAMPIONS/ (PRESSURE POINT – Netflix title)

US, 2021, 118 minutes, Colour.

Michael Shannon, Alexandre Ludwig, Charles Melton, Alex MacNicol, David James Elliott, Ash Santos, Lili Krug, Caroline Cole.

Directed by Michael Mailer.

A film which could appeal to audiences who like sports films. In this film, rowing. (A comparison might be made with the British rowing film True Blue from the mid-1990s.).

The setting is 1999, a college in the southern states. And, there are many rowing sequences, both races and training. The initial emphasis is on the team, but, especially, one young man, Alex (Alexander Ludwig), urged on by his ambitious father, trying to qualify for the Olympics. However, another young man, John (Alex McNicol) has qualities of leadership. Amongst the other members of the team is a newcomer, on scholarship, Chris (Charles Milton), rebellious.

But, the focus of the film is very much on the new coach, Murphy. Another interesting performance from Michael Shannon, incorporating the toughness but with much more humanity. He is a Vietnam veteran, was a member of the college team with Alex’s father and others who went to Vietnam and died. This is a significant background to the tensions for the coach and is working with the crew.

Incorporated into the sports training in action are a number of love stories, one with racial complications, another with academic ambitions.

The film was directed by Michael Mailer, son of novelist Norman Mailer.

1. The title? The emphasis on champions? Competitiveness and sport and pressure point?
2. 1999, Ivy League college, the campus, rooms, socials, the rowing headquarters, scenes on the river? The musical score?
3. Audience interest in the sport of rowing, the oarsman, the coxswain, the leader, teamwork, working in unison, gliding over the water, competitiveness? Rowing in American colleges?
4. The introduction to the team, the individuals, the race, difficulties within the team, losing? Their status in the college? The discussions with the College principal, with Singleton and his influence, the employment of coach Murphy?
5. Coach Murphy, personality, the past of the college, with Singleton, with Davenport, the Vietnam war, Murphy and his experience, trying to save lives, the aftermath of the war?
6. Coach Murphy and his methods, audience interest in the methods and their effect, the men writing out why they wanted to be there, the mundane answers, eventually understanding teamwork, getting them in the water, blindfold, their feet together, the experiences of learning teamwork? Resistance?
7. The members of the team, the leadership exercised by John, the haughtiness of Alex, expectations of his father, pressure from his father, intervening, his hopes for Olympic training, his choices and mistakes, Murphy taking him down, appointing John as leader? The list in the rowing headquarters, the jerseys, the spirit?
8. Chris Davenport, his background, surly, the scholarship, individualist, his attitude towards Murphy, contradict him, the friendship with John, with the rest of the team? His resentment towards Murphy?
9. The romantic background, Sara, the past with Alex, the relationship with John, together with him, eventually his proposing? Nisha, her reaction to Chris, the flowers and card, then meeting, Shakespeare, together, the sexual relationship, her future, the clashes with Chris, the break up? Lili, the dance, with Alex? Returning to the rooms, Alex and his finding Sarah, sick, drunk, on the bed, his lying there with her, deceiving John? The consequences, John and his drinking, rage, throwing the jerseys into the water, the confrontation with Alex, the fight, the police, going into the water, Alex searching, Chris diving in, John’s death, the funeral, the aftermath with Alex and his father?
10. Alex, unlikable, presumption, pressure from his father, with the other members? The beginning of change, concessions to John, yet his behaviour leading to John’s death?
11. The success of the team, together, ready to row, their winning? The final race, the dance, John’s death, the funeral, the aftermath, their being urged to row in honour of John? Murphy’s dismissal? His watching the race? Their efforts, Chris and his leadership, shutting their eyes, winning?
12. Audience response to the sport sequences? To the background of romance sequences?

Update on who’s who in MSC Australia Formation.

Recently, the MSC Formation Committee met. This comprises Frank Dineen (Chair), Dominic Gleeson (Sec), Paul Cashen, Mark Hanns, Khoi Nguyen, Otto Petrus, Tru Nguyen, and Krish Mathavan.

The temporarily professed are:

Kenji Konda – making final vows December 16th.

Daniel Magadia – Studying at YTU

Trieu Nguyen – Studying at YTU

Hoa Tran – Studying at YTU

Vincent Phan – Studying at YTU

Aspirants living with Alo Lamere, PP of Blackburn

Long Tran – English Progam  YTU

Nang Vu – English Program YTU

• And, not forgetting those in Formation in Vietnam. 

BLUEBACK

Australia, 2022, 102 minutes, Colour.

Mia Wasikowska, Radha Mitchell, Ilse Fogg, Liz Alexander, Eric Bana, Eddie Baroo, Clarence Ryan, Ariel Donaghue, Albert Mwanga, Perdrea Jackson.

Directed by Robert Connolly.

A fine Australian drama, a film for the whole family, current in its concern about the environment, especially Australia’s waters, from a novel by Tim Winton.

Tim Winton is the novelist of Western Australia, many of his stories taking place on the coast, the towns, the beaches, the waters and fishing, the range of sea creatures from small fish to giant whales (who do make some spectacular appearances at the end of the film).

There is a great deal of underwater photography throughout the film, but especially in the opening credits, inviting the audience into the depths, the extraordinary world of motion and colour, fish, small and large, the coral, the vegetation. For audiences who really enjoy this kind of underwater photography, Blueback is something of a treat.

This is the story of a mother and daughter, Dora and Abby.

We are first introduced to the older Abby (Mia Wasikowska), a marine biologist working on the Barrier Reef, checking on bleached coral. She receives a phone call to say that her mother has had a stroke and she immediately flies home.

While Abby’s response to her mother’s stroke is the central part of the film in the present, the main part of the action is in flashbacks, first of all to Dora with her daughter, aged eight, urging her to her first dive, throwing a ring overboard with Abby going down to retrieve it. There are many other flashbacks to this period in Abby’s life. However, the main flashbacks are to Abby when she is 15, skilled in diving,, involved in protests against beach developments and tourism in their town. And she has to make decisions about her further education – and the moving away from home and her mother.

We respond to the relationship between mother and daughter, with Ariel Donaghue as Abby aged eight and Ilsa Fogg as Abby aged 15.

But, there is an extraordinary vitality in the performance by Radha Mitchell as Dora, a widow, strong-minded, to say the least, devoted to her daughter, encouraging her in her water activities and investigations, her sketches of the creatures that she discovers. But Dora is also involved in confronting the developers, not against sabotage, and making her case to the town Council, enhanced by Abby’s drawings. In many ways, Dora is the centre and life of the film.

And, there is a welcome performance by Eric Bana as Macka, captain of the ship, a bit shady at times in his dealings, but a warm friend. There are also the teachers and school children of the town, and Abby’s strong friendship with the young aboriginal boy, Briggs.

Liz Alexander plays Dora silenced by the stroke, Abby devoted to her, friends from the town, and Dora being encouraged to some further movement, even to speak – and a moving sequence at the end, imaginatively, Dora affirming Abby and her, career, contribution to marine science.

(With its great appeal to the female audience, one can imagine that girls at school may well be considering science and marine biology as a career choice.)

Robert Connolly has contributed considerably to Australian cinema with such films as Three Dollars, Balibo, Paper Planes, The Turning, The Dry and its sequel, Force of Nature.

1. A film about the sea and oceans, life in the depths, fish, coral…? And marine biology, investigations, preserving ocean life?
2. The West Australian settings, the coast, the town, the beaches, at sea? The musical score?
3. The novel by Tim Winton, his stories of the West, of the coast, conservation and preservation?
4. The importance of the underwater photography, during the credits, the variety of life under the water, the undersea water sequences throughout the film?
5. The title, the groper, Abby and her bond, naming him Blueback, later tried to protect him from the spearfishers, punching Blueback, saving him?
6. A story of mother and daughter, Abby at eight, Abby at 15, her relationship with her mother, the sea? The present, Dora and her stroke, Abby returning to care for her mother, the memories? Dora’s death?
7. The focus on Abby, underwater investigations, coral samples, her team on the boat, the news of her mother’s stroke, flying to the west, hospital, her mother, age, the effect of the stroke, unable to speak, getting out of the hospital, back at home, Abby staying with her mother, talking, remembering? The scene where Dora speaks at the end, going into the water? Real? Hopeful? Her death and funeral?
8. Abby, at eight, her father’s death, with her mother, her mother’s spirit and enthusiasm, dropping the ring in the ocean, Abby having to dive down and retrieve it? Achievement? The bond between mother and daughter?
9. Abby at 15, her skill in the water? Her sketches? Her mother’s protests, the land development, the manager and confrontations? Her friendship with Briggs at school, the bond between them, friendship, the kiss? Her mother and the demonstrations, Abby at the back, her mother’s reactions? The choice of school, the uniform, leaving home and her mother?
10. The character of Mackka, carefree, his boat, fishing, Dora and the discussions, confrontations? Friendship with Abby? His support of Dora? The pathos of his death, lying on the ocean? His son, the boat, bequeathing it to Abby?
11. Dora, strong personality, the death of her husband, grief? Skill in the water, bond with her daughter, encouraging Abby in the water, the plans for development of the bay, the machinery coming in, on the beach, the manager, the protests? The support of the people at the bay? The Council, Dora and her speech, Abby and her sketches, the small victory?
12. The illegal fishing, the divers, their spears, going underwater, Abby hurrying on the boat, helping Blueback, defying the spears? The law, spears against the law? Court cases and halting the development?
13. Abby looking back on her life, the importance of her mother, the friends of the bay, the older Briggs, Merv, their support, the funeral?
14. The for the audience, female audience, young female audience – and the prospect of choosing marine biology for a career?

STARS AT NOON

France, 2022, 135 minutes, Colour.

Margaret Qualley, Joe Alwyn, Benny Safdie, Danny Ramirez, Nick Romano.

Directed by Claire Denis.

We can’t see stars at noon – but they are still there, a kind of permanence in an impermanent world.

Claire Denis has been making films for many decades, a preeminent French filmmaker but who often ventured out of France, especially to African countries, making dramas, observing cultures, critique of colonialism and its consequences. In more recent times, Claire Denis, now in her 70s, has been taking on a variety of themes, locally in France, an exploration in space, and now Nicaragua. The film is based on the novel by Denis Johnson (author of Jesus’ Son), which was published in 1986.

There had been a history of uprisings in Central America in the 1970s and 1980s, civil wars, military oppression, police states, assassinations. While this is still the core of the film, the setting has been updated to the 2020s, especially in the era of Covid 19. Which has a double effect on the audience, remembering Nicaragua’s past, thinking of Nicaragua and the continued disturbances in the present, in the context of a world pandemic and local response.

This is quite a long film, and very often feels long. Response will depend on interest in Claire Denis’s films, the drama of civil unrest in Nicaragua, and the response to the central character, Trish, an American journalist who has written a critical article about the country, who is now stranded and wants to get out but is continually trapped. She is played by Margaret Qualley, a versatile actress (My Salinger Year, Once Upon a Time in Hollywood).

There will be a variety of audience responses to Trish. There will be a sympathy for her writing her article, the adverse criticism and consequences. But, as a person, she can be very irritating. And, there is her resorting to sexual liaisons with authorities in the hope of getting some kind of documentation to leave the country. This has repercussions with her being hounded by the police, struggling to make ends meet, trying to move around, frustrated.

At a bar, she encounters an Englishman, something of a mysterious presence, connected with oil and finance interests in the country but also seeming to want to evade pursuit. They team up, at first with just passion, then, despite a range of difficulties, gradually falling in love, dependent.

At times, the film goes off to follow the searching of Daniel (Joe Alwyn), building up to the possibilities for an escape from the country – except for the intervention of a strange American presence (Benny Safdie), and the intervention of the CIA.

This is an arthouse treatment of the plight of the trapped Trish and her encounter with the mysterious Daniel, and the sinister and suspicious presence of the CIA. Those caught up in her quest and interest in Claire Denis’s film career, will appreciate Stars at Noon. Others may find it overlong and not be drawn into the drama or the romance.

1. The title? No stars at noon? Yet the star still in the sky?
2. The work of Claire Denis, over many decades, in France, in Africa? Now in Central America? The 1970s and 80s? The setting of the story in the Covid era?
3. The location photography, Panama for Nicaragua? Central America, the tropics? The towns, the streets, homes, offices, restaurants? The countryside, the vegetation, water? The musical score?
4. The civil war situation, echoes of the 1970s and 1980s? Nicaragua in the 2020s? Power struggles? Political? Military? Police? And the interest of the United States, CIA agents?
5. Trish and her story, writing the article, stranded in Nicaragua, wanting to get out, her strong personality, sexual liaisons, with the police officer, selling herself, supporting herself? The streets, homes, survival? The encounter with Daniel, mystery, the attraction, the sexual encounter, hiding with him, passion turning into love? Her hopes that he could help her get out of the country? His appearances and disappearances? Contacts, the underground, passports and documents? Their escape in the city, going to the border?
6. Daniel, enigmatic, in the bar, British, commercial connections, oil, his identity, the hotel, checking in, told he was checked out? The encounter with Trish, hiding with her, the bond with her, falling in love? The possibility for escaping? Car, passports, the border?
7. The CIA agents, the confrontation with Trish, inquiries about Daniel, knowing all about her, suspicious and sinister? Her reactions?
8. The resolution of the situation, the authorities on Daniel, Trish and the CIA, her getting out of the country?
9. Memories of the past, and seeing a story unfolding with the Nicaraguan experience of Covid?