GLASS ONION: A KNIVES OUT MYSTERY

US, 2022, 140 minutes, Colour.

Daniel Craig, Edward Norton, Janelle Monae, Kathryn Hahn, Leslie Odom Jr, Kate Hudson, Dave Bautista, Jessica Fenwick, Madeline Klein, Jackie Hoffman, Dallas Roberts, Ethan Hawke, Hugh Grant, Serena Williams, Natasha Lyon.

Directed by Rian Johnson.

Knives Out was welcomed by world audiences eager for a complicated murder mystery, big budget, top cast, an updated variation on the Poirot mode of detection. And it had a surprise, the transition from James Bond to Benoit Blanc by Daniel Craig (and its taking a long time to get used to his Louisiana accent and draw). So, needless to say, audiences wanted another Knives Out Mystery. And, here it is.

Once again, it takes some time to get used to Benoir Blanc’s accent (but we seem to be much more accepting of it now). Poor Benoit needs to be active, hasn’t got a case, but fortunately a situation arises for his investigations – and, on a luxury island in Greece, with a visual Glass Onion mansion, extravagant in interiors, exteriors and grounds. Just the place to relax – except that the owner, entrepreneur Edward Norton, wants to play games with old friends and associates, setting up a murder situation with him as the victim. But he hadn’t counted on Benoit Blanc solving it almost instantly, shifting the scenario and the need for some more murders!

The cast is not as top-class as or the first film but will do (and some momentary cameos for delight, Serena Williams coaching tennis, an instant with Hugh Grant opening a door!). But the standout performer is Janelle Monae in two roles. And she proves more than a worthy associate for investigations and detection. Kate Hudson seems to be specialising in flaunty roles these days. Kathryn Hahn is always a solid presence. And Dave Bautista does a variation on his musclebound screen presence – and quite a funny brief cameo from Jackie Hoffman as his behind-the-scenes, caustic mother.

So, the setup, the detective, the introduction to the characters, the exotic setting, the murder that doesn’t happen, the murders that do. All enjoyable but, perhaps, not quite the spark we were expecting.

But, then, Hugh Grant opens that door and Glass Onion really takes off. We get more information about the characters and situations, some deaths, and an increasing of tension and mystery. The second part of the film works very well, looking at previous situations again, seeing behaviour in a different light, all kinds of challenges.

So, a lot of audience energy in trying to work out whodunnit. Thanks to the Janelle Monae characters, mystery and tension, false alibis, deceit… And Benoit Blanc, Daniel Craig’s manner, that strange accent, able to reveal all!

No difficulties if they decide to make another Knives Out Mystery.

1. The popularity of the original film? Murder, mystery, solution? And the role of Benoit Blanc? Audience desire for another Knives Out mystery?
2. The popularity of murder mysteries, the range of characters, the exotic settings, the clues and misleading, the detective, investigations, assistance, the revelation? In the Poirot tradition?
3. Daniel Craig as Benoit Blanc, from the south, his accent and drawl, clothes, manner, lamenting no case, needing action? The case, going to Greece, the island, his encountering the characters, Miles Bron and his game, solving the mystery? Further developments in murders? Helen and her working with him?
4. Benoit Blanc and his character, manner, Daniel Craig from Bond to detective? Casual style, yet astute, observing, working within the law, the situations, the twists, working with Helen?
5. The situation, establishing the characters, Miles Bron, entrepreneur, the island, his building, the glass onion, interiors and exteriors, the coast, the beach, the water? The invitation to the guests, the past connections with them, inventions, exploitation, copyright? His hold over his guests? Setting up the game, his murder? Benoit Blanc solving it quickly? His reaction?
6. Clare, Governor, establishing her character, the politics, elections, relationship with her husband? Lionel, his connections with Claire, with Bron? Birdie Jay and her agent, the relationship, her manner and style, performance, the touch of the tacky? Andi, her past relationship with Miles, the break, the business connections? Duke, musclebound (and the humorous flashback to his bossy Mother), Whiskey, her relationship with Duke? Everyone assembled, the puzzle of their being invited, ease, unease?
7. Miles and his treatment of his guests, liking, spurning, the past with Andi, the sexual encounter with Whiskey?
8. The change in the game, Duke and his death, the changing of glasses, his whispering to Miles?
9. The development of the plot, the behaviour of each of the characters, complications, suspicions, clues?
10. The scene with Hugh Grant opening the door, the change in the film? The second part, revisiting the situations, different angles on the characters? The revelation about Andi, Helen taking her place? Helen, strong-minded, her investigations? The dangers? The revisiting of Duke’s death and the explanation?
11. The flashbacks, the truth about Andi, Miles and his visit, the others, her death? Helen taking her place?
12. The variety of clues, the behaviour of the characters, suspects? The variety dangers, the timing, suspicions, discoveries?
13. The entertaining celebrity cameos?
14. The final revelation, Benoit Blanc and his explanations, and Miles Bron as a phony, his being a murderer?
15. An apocalyptic ending, consumed by fire?

Sr

US, 2022, 93 minutes, black-and-white/colour.

Robert Downey Sr, Robert Downey Jr, Menachem, Paul Thomas Anderson, Norman Lear, Sean Hayes.

Directed by Chris Smith.

The Sr of the title is counter culture director from the 1960s to the 1990s, Robert Downey. With the emergence of his son, Robert Downey Jr, in the 1980s and 1990s, the older man received the title of Robert Downey Sr or, with his friends and family,  Sr.

This is a film for cinema buffs, interested in the changes in small budget, independent, underground filming that emerged in the 1960s, especially in New York. Robert Downey was significant with his range of films, planned, improvised, with a range of cast including his then wife, the lively Elsie Downey.

There are substantial clips from several of these early films, then from his films in the 70s which did get some kind of release, Putney Swope, with its racial themes, Greasers Palace, with its oddball comedy, and some more conventional films, Up the Academy, Rented Lips, Too Much Sun, Hugo Pool). His final film is a documentary from 2005 about an area to New York, Rittenhouse Square. Downey also appeared in a number of commercial films, especially Boogie Nights and Magnolia for Paul Thomas Anderson who is interviewed here.

There are a number of talking heads, especially Alan Arkin reminiscing about the past, Norman Lear about Downey’s talent. And, of course, there are interviews with members of the family and friends.

However, at the centre of the documentary, a family portrait, are the father and son. In fact, for audiences not familiar with the Downeys, this is an interesting visual/dramatic picture of a relationship between father and son, initially unconventional, ultimately very personal.

Sr has a strong, often engaging, personality. There is an overview of his life, his background and emerging in the 1960s, the drug culture and experiences of the time, he unashamedly relishing the drugs, and introducing them to his son at a young age (and the film’s reminder that Robert Downey Jr in his 20s and 30s was a drug addict, arrested many times, serving time in jail, eventual rehabilitation and not only recovering his career but building a very successful new career). Sr looks back on his past in the but in a benign kind of way even as he changed his lifestyle. His testimony to his wife and her performances in his films. His second marriage, a love match, was very short, his wife, Laura, dying. His third marriage was successful even though his wife says that their 1500^th anniversary is coming up, a marriage of 23 years and support until his death.

But, the core of the film of the conversations between father and son, sometimes in New York, sometimes Downey Jr bringing his son to meet his grandfather, often the conversations by phone between Los Angeles and New York. There is a special sequence where Downey Jr, with the help of Sean Hayes as an accompanist, sings a Schubert song for his father. And, all the time, Sr is planning his documentary, going around New York, filming, commenting on the locations, commenting on the techniques he would use for filming. Is also seen, watching a screen, working in an editing suite.

But, ultimately, Sr succumbs to Parkinson’s, becoming weaker in body but still agile in mind. He died in July 2021.

There is a funeral celebration, friends gathering, testimonies – but, with the final credits, some excerpts from his films, especially ending with some comic situations from Greaser’s Palace.

ON THE EDGE

Canada, 2022, 114 minutes, Colour.

Aramis Sartorio, Jen Soska, Sylvia Soska, Sophie Buddle, Ola Dada, Andrea Jin, Alana Finn-Morris, Brianne Finn-Morris, Mackenzie Gray.

Directed by the Soska Sisters.

A specialist film, not for the wide audience. It is a strong psychosexual drama, a father and husband, Peter, with a self-loathing because of his mother when he was a boy. He books a hotel penthouse for 36 hours with a dominatrix – why? The loathing, the need for humiliation, degradation, the need to be cleansed, purged, healed. It seems he is walking willingly into his hell.

Some audiences will be curious but give up after a while. Some will be prurient, especially by the “kinky” aspects of sado-masochism, torture porn – and some overtones of horror movies. Others will take the themes seriously, the pain, physical, psychological, spiritual, the submission, the violent treatment by the mistress.

But, there is much more. It is the work of the Soska Sisters (the violent American Mary, and the remake of David Cronenberg’s Rabid) so we know where their interests lead. While the scenes of domination, humiliation and punishment (whips and cage) other staples of this kind of psychological story, there is much more, especially in the dialogue.

Promotion suggests a Satanist dominatrix (a cue for the prurient), but this aspect and suggestions of the supernatural do not appear until an hour in. By this time, Peter is having dreams, hallucinations, memories of childhood abuse. He sometimes sees his mocking alter ego.

One commentator said that a local priest would be upset by the mistress’s references to myths of Lilith, Astarte, Athena. On the other hand, the priest (and others familiar with biblical texts) would be surprised to hear the mistress and Peter both quoting texts from Isaiah 52, the Fourth Servant, with Its themes of suffering for others, atonement. Peter had been wearing a crucifix but this had been taken from him. Later, there is a sequence of quoting the Adam and Eve story from Genesis, creation, male-female, temptation, God, the serpent (and the appearance of an actual Serpent), the tree of knowledge of good and evil, nakedness and shame.

The Dominatrix speaks to Peter several times of Free Will.

Well, there are few breaks for Peter (except in His Imagination), the mistress, the maid at the hotel and the concierge, relax before participating in Peter’s purging.  His wife and twin daughters then appear, taunting, challenging. Jungian analysts might be interested in considering Peter and these female characters and his Anima.

Yes, The Oscar Sisters graphically portrayed Peter’s violent journey into his past (like a personal judgement at death) tho the mistress, as does his wife who appears dancing, wear diabolical masks.

(The stance of the Soska Sisters is made clear by an opening television interview with a senior Senator campaigning against pornography to cheering crowds -  with a revelation at the end that the Senator is under investigation for pornography on his computer.)

The result of the experience is not destructive but rather, Cathartic, a psychosexual journey towards healing.

VIOLENT NIGHT

US, 2022, 112 minutes, Colour.

David Harbour, John Leguizamo, Alex Hassell, Alexis Louder, Cam Gigandet, Edi Patterson, Beverly D'Angelo, Leah Brady, Alexander Elliott.

Directed by Tommy Wirkola.

Violent night. Unholy night. All is not calm. All is not bright.

How to describe this home invasion thriller? Fierce and farce! Or, perhaps, a variation on a Christmas pantomime featuring Santa Claus and his reindeers. The writers of the film, Pat Casey and Josh Miller (writers of Sonic the Hedgehog), have certainly been inventive, violence one minute, sentiment the next, and references to Home Alone. Though the home invaders here are very serious.

Probably best to say at first that those who do not respond well to on-screen violence, and increasing death count, tough fights, lethal practical jokes, weaponry, may find it a bit hard to take.

However, over all, it is not meant to be taken too seriously. But, it is serious in so far as we are presented with an arrogant wealthy American family, involved in fraud and embezzlement, not the picture of upright citizenry, and a team of no-holds-barred criminals who will not let anything stand in their way. Even Santa Claus.

We first meet Santa Claus in a Bristol pub, having some beers, a bit weary with his Christmas Eve tasks. Then he mounts his sleigh and off they go into the night, landing in the US to deliver presents in the wealthy gated community.

On the one hand, he really is Santa Claus, though there are some flashbacks to indicate that he began life as a Viking warrior, more than handy with a vast sledgehammer, but a change of heart, especially with Mrs Claus, and his taking on the Santa role. And, as played by David Harbour, obviously enjoying himself in the nice sequences as well as in the violent sequences, we are tempted to believe in Santa Claus!

John Leguizamo is nasty (and is on Santa’s magic list as a nasty little boy), confronting Gertrude, a foul-mouthed Beverly D’Angelo), who has secreted $300 million in her basement vault. A nice profit if you can get it on Christmas Eve. Gertrude has an obnoxious alcoholic daughter is visiting with her action movie star and boyfriend, and an obnoxious Tik-Toking son who in honour of his grandmother has been called Bertrude! But, there is a nice son, his estranged wife, his extra-nice daughter, Trudy (and no mean opponent with her defences and lethal practical jokes).

Santa links with Trudy, has a Viking reawakening, demolishes the gang of intruders left, right and centre. But, amid the violence, he has time for heart-to-heart confidence and sentimental chats with Trudy. (And, perhaps sometimes to our embarrassment, we burst out laughing at Santa’s demolishing techniques.)

Enemies vanquished. Obnoxious family having a change of heart. Everyone believing in Santa and reviving him,  the reindeers all turning up at the right moment to whisk him away to continue his Christmas present deliveries. (Will probably be revived every year as a variation on Christmas movies!)

1. The title, parody of Silent Night? Violent Christmas film? Sentimental Christmas film? Fierce and farce? Christmas pantomime?
2. The opening in Bristol, the pub, introducing Santa Claus, having a drink, relief from his travels? The transition to the US, the mansion, the grounds, world of affluence? The musical score, variation on Christmas songs? Silent Night at the end?
3. Jason, separation from Linda, Trudy and her parents? Jason’s absence – and the later explanation of his removing the money from the vault? Visiting his mother, clashes with his mother? Clashes with Alva, her drinking, her spoilt son, Bertrude, bringing the action star along, ingratiating herself and him with her mother? Ambitions for running the firm?
4. The introduction to Gertrude, phone, swearing, tough, money? Attitudes towards her family? Their gifts? Her running her company, the revelation of the money, the fraud, the vault?
5. The home invasion, Scrooge as the leader, tough, unscrupulous, the personalities of his squad, Christmas names, quoting Dickens? The insiders in the house? The later arrival of the squad, Gertrude relying on them, being paid off by Scrooge?
6. The killing of all the staff, the gruesome killings? The family as hostages in the room? Trudy, the gift of the walkie-talkie, talking to Santa, taking refuge in the attic?
7. Santa, arrival, the real thing, his reindeers and sleigh, weary, wanting contact with Mrs Claus? Observing, the home invasion, the fights, the deaths, the response to Trudy, the plans, the background of his being a Viking, his sledgehammer, going into action, demolishing all the squad? But the sentimental talks with Trudy about her being a good girl, the past, her gifts? (And his telling the story of Scrooge and his associates and their history of presents?)
8. The action star, vain, his reputation, the financial proposal to Gertrude, his escape, the confrontation, death?
9. The squabbling amongst the family? Gertrude and his vanity, Tik-Tok? Confrontation with Jason, the torture? The threats? The revelation about the money fraud, the vault? Going to the vault, opening the vault, empty?
10. Trudy, in the attic, the practical jokes, their deadly application?
11. The confrontation between Santa and Scrooge? Revelation about his past? Santa and his magical list?
12. The money, the escape, the sleds, the ambushes, the confrontations? Scrooge and his going up the chimney with Santa? Santa, shot, dying?
13. The family, the change of heart, believing in Santa, his coming to life again? The reindeers arriving, his continuing his journey? The family reconciled?
14. The blend of violence and sentiment, Christmas cheer?

KOMPROMAT

France, 2022, 127 minutes, Colour.

Gilles Lellouche, Joanna Kulig.

Directed by Jerome Salle.

The title, as explained, is a Russian word. It suggests the English ‘compromise’ but that is only part of it. Kompromat describes a plan to discredit someone, an exercise in blackmail, creating false documents to compromise or to destroy that person’s reputation. And, the opening suggests, this is what happens in Russia. And, in this story, loosely based on a true story, it happens in Siberia.

This is the story of the director of the Alliance Francaise in the Siberian town of Irkutsk, Mathieu Roussel. He is played by Gilles Lellouche, veteran of many French films, often crime and gangster films, here having the opportunity to have a significant lead. He is well liked in the town, but there is tension between him and his wife, he is devoted to his little daughter. The opening is an occasion where there is an avant-garde ballet for the townspeople – and their not reacting well to its evocative style. At the celebration afterwards, mature encounters a friendly Swedish woman, Svetlana (Joanna Kulig), married to an amputee veteran from the conflict in Chechnya, whose father is the local head of what was once the KGB.

Suddenly,  Mathieu is arrested, a dossier of accusations of him having child pornography on his computer, and a charge that he has abused his daughter. His put in a cell with brutal toughs, bewildered, denying the charges, interrogated, magistrates against him – and the potential for 15 years imprisonment with hard labour.

Eventually, the French authorities negotiate home arrest with an ankle bracelet. But, he has received food packages, goes to the supermarket to find who could be, finding that it is Svetlana. She is able to get him an Internet connection.

So, the audience is asked to empathise with Mathieu, to experience his bewilderment, anguish, uncertainties.

And, as the drama goes, what else is he to do but plan an escape. At the beginning of the film, we have seen him in a forest, pursued by guards, being shot at. Now, with his escape, shrewdly done, false leads that he has gone towards Mongolia, with the aid of Svetlana and going to Moscow, taking refuge in the Embassy, causing political embarrassment, the only thing to do is continue the escape, a plan to get to the Estonian border.

There is tension in the final pursuit, the aid of Svetlana and his devotion to her, a twist with a message from his wife, and the pursuit of a vicious military detective even to the Estonian border.

Life is very dark in Siberia, the film rather literally dark, more light as Mathieu makes his escape, then dark in the border forest.

Released in 2022, in production before the invasion of Ukraine, the audience is not inclined to be sympathetic towards Russia.

1. The title, a Russian word, its meaning, compromising reputations, destroying reputations, blackmail?
2. The Russian setting is, the remote city in Siberia, the Alliance From says, homes, police precincts, the brutal prison? Official police officers? The Embassy in Moscow? The range of travel, by bus, car, day and night, the countryside, Moscow, the final forest and border? The musical score?
3. The film based on a true story, the experience of the director of Alliance Francaise? The trumped up charges? Police, secret police, brutality? The director, imprisonment, home prison, the details of his escape?
4. The opening, in the forest, the guards following Mathieu, the shots? The film as flashback? The finale in the forest, the confrontation with the pursuer, material almost drowned, reversing roles, getting to the border?
5. Matthieu, the appointment in Siberia, the local authorities, people working for the Alliance, the ballet performance, provocative, the audiences not pleased? The aftermath, drinking, dancing, meeting Svetlana, her past with the Alliance? His relationship with his wife, tensions, her going to yoga, the bond with Rose? Their going home from the performance? The disappearance, returning to France?
6. Mathieu, his arrest, the charges, pornography on his computers, molesting his daughter? His reaction? With the magistrate, severity? In the cell, the brutality, the advice? The food deliveries? The intervention of the lawyer, his suspicions, Svetlana? The video of his wife denouncing him? His being allowed to go home, the bracelet, his testing it for the response? Going to the supermarket, meeting Svetlana, getting the Internet connection? The bond between them?
7. Svetlana, her husband, wounded in Chechnya, her father-in-law head of the secret police? The tensions between husband and wife? Memories of the dancing with material, her husband not able to dance, his angry reactions about her dancing? Her decision to help material, the supermarket, the visits, the phone calls, her arranging to go to Moscow for the audition, driving Mathieu, the contact at the Embassy, taking him to the border, the sexual connection, her leaving and driving back?
8. The tensions of the escape, the plan, the bus, leaving the phone on the bus, his going in the opposite direction, the various drivers, their chatter, the religious leader, hiding him at the border, hiding in the car boot, wishing him well? Mathieu going to the embassy, getting in, the discussions with the ambassador, the political embarrassment, his having to stay? The escape plan, Michelle at the Embassy, her earlier visit to Siberia, her support?
9. Mathieu, getting out of the Embassy, meeting with Svetlana, the drive?
10. Svetlana, her husband, the clashes with his father, his dominating father, the husband hanging himself? The grief of his father?
11. The revelation that Mathieu’s wife had been pressurised to make the video condemning him?
12. The ex-general, harsh, in pursuit, his associates, going to Moscow, losing Mathieu in the street, the plan for the Estonian border, driving, pursuing, the confrontation, the fight, almost drowning Matthieu, the reversal of roles?
13. Mathieu, the Russian pursuers, the Estonian guards?
14. The open end of the film, the phone calls to Svetlana? A future?

SERIOUSLY RED

Australia, 2022, 94 minutes, Colour.

Krew Boylan, Daniel Webber, Rose Byrne, Celeste Barber, Bobby Cannavale, Thomas Campbell, Todd Lasance, Jean Kitson, Wayne Blair, Tony Barry, Jack Thompson, Danii Minogue, Nell Campbell.

Directed by Gracie Otto.

No, not communist propaganda! Rather, something of the opposite – a venture into a type of free trading, a focus on personality and identity, changing identity, impersonation, especially of celebrities.

Krew Boylan, who wrote the screenplay and stars as Red, is a lively character, a free spirit, irritating many, not dependable. And we see this fairly quickly as she is fired from her job at a real estate agency even though she gets the award for best clown in the office! Her mother, Jean Kitson, is severe on her while her grandfather, veteran Tony Barry, is rather more tolerant. And she has a nice childhood friend, Frank, Thomas Campbell, who, despite all the odds, tries to help, loves her.

When we visit Red’s room, we find that she is devoted to Dolly Parton, dressing as her to receive her clown award. However, she is spotted by an agent (Celeste Barber) and given some opportunities to audition as Dolly. But, most of the impersonators at the clubs are cross-dressing men impersonating their favourite stars like Barbra Streisand and Lady Gaga. Red has to try to persuade them that she is the real thing. And there is a clash with the compere, impersonating Elvis and, unless we knew beforehand, we wouldn’t recognise that Elvis is being played by Rose Byrne who, we are told, was the contact between the film and Dolly Parton herself who gave permission for all the songs and some clips of interviews with her as well as a range of quotes which appear on screen, something between Shakespeare and Christmas card exhortations!.

Audiences who enjoyed Dolly Parton as a character, enjoy listening to her songs and lyrics, will be continually pleased throughout the film, so many of her favourites. And, of course, Dolly Parton teamed with Kenny Rogers and this form something of a pattern for the screenplay here, Daniel Webber as a Kenny Rogers impersonator, attracted to Red, absolutely devoted (to quote another song).

So, while Red is successful in this impersonation world, supported by her agent, getting some serious support from the head of the agency, played by Bobby Cannavale a former Neil Diamond impersonator, doing this very well with a rendition of a song that highlights the film’s themes, “I am, I said…”, she jets off to Hong Kong to perform, tours around Australia, her mother disbelieving! And poor Frank, often on the receiving end of Red’s disdain.

However, ultimately, this is quite a moralising film, despite the fact that there are some crass and tacky moments. Ultimately, especially when Kenny proposes on stage, Red has to think about who she really is, having become Dolly Parton in dress, behaviour, attitudes, songs, giving up her own personality.

The world of the impersonator, camaraderie, jealousies, audience acclaim, can be very attractive – but what does it do to the real underlying person, personality? Red has something of a rude awakening – but a final acknowledgement of her true self.

1. The title? The focus on Red, her personality and character, comic and serious, Dolly Parton, skilful impersonation, possible career, understanding herself?
2. Australian humour, in the tradition of Strictly Ballroom, Priscilla, Muriel…? The blend of the serious and comic, touch of farce, camp, humour?
3. The settings, the workplace, home, the clubs, travel to Hong Kong and performance, on tour, the blend of the exotic and the commonplace?
4. Dolly Parton giving permission for the songs, the clips of her speaking, the aphorisms on screen throughout the film, only advice?
5. The range of Dolly Parton songs, the favourites, audiences enjoying them, performance, on stage, the partnership with Kenny Rogers?
6. Red, antagonism with her mother, her mother being demanding? Not affirming her? Ramps, at home, supportive? Her friendship with Frances, from the young days, his devotion to her, at work, unreliable, arriving late, her boss, the party, dressing as Dolly Parton, the performance, the award for the clown, her being fired?
7. Francis, his character, loving Red, supporting her, her treatment of him, his being hurt, his dating the lawyer, yet his continued devotion? Confronting her with the truth?
8. The impersonators, the drag Queens, the clubs? The agent, impressed by Red, encouraging her, the audition, speaking to Wilson? Wilson, his background as impersonator, his performance of I Am? Wary, yet giving Red the chance?
9. Elvis, the compere, rose Byrne’s performance, attitude towards Red, jealousies, the night together, the aftermath? The range of other drag Queens, performance, Barbra Streisand, Lady Gaga…?
10. Kenny, impersonating Kenny Rogers, assuming his personality, his singing, the performances with Red, success, the tour? The bond between them, sexual? His absence, his return, the performance on stage, the proposal, her hesitation?
11. Red, returning home, her mother, dating, going to the performance, surprised? Change of heart?
12. Red, having to face herself, the world of impersonation, becoming Dolly, but being herself, and his proposal, her decisions, Francis and his support?
13. Red, finding herself, becoming the teacher, communicating with others?

AVARICE

Australia, 2022, 88 minutes, Colour.

Gillian Alexy, Luke Ford, Alexandra Nell, Priscilla-Anne Jacob, Nick Atkinson, Ryan Panizza.

Directed by John V. Soto.

We don’t often come across a thriller where the chief weapon is an arrow, the world of archery. We are introduced to the theme early on, a strong central character, Kate (Gillian Alexy), highly competitive, supported by her former champion father, but, in fact, on edge with family difficulties.

However, Kate will certainly come into her own with her strong bow, with the powerful arrows, in confronting the villains of the piece.

Meanwhile, her husband, Ash (Luke Ford) is experiencing all kinds of difficulties, is trying a holiday with Kate to overcome their differences, and to support their rather introverted daughter.

We have already seen a home invasion with some dire consequences. Now Ash and Kate’s holiday house is invaded, Ash abducted by too rather fierce, armed criminals, and transported to the headquarters where he is to transfer millions of dollars into different accounts.

Hence, the title, Avarice, not only on Ash’s part but on his rivals (there is a twist in the plot) and the thugs and home invaders who are pressurising him. But, as we learn, there are several other deadly sins which are involved, pride, covetousness, lust.

This is a small budget Australian thriller, filmed in Western Australia, focusing on Perth and the surrounding countryside. The drama is in the abduction, the transfer of the money under pressure, the guard on Kate and her daughter, the background of marital difficulties.

We are waiting, of course, for the climax, and Kate overcoming all odds with her strong bow and those arrows, wondering how strong they are, can they pierced body armour, but, for the intentions of this thriller, they definitely serve their purpose.

Ultimate optimism in the screenplay with a happy ending!

1. The title, greed, greed and violence, greed and fraud, and other deadly sins – pride, covetousness, last?
2. The brief time span of the action? The night, the early morning, the day?
3. Locations, Western Australia, the city of Perth, the countryside, the glimpses of the city and lights, the homes, interiors? Musical score?
4. The tone of the film, Nick and Susan, the tension between them, the home invasion, the two criminals, Susan searching, her being shot? The audience not seeing Nick? The later revelation about the eye?
5. Kate and Ash, their concern about their daughter, teenage, withdrawn? Taking her to the psychiatrist, the sky saying she was normal? Teenager?
6. Kate, archery, her father in support, his past wins, the competition, the distractions about Ash and his violence? Losing?
7. Asher, his character, finance, phone calls, looking for Nick?
8. Going for a holiday, going out into the forest, the water, settling down? Kate and her daughter, Bond? Hopes?
9. The home invasion, the same couple? The violence, taking Ash? Leaving Kane to look after Kate and the daughter? His manner, violence, having seen him shoot Susan? The two tied up? Kate, the masking tape, getting free, deceiving Kane? Hitting him over the head, reversal of roles, sending her daughter to the neighbour, the confrontation with the arrow, killing Kane?
10. The daughter, the neighbour, the audience seeing the real neighbour killed, the pleasant manner of the alleged neighbour, falsely calling the police, going back to the house, pleasant, the wait for the police, Kate shrewd, asking about her husband? His reversal of attitude?
11. Reid, her manner, in charge, scar on her face, background of Syria, home invasion, taking Cash, the task, the transferring of the 10 billions of dollars, his unwillingness, fear for his wife and daughter, eventually bringing out Nick, Nick urging him on? The image of the eye?
12. Reid, coming over to the house, leaving the thugs in charge? Riker and his being shot by the arrow? Reid and her reactions, overcoming the two, brutal?
13. The revelation by Nick, organising the money transfer, revenge against Ash and his relationship with his wife?
14. The confrontations, the fighting, Ash choking Nick?
15. Reid, her return? The transaction successful? Kate, locating Ash, arriving at the warehouse, stalking the two guards, killing them both? Reid, the confrontation, her being wounded, getting the case, going into the forest, Kate pursuing her, read and her tactics, almost choking Kate, reversal of roles, Kate stabbing her with the arrow?
16. A month later, sweetness and light, happiness and reconciliation?

RIP, Sr Theresa Coleman, OLSH, (22/01/1930 – 8/11/2022)

‘This is my beloved in whom I am well pleased’

 These words from the Gospel of Matthew capture well the driving force behind Sr Theresa’s life. She had an absolute trust and deep faith in God. On Tuesday, 8th of November she came face to face with her God whom she had so lovingly and faithfully served as a Daughter of Our Lady of the Sacred Heart for over seven decades.

Theresa was born in Mascot, NSW, on the 22nd January 1930, to George and Lillian Coleman, the sixth of eight children. Her life encompassed the Depression, the pre-war years and the Second World War. Theresa’s father was a Carpenter, building many homes in the Mascot area. During the Depression it was very hard as he experienced long periods without work. Because Theresa’s mother was a good manager the family never went without the necessities of life. Theresa said she grew up in a happy family, sound in the practice of the Catholic faith; after the difficult years of the Depression she recalled enjoying picnics with the family.

Theresa began her schooling at St Bernard’s Mascot and completed her studies at Our Lady of the Sacred Heart College, Kensington. I think it is true to say that Theresa was always an OLSH girl at heart, having a great love for her alma mater. It delighted her that in her final years her room at St Joseph’s overlooked Our Lady of the Sacred Heart College, where she still felt a deep connection.

After some years working as a finance assistant in an office in Sydney Theresa felt called to religious life. On the 30th of May 1948 she entered the novitiate in time to celebrate the Feast of Our Lady of the Sacred Heart, with whom she shared a deep spiritual relationship.

She was professed as a Daughter of Our Lady of the Sacred Heart on 6th January 1950. During the next two years she studied to become a teacher and in subsequent years completed a degree in Science, at Sydney University. This was at a time where the study of the Sciences had been predominately reserved for males.

To say that Theresa was a passionate educator is an understatement; Theresa devoted herself to the ministry of education for nearly forty years. She taught at St Paul’s Bentleigh and our OLSH Colleges in Bentleigh and Kensington, and St John’s College in Darwin. Theresa worked tirelessly to advance education for girls, especially in the areas of maths and science.

Theresa was a very gifted educator who was respected and appreciated by her pupils, their parents, and staff members. She had empathy, understanding and skill when students found maths and science challenging and so enabled them to learn more effectively. She was, however, also a teacher who extended the abilities of those more interested in scientific subjects and was able to transmit some of her own enthusiasm for these disciplines.

When contacted about her death the immediate response from her former students was one of praise, saying: ‘Sr Theresa was an excellent teacher, kind, well prepared, she made us laugh, we loved her’.

She is remembered for her ability to relate so beautifully to her students, always showing a genuine interest in them and was ready to listen to any difficulties or concerns they had.

Later Theresa was responsible for school administration as deputy principal. In this position she took great interest in the education and welfare of the girls in the schools and cared for the staff, who have said they appreciated the time, support and interest she showed them.

Theresa’s contribution has not been confined to the school scene. In her later years she was involved with our Associates and is well known for her wonderful hospitality, leadership and organization of retreats, spirituality days and Pilgrimages to Issoudun. Our Associates remember her with fondness and are grateful for her wisdom and her interest in them and their families. Theresa was a deeply spiritual woman; she had a deep and personal love for Our Lady of the Sacred Heart which was inspiring for others.

Her passion for our Charism and love of Our Lady of the Sacred Heart led her to work tirelessly at the National Shrine of Our Lady of the Sacred Heart at Randwick where she was able to spread this devotion through her witness. She imported from Issoudun, Rome and the Philippines all kinds of items relating to Our Lady of the Sacred Heart, statues, medals, key rings and pictures. Theresa loved opening the piety store and selling her many and varied religious items.

Those of us who lived, worked and shared community with her, were enriched by her genuine care for others, her compassion and positive attitude. She was courteous to all, spoke ill of no one and rejoiced in the successes and achievements of others. Theresa drew her strength from her deep desire to love as Jesus loved, excluding no one.

When it was becoming apparent that Theresa’s health was failing and she was asked to transfer to St Joseph’s Aged Care Facility, she accepted the decision with her typical graciousness. Her lovely smile reflected the joy she experienced whenever you visited her at St Joseph’s where she was beautifully cared for until her death.

Theresa was a people’s person, she loved being with and talking to people on any level. She loved life, she saw beauty in people, nature and in her work. She was totally committed to everything, her prayer life, her apostolate and especially helping others come to know Jesus and Our Lady of the Sacred Heart. Theresa was just a lovely, lovely person, a woman of integrity, she lived her entire religious life as a whole-hearted gift to God and God’s people, in quiet fidelity and without fanfare. Her legacy to us is the faith-filled and gracious acceptance of one who had come to terms with life and what it asks of us. She was simply a beautiful Daughter of Our Lady of the Sacred Heart.

Sr Philippa Murphy

Provincial Leader

Celebrating our Foundation Day, 8^th of December, 168 years.

From Jules Chevalier’s Personal Notes:

We started our novena which was to finish on December 8, the great Feast of the Immaculate Conception. We promised the Blessed Virgin that, if our prayer was answered, we would call ourselves Missionaries of the Sacred Heart and honour her in a very special manner. The great day arrived and we were filled with hope. I was appointed to sing the High Mass and at the offertory two alter boys presented a small picture, lovingly and painstakingly executed by my confrere – one which we still treasure. After Mass we went in procession to the sacristy. I was hardly out of my vestments when a gentleman approached.

“Father, I would like to speak to you; when could you see me?”

“In a quarter of an hour if that suits you.”

After Thanksgiving I went to the Presbytery and the gentleman followed me. “Father, I have an offer to make on behalf of someone who wishes to remain anonymous. He is making available to you of.20,000 francs for a good work in Issoudun.”

“What kind of good work?”

“Preferably a house of missionaries.”

“You have been sent from heaven; through you the Immaculate Virgin is giving her answer. May God show his blessings on you and on the person who sent you here. Please express our deep gratitude and tell him that his wishes will be carried out; we will certainly pray for him and God will repay his generosity.”

MSC Farewell, Our Lady of the Sacred Heart Parish, Henley Beach

We had the celebration over the 4 masses on the weekend and we were supported by Peter Hendriks, John Bosman, Bill Brady, Terry Bowman, Krish Mathavan, Tan Nguyen, Greg McCann and Greg McEnnaly. Those who apologised were Keith Humphries, Des Holm, Dominic Gleeson, Dennis Rochford, Terry Herbert, Ted McCormack. Chris McPhee was at the APIA Meeting in Fiji.

Archbishop O’Regan and Dean Marin VG celebrated with us at the 9.30 mass on Sunday.

The spirit was uplifting even though there was an undercurrent of regret that we were leaving the parish after 109 years of ministry.

Thank you

As the MSC relinquish the pastoral responsibility of the parish, it has been a wake-up call for our province. The Australian province of the MSC also discovered that of the 110 men and 82 of them are over 70, The decision to leave has been a shock to so many of you and ourselves.

Pope Francis proposes that we begin with listening to those around us, especially the alienated and the marginalised, to reflect, to share common hopes and then to work together to be open to all people in their faith journey..

The Archbishop through the Diocesan Assemblies looks to all parishes to examine their procedures and policies, and to reflect on the recommendations arrived at. The guidance in these will be through the priest appointed to the parish, and he relies on the parish to be open to the changes necessary. I can assure you that we MSC will watch with interest the unfolding of parish life, recognising the need to engage everyone, especially the young, the elderly and those on the margins,

The MSC thank the Archdiocese for the invitation to serve in the parish of Brompton in 1914 and its continued support as the years unfolded, and  the parish grew to embrace Henley . Thousands of families have invited us into their homes and supported our ministry. Personally, we thank you for your generosity of spirit and the support warmth and affection offered to us personally.

For the times we have let you down, we are sorry: our humanity has been evident in our mistakes and any decisions we have made and the hurt we have caused. We say “we are sorry”!

We thank the other religious orders the Sisters of Mercy, the De La Salle Brothers, the Daughters of Our Lady of the Sacred Heart, and other religious who have served with us.

In all 57 MSC have served in the Parish of Henley since 1958 when it became a parish, and another 50 or more men who served from Hindmarsh, until then.

May the Sacred Heart of Jesus continue to inspire, to encourage, to accompany the parish in its mission of love from the Father and guided by the Holy Spirit.

Paul Cashen MSC

Local Superior

3rd December 2022

Below are lists of those who have served at Henley Parish from 1958 -2022. 

Deceased MSC who served in the Henley Parish 1950-2022

Year      Name.             DofD

1950 Fr William Dirou 09/09/1963

1950 Fr Alan Guest 14/05/1994

1954 Fr Cuthbert Hoy 15/11/1971

1958 Fr Michael Cantwell 13/07/2016

1958 Fr Bernard Moore 21/08/1990

1961 Fr Fred Mordaunt 25/03/2005

1961 Fr Tom Dixon 31/05/2002

1962 Fr Harry Morrissey 06/09/2013

1964 Fr Mervyn Bailey 20/02/2002

1964 Fr Tom Whitty 17/05/1988

1966 Fr Aloysius English 05/06/1997

1967 Fr Leo Hill 02/12/2009

1969 Fr Gerard Kelly 22/07/2004

1969 Bro Charles Laing 18/04/1989

1969 Fr Aiden Breene 14/06/1989

1977 Fr John King 22/08/2005

1969 Fr Peter Robinson 10/08/1994

1987 Fr Chris Kean 30/07/2014

1998 Fr Jim Fallon 10/04/2007

1989 Fr John Rate, 22/09/2019

1989 Fr Brian White 17/061995

1991 Fr Roger Duggan 15/05/2018

2006 Fr Mark McGuinness 15/05/2017

2007 Fr Frank Perry 01/09/2018

Current MSC who have served at Henley

ANDERSEN, RUSSELL 1964

HUMPHRIES, KEITH 1969-1975 ,

HELM, LEONARD 1972-1975

CASHEN, PAUL 1974-1980

BOSMAN, JOHN 1976-1981

KELLIHER, JOHN 1982-1983

EHLEFELDT, KEVIN 1984-1985

HOLM, DESMOND 1984-1985 

HERBERT, TERENCE 1987-1989

BOWMAN, TERENCE 1988-1989 

MCCORMACK, EDWARD 1989-1990

CONROY, JOHN 1991-1992

McCANN, GREGORY 1992-1994

HOLM, DESMOND 1993-1995 

MURPHY, CHRISTOPHER 1994-1999

FALLON, MICHAEL 1996-1998

GLEESON, DOMINIC 1996-1997 PO 

MCPHEE, CHRISTOPHER 1997-1998 

BOWMAN, TERENCE 1999-2005

BRADY, WILLIAM (BILL) 2002-2006 

MARTIN, CARROLL 2013-2017

CASHEN, PAUL 2013-2022

MATHAVAN, KRISH 2018-2020

MANSFIELD, NOEL 2020-2022

NUGYEN, TAN 2020-2021

MCCORMACK, PAUL 2020-2022

ROCHFORD, DENNIS 2020-2021 

ARMSTRONG, HELEN 2020-2022 (OLSH)

KONDA, KENJI 2021-2022 Henley Beach

HEARN, PETER 2021-2022 Henley Beach