GO WEST

Bosnia, 2005, 97 minutes, Colour.
Mario Demarc, Tarik Filipovic, Rade, Serbedzija, Jeanne Moreau.
Directed by Ahmed Imamovic.

Go West is a film from Bosnia Herzogovina, Croatia. It is an impassioned film, made by a young director, Ahmed Imamobic who studied philosophy as well as film direction at the University of Sarajevo. He also worked as an assistant for Michael Winterbottom in the 1996 Welcome to Sarajevo.

The setting is the early 1990s with the disintegration of Yugoslavia and the beginning of the civil wars. Milan is a student, a Serb living in Sarajevo who is in a homosexual relationship with a Muslim cellist, Kenan. When the situation becomes desperate in the city, they decide to move back to Milan’s home. Kenan runs the risk of being discovered on the train where Muslim men are taken away brutally. Milan has the idea of disguising Kenan as a woman. When they return to Milan’s village, his best friend realises what has happened. However, his father, glad to see him, hopes that there will be a wedding.

When Milan goes off to the war, Kenan survives in the village and is able to carry off the impersonation. However, a waitress in the local café, Ranka, who has a strange son wandering the town pretending to be a soldier, discovers the secret and wants to begin an affair with Kenan. The villagers are suspicious of her, treating her as a witch. Also in the village is a crippled priest who preaches hate during his religious celebrations.

The film stars veteran Yugoslav actor Rade Serbedzija as the father. Jeanne Moreau, who also helped finance the film, appears at the end of the film as a television interviewer, talking with Kenan who tells his story to the television audience.

The film is a reminder of the passionate nature of the people from the different countries of the Balkan Peninsula, the impassioned war and its brutality. It is also a plea for tolerance for Muslims. It is also a plea for understanding of homosexual partners.

1. A portrait of the Balkans in the 1990s? The outbreak of civil war? The portrait of Serbs, Bosnians, Muslims, Orthodox? In retrospect? The picture of war? The religious aspects, culture, sexual identity? Prejudices?

2. The anti-Serb feeling of the film – yet the father blaming all the citizens of the Balkans for the war?

3. The picture of Bosnia, the locations, Sarajevo, the concerts and apartments? The open roads, the remoteness, the village, the ugly scarred countryside, the destruction of homes? The mountains? Life in the remote areas? The musical score – classic, contemporary?

4. The title, the dreams of escape, fulfilment in the west?

5. The framework, the television interview with Kenan? The visual of the screen, his answering questions, the voice-over throughout the film, his comments, self-analysis? The end with Jeanne Moreau interviewing him, his miming the playing of music, her saying she couldn't hear it, his saying he should have played louder? The father’s comments about arts, and the arts transcending war?

6. The homosexuality issue, in Bosnia, in Sarajevo, private lives? The difference with family, keeping secrets, Kenan and his being disguised, accepted in the village, his not feeling at home in his disguise, gradually changing, the feeling of the need to escape?

7. Kenan as pianist, performance, a concert for peace? Milan and his martial arts and his not being there? The quarrel, resolving their difficulties? The decision to escape, to go to Milan’s home village? The train ride, the round-up of the Muslims, the device of disguising Kenan as a woman?

8. Travelling to the village, the father and his delight, the welcome, life in the village? Milan’s friend, like a brother, his knowing the truth, yet wanting to help, getting the photos, the documents? The celebrations in the village, the religious services, the bigoted priest? The fact that the inhabitants had destroyed the Muslim village, killed the Muslims? Kenan and his feeling as a Muslim in this context?

9. Ranke, her work at the bar, her being considered a witch, the boy and his being her son, Muslim father, his Serb uniform, his holding people up, wanting the password? Ranke and her sexual appetite, her attraction towards Milan, the incident and the fire, discovering that Kenan was a man, the sexual encounters, her handling the truth? The pathos of her death?

10. The relationship between Kenan and Milan, hiding, in the village, the preparations for the wedding and the celebration? Milan and his reaction to Kenan and Ranke? His going off to war, the casual approach to war, his death and the grief at his return?

11. The father, the grief, his interrupting the sermon, his attack on the bigoted priest? The priest and his having no legs, the woman transporting him, the chair-lift? His being helpless yet still speaking out, venomous bigotry?

12. The escape, the father giving his blessing, the friend helping? Kenan and his being able to go west?

13. The film’s portrait of war, the Balkan war in particular, the futility of war, many playing games but discovering the truth? Death? The religious and cultural bigotry and the long traditions? Going west as a way of getting away from all of this?

LA FEBBRE (HOPES)

Italy, 2005, 122 minutes, Colour.
Fabio Volo, Valeria Solorino, Arnoldo Foa.
Directed by Alessandro d'Alatri.

La Febbre is directed by Alessandro d'Alatri, actor and director, especially of the award-winning film Casomai.

This film is set in the provincial city of Cremona and the audience is able to see the beauty of the city. However, it also focuses on the mundane realities in the administration of the city. It focuses on preparations for a visit of the president of the republic, the bureaucratic difficulties, the loss of money, a scheme to get money from contemporary people for the burial and lighting of the graves of their long-dead ancestors.

At the centre of all this is a young man, Mario, played by Fabio Barrovero (the star of Casomai). He is an earnest young man, living in the memory of his esteemed father, staying at home with his mother. He and his friends are planning to convert an old factory into a nightclub. He is attracted by a go-go dancer he sees at city celebrations.

When he does get a job with city administration, he falls out with his boss but is supported by his immediate superior, a genial man on the verge of retirement. When he falls in love, however, there is a great change – cantankerous with his mother, spending time with his girlfriend, falling out with his friends. When he is assigned to look after the cemetery, the bottom seems to have fallen out of his life.

However, this is a film about a young man who has a conscience, is basically good-natured and starts to rebel against the constrictions of bureaucracy. While he does find himself at the end, studying architecture, involved in some artwork with junk pieces, reconciled with his girlfriend on her return from America, he still is a symbol of criticism of Italy – with the final image of the film receding over the city of Cremona, over Italy, over the world – with an ironic touch in praise of Italy as still being a great country.

1. A glimpse of Italy at the beginning of the 21st century, life in an Italian city, difficulties, joys, hopes, dreams? The strong critique of the bureaucracy, Italy as a nation at this time? The role of society, bureaucracy, individuals?

2. The Cremona setting, the overview of the city, the public places, the private homes, the countryside? The centre, the cathedral, the piazza? The river? The cemetery? The musical score?

3. The opening, focusing gradually on the club, on Mario? The club and the building, the opening? The artwork? The focus of the building of the club, the permits and the difficulty of bureaucracy, the hard work of the individuals, the money, the artwork, the clashes?

4. The structure of the film: the focus on the city, on the club, on Mario? The flashback and the story of Mario and the club? Leading to the end, the global and cosmic view of Italy and the remark, “Wasn't Italy great?”

5. Mario and his story, age thirty, living with his mother, his relationship with his mother, her looking after him? His dead father and his admiring him? His friends, building the club? Getting the job, doing his study, his drifting through life, his questioning everything?

6. Mario’s mother, seeing her sewing, the meals, bringing him his morning coffee, concerned about him, joy at his getting the job, giving him his father’s letter? The extended family and their visit? His father’s portrait, the reading of the letter? The ironies of whether the father would have let the mother join the choir – and the importance of the operatic and religious musical interludes? In the church? His being a public servant, playing the instrument at the band, his reputation?

7. Mario going for the job, the interview with the boss, the story about the tightrope walker and the wheelbarrow and asking whether Mario would get in the wheelbarrow, his saying that if he trusted the acrobat? The friendship with Faona, the casual atmosphere, not having to wear a tie, the detail of the work, the secretary and his charm, friendship with everyone – and the growing envy of the boss? Giving Mario extra burdens and work?

8. Faona, a good man, forty years, pleasant manner, helping Mario, chatting with him, the vision of the vineyard, the wine? The irony of his dying after his farewell speech? His funeral?

9. Mario seeing the girl, the go-go dancer? The irony of meeting her and the question of the mould? Inviting her out, falling in love, the lyric and romantic scenes? Bringing her home, his mother finding them in bed, his mother’s rudeness during the meal? Not providing food that she could eat? The girl meeting Mario’s friends? Attractive? Her studies?

10. Mario and his changing because of his romance, becoming erratic, becoming angry, his outburst against his mother, moving out of home? The discussions with his friend and living with him? His anger with the friends at the club, pulling out? The drinking, collapsing in the street, his brother coming, knocking him out, going to hospital? Coming to his senses?

11. The visit of the president, the important event, the bureaucracy, the need for money, the scheme about taxing for lights on graves of people long dead? Seeing the president in the plane, his friend from Cremona, wanting to go to the grave? The president reappearing in Mario’s dream, having the drink, talking about bureaucracy, praising Italy, encouraging Mario?

12. Mario’s friend, severe with Mario, his artwork, out of scrap? Their building, the artwork, the achievement for the club?

13. The girlfriend, having to go to America? Mario not wanting any letters? Her return, her fear that Mario had forgotten her, the friend and his wife and being pregnant, the happy reunion?

14. Mario and his work at the cemetery, the plan, his having to visit all the people, their complaints? His going to the cemetery, fixing it for the president’s visit, getting the permit for the club? His scheme for helping the people with their money and their all praising him?

15. His achievement, study, a future?

16. Mario, the criticism of society, his talking with his superior, blaming him for not encouraging Italy to go further and take initiatives? The deadening effect on society by bureaucracy, bureaucratic officials, corruption? The role of the individual and the need for initiative?

TAPAS

Spain, 2005, 93 minutes, Colour.
Angel de Andres, Maria Galliana, Elvira Minguez, Reuben Ochandiano, Alberto Jo Lee.
Directed by Jose Corbacho Juan Cruz.

Tapas is a slice of life – at a street corner in the city of Barcelona. Audiences may reminisce about a similar situation for Wayne Wang’s Smoke, based on stories by Paul Auster and starring Harvey Keitel as the manager of a bar who observes people in the neighbourhood, takes photos of them.

There are separate stories in this tapestry – although Tapas refers to take it or leave it Spanish takeaway food. There is a focus on the owner of the bar, a boorish man who alienates his wife, doesn't understand what he has done, is given good advice by his prostitute friend and eventually sets off to find her and to be reconciled. He also hires help in the form of a Hong Kong chef – one of the most sympathetic characters in the film.

One of the other stories concerns a divorced woman who is in email correspondence with a man from Argentina and feeling the absence of a man in her life. She has a brief affair with the son of one of the customers in her shop, a boy who works at the supermarket and who inexplicably falls in love with her. His story also concerns his friend, a young man who is obsessed with talking about sex.

The other story is about an elderly woman whose husband is dying of cancer. Surprisingly, she is the local drug pedlar and the young clients come to her. However, in her non-drug scenes, she is a very sympathetic woman and the scenes between herself and her dying husband, especially their final banquet, are quite touching.

The film does offer a slice of life, glimpses into human nature, the possibility of some kind of redemption, even at a very local level. However, it is very much in the television soap opera or mini-series style.

1. A Spanish slice of life? Street corner drama? The soap opera elements? Did the film transcend these and soap opera stories? Characters, situation, plot?

2. The neighbourhood in Barcelona, the streets, the bars, the shops, homes? Ordinary life? Ordinary people? The musical score?

3. The title, the reference to Tapas, the bar, meals?

4. The interconnected stories, the introduction to each of the central characters, their interactions? The focus on the four stories and audiences appreciating them?

5. Rachel’s story, the opening, sexuality, her loneliness, the chat room with Edgardo in Argentina? Her work at the shop, her husband having left her, the gossip with the customers, her kindness? The broken video, Cesar and his coming to help? Her inviting him to dinner, the sexual liaison, the effect on her, on him? His return visits? Her seeing no future? The imminent coming of Edgardo? Cesar’s birthday party, her bringing the gift, a memory for him, their final kiss? His delivering the video, Edgardo at the door and taking it up? Rachel’s future?

6. Cesar and Opo, going to work, stacking the shelves in the supermarket, their chatting about girls and assessing the summer, Opo and his sex preoccupation? His preoccupation with Bruce Lee and conspiracy theories about his death? Cesar and his fixing the video, his relationship with his mother? The women gossiping about him and his girlfriend? In front of Rachel? His going to Rachel’s for the meal, the sexual encounter, its effect on him, the return? His not wanting to break off? Delivering the video, meeting Edgardo? Going up the street with Opo? His party, the gift from Rachel? The change in him? His going on the camp?

7. Conchi and her freeing the dog after breaking the car window? Going to Lolo’s bar? The irony of her being the drug dealer? Going shopping, claiming she had little money? Her relationship with her husband, the long years together? Opo’s visit and Mariano telling him about the cancer? Her continuing to deal the drugs, for Opo for the birthday party? Her life at home, trying to help Mariano? His going shopping, his fainting, at the doctor’s? Not long to live, his explaining all this to Opo? The final meal, the lavish meal, the dancing, “Fly Me To The Moon”? His taking the drug, his death?

8. Lolo as the big and gross man, bossing his wife around, her exasperation, her packing and leaving? His covering it up, saying she was sick? The bar and all the clientele of the neighbourhood? His wanting a substitute cook? Getting Mao? His racism, hiding Mao, pretending that he was Rosario? His giving the orders, Mao and his thorough work? Lolo and his going to the prostitute, for many years, her commonsense advice, understanding him, friendship? Her advice about Rosario? Mao and his character, silent, martial arts? His skills and everybody appreciating the food? Going out each night with his girlfriend? His work for the party? Lolo and the change, Rosario’s phone call, his being cross with her on the phone? His decision to go on the holiday and meet her? Leaving the bar the Mao, the extra wages? Mao and his chatting to the customers, Opo and the question about Bruce Lee – and Mao saying he was still alive?

9. The women in the neighbourhood, gossip, ribald jokes, their shopping?

10. Glimpses of human nature, older and younger generation, ordinary life, humdrum life, dreams, unfulfilled dreams? Drinking, drugs, boredom? The film’s comment on human nature, resilience, hopes?

YOUR NAME IS JUSTINE

Poland/Luxembourg, 2005, 97 minutes, Colour.
Anna Cieslak, Arno Frisch, Rafael Mackowiak, Matthieu Carriere, Dominique Pinon.
Directed by Franco D. Pena.

Your Name is Justine is a frightening melodrama about the white slave trade. During the 1990s, especially after the fall of the Soviet empire, traffic in women to the West and to the Middle East increased dramatically. A powerful film about this same them, more powerful than this film, is Amos Gitai’s Promised Land. It portrays women going into Egypt, crossing the border into Israel and being auctioned there at night. They then make their way to the Red Sea resorts where they are trained and groomed and then sent around Israel. Another similar film with a Finnish- Russian setting is Luke Moodysson’s Lilya 4-ever. This film shows an innocent Polish girl, working in a factory, with few prospects, who is entranced by her boyfriend and happily goes on a holiday with him.

In Germany, the situation changes and he abandons her to a group of white slave traders. She is imprisoned for several days, her will is worn down and eventually she has to succumb to her fate.

The film shows the personalities of people involved in this trade, the effect on the victims. One man shows some sign of compassion, takes her under his wing, sets her up by himself – but she finally wreaks revenge on him and is sentenced to prison. The film ends with her returning to Poland and the possibilities of a new life, meeting her girlfriend who had married, prospects of a more stable future.

The film is very well acted. Anna Cieslak, in her first major role, is completely convincing as the young woman. The film was directed by a Venezuelan, Franco de Pena, who trained in Poland and made several films there.

1. The impact of the film? For men? Women? Based on an actual story? The reality of eastern European women sold into prostitution in western Europe?

2. The Polish settings, the background for the story? The transition to Berlin, the ugly apartment, the courtyard? The streets? The more affluent apartment? The musical score?

3. The background for Mariola? The slaughterhouse, the treatment of the pigs, the girls and their being tested, the girl afraid, Mariola and her success? The three girls at home, Mariola and her relationship with Artur? His visit, hiding from Grandmother? Mariola’s relationship to her grandmother? Decision to go with Artur, the departure, packing? The travel, the bond with Artur, his phoning his father, hopes for a holiday in Cologne, meeting the family?

4. Going to the apartment, the woman with the baby? The men arriving, her gradual realisation of what had happened? Their brutality, the rape? Niko and his trying to help, getting her to pretend? The dramatic impact of her fate? Trapped, alone, brutalised?

5. Mariola in the apartment, her trying to get out, the door, the windows, the high courtyard? Her screaming, the people on the building site, the gardener, nobody hearing her scream? Getting out on the ledge, her inability to throw herself off? The mouldy bread? The water, her flooding the apartment, having the electricity – but not effective against the men?

6. Niko, his being trapped in the same way as Mariola? His wanting to help? His getting permission to have her for ten days? After the intimidation, the kindness? Yet his wanting to be in control of her? The threat of her being sold to the Emirates? Her being lost forever? His persuading her, her putting on the dress? Yet her resistance, cutting her hair?

7. The food, her being hungry, her pretending, the wigs and the clothes? Getting Niko drunk, the attempt to escape? His hold over her? Artur and the photo of her grandmother, the threats? Artur forcing her to write a letter to her grandmother?

8. The confrontation with the gang, the personalities of the gang, their ruthlessness? Niko and the gun, the shooting, the escaping? Driving, her getting out, nowhere to go, going with Niko, Uncle Goran and his control? The interview? His setting her up in Cologne?

9. The fancy apartment, Niko as a pimp, smart dressing, her clothes? The collage of clients coming to the apartment? Her asking for help, their not helping her?

10. The gang finally discovering where they were, Artur and his arrival, confrontation of Mariola, her stabbing him? Telling Niko to go? Her being arrested?

11. Her time in prison, the three years passing, her going back to Poland, visiting her grandmother’s grave, meeting the friends, wandering the beach? Wondering what would happen to her, wondering why such terrible things had happened to her?

12. Her identity as Mariola, Polish, friends, working? The transition to her name being Justine, the prostitute? Her never giving up her identity?

13. The film’s comment on white slavery in Europe at the beginning of the 21st century? Its extent, the gangs, the women as victims and trapped?

DOLLARS AND WHITE PIPES

South Africa, 2005, 96 minutes, Colour.
Clint Brink, Joe Resdien, Jonathan Pienaar, Kevin Smith, Dale Abrahams.
Directed by Donovan Marsh.

This is an ambitious South African feature, a story of the emergence of gangs in the townships in the 1970s and 1980s. It is based on the actual activities of a young man from the townships, Bernard Baatijies.

The film opens with a picture of a family, the pressure of the father who is a devout and strict religious minister, the mother supporting her son – who spends a lot of his time watching Dallas and is intrigued by the personality of J.R. Ewing. The film shows life in the townships, the violence of the gangs, the deaths. Bernie experiences grief at friends’ deaths – although, in a fight, he leaves one of his friends to die (he doesn't die and this has later repercussions).

When Bernie decides to go to Cape Town to make his fortune, a series of fortunate events for him enable him to ingratiate himself with the owner of a club. He exploits a simple young man who begins to rely on him – and, on the whole, he supports him. However, he is always ready to betray.

The film shows a South African parallel to American stories of gangsters and Mafia experiences. Bernie falls in and out of luck, loses everything, regains everything. However, his conscience is rarely bothered. Ultimately, he has to make some decisions and, while they are self-centred, there is some concern about his friend and he begins to prosper, especially by moving to Johannesburg.

The film was written and directed by Donovan Marsh, a South African producer-director for popular television shows like Who Wants To Be a Millionaire as well as a number of music videos, commercials and documentaries. It can be compared to other stories of the early 21st century that treat boys in gangs in Cape Town who learn to make good, despite difficulties: The Flyer, The Wooden Camera.

1. South African stories on-screen? Pre-apartheid? Post-apartheid? This film showing the vitality of the film industry?

2. The film’s perspective on society, on the black settlements, on the role of the coloured people in South African society, in Cape Town? Prospects and lack of prospects, opportunity? Violence and crime, drugs and money? Dreams?

3. The title, the reference to money and guns? Its tone? The vocabulary throughout the film and the subtitles giving the word, pronunciation and meaning?

4. The role of Dallas and the soap operas on television? Watched throughout the world? The American ideal of wealth and power? Serving as role models? Dallas style, wealth, clothes, cars? The contrast with people’s ordinary lives, the range of people watching, in the South African settlements? Envy and trying to ape the styles? The final irony that J.R. actually got shot?

5. Bernie’s voice-over, his giving the facts, his own commentary, his own perspective? How much accurate self-analysis, the blind spots? His telling the audience early that he would kill for Kuyser and the audience waiting for what would happen?

6. The sketch of his parents, his preaching father, stern biblical morality, ousting his son, Bernie visiting again, his father condemning him and barring him from the house?

7. Bernie growing up, the glimpse of him as a child, the possibilities of schools at each corner only? The gangs and the explanation of each of the gangs, their ethos and names? The visualising and style of presenting the fights, vicious, guns and knives? Angelo and his being stabbed and Bernie running away? The vindictive man who stabbed him and his later reappearance and the irony that Bernie would kill him?

8. The role of drugs, continually being stoned? Preparing the guns, the sales? Bernie and his ultimate fear? Leaving Angelo?

9. On the train, Cape Town opening up, his high hopes, being J.R., the ladder of success? Eating the bread, drinking with the old men, passing out, his shoes stolen? Meeting Cecil on the train, Cecil and his simplicity, Cecil believing everything, Bernie explaining that his feet needed hardening and taking his shoes? Taking the information about the job?

10. Bernie going to the club, seeing Kuyser and the others, Mr B? His approach, pressurising, Mr B explaining the rules? Cecil turning up, Bernie smooth-talking him about losing the job, offering to get him another? His help, carrying the drinks, his decision to suck up to Mr B but mistaking his drinking habits? His doing well, the bar and the tips? His going out with Cecil and taking the photos with the white girls, with the cars, the mansions? Showing them to Mr B? His being promoted to barman? Race issues, white prejudice? Cecil and his misuse yet going to stay with his aunt?

11. The stealing of the drinks, selling them on the sly, Mr B telling him about the accounts, taking him for the drink, Mr B explaining his life, the drugs, jail, wasting thirty-five years of his life, life opening up for him? The moral lesson for Bernie and his learning it? His liking for Mr B, appreciating him?

12. Kuyser, the drugs, his henchmen, the visits to the clubs, his using Mr B? Zane and the heavy-handedness, Mr B shooting him? Mr B fleeing, giving Bernie half the money? Bernie wasting the money but then selling the club?

13. Bernie and his collapse, the drinking, Cecil and setting up the bar again, calling it Dallas? His making it a success, his dancing, the J.R. style? His confiding in the audience? Kuyser arriving with his henchmen, offering the protection, Bernie refusing? The violence in the bar, the shooting? The collapse? Bernie and Kuyser and the offer of money to rebuild the club?

14. The new lease of life, the glamour, going to Kuyser’s place, the party, sex and cocaine, the girl? The arrangement and Kuyser having control? The drug-dealing in the bar, the collage of his drug-taking, Jacinthe, his life going downhill?

15. Mr B arriving, Bernie glad to see him, Johannesburg and his hopes, offering Bernie the opportunity, Bernie talking about selling the car? Betraying him to Kuyser, the bashing, his not being able to shoot him? Zane and the shooting and his blackmailing him and taking the drugs?

16. Bernie and his using the barmen to scam Zane? The confrontation with Kuyser, Kuyser believing Bernie and dismissing Zane? Zane, his return, his beating Bernie, Cecil hitting him and killing him? The consequences for Cecil? Bernie with the gun, shooting the assailant?

17. Kuyser, his tests, his bashing of Bernie?

18. The image of the steps, Bernie’s explanation? Bernie and his lies, doctoring the photos, the lies about the mansion to Cecil? His visits home, meeting Angelo again, his drug-taking? His relationship with Cecil, Cecil as a good young man, slow on the uptake, devoted to Bernie, his taking Cecil in, rescuing him at the end?

19. The aftermath and Bernie having the club in Johannesburg – the fable of succeeding beyond J.R? The vision of material success as the fulfilment of African dreams?

THREE DOLLARS

Australia, 2005, 119 minutes, Colour.
David Wenham, Frances O’ Connor, Sarah Wynter, Joanna Hunt- Prokhovnik, Robert Menzies, Julia Blake.
Directed by Robert Connelly.

David Wenham plays Eddie, the hero of Robert Connolly’s film, Three Dollars, adapted by director and writer from Elliot Perlman’s novel. He is a good man.

Robert Connolly produced that powerful film, The Boys, directed by Rowan Wood. It too starred David Wenham. However, in The Boys Wenham portrayed one of the most evil characters you could find up there on the screen. Released from gaol, he comes back home and spends the day with increasing and relentless malevolence affecting the life of his brothers, mother and girlfriend. A friend said that she had seen the play of The Boys on stage and David Wenham’s performance was so palpably menacing that she felt uncomfortable being in the same room as he was at the reception afterwards. He is a persuasive actor.

He then experienced a Sea Change and became the likeable Diver Dan. He also became considerably holier, though very down to earth, when he portrayed the robust saint, Fr Damien, in Paul Cox’s Molokai. He donned friar’s robes as a special Vatican assistant to Hugh Jackman’s Van Helsing hunting Richard Roxburgh as Dracula!

It is not easy to portray a very good man on screen. Often he just seems too good to be true. That is no effective role model. James Stewart could do it – and did it often. Henry Fonda in The Grapes of Wrath and The Wrong Man could do it as well. David Wenham is not an icon like those two Hollywood greats. But, in Three Dollars, he is a man who is recognisably decent and good but who is your average man in the street, a genially Ocker Everyman.

In flashbacks, he appears more extraverted when he was a young student than he does as a consulting engineer in middle age. He is shown as fairly down to earth (literally as he has to examine the toxicity in the soil on a property to be developed near Horsham). On the other hand, he liked asking questions and checking out possibilities when he was younger. And the crisis concerning the moral issues in the toxicity matter now makes demands on his conscience.

The point to Eddie’s good Everyman is that he is a feeling man. Eddie is a loving man, devoted to his sometimes depressed wife Tanya (Frances O’ Connor) and to his daughter. He can be tempted by a house guest, but has the moral strength and respect to resist. He does more than he needs to in examining the soil, going back to check his findings and his speculations (and later being charged by his mean-minded boss for going over his budget). He is a man who believes that he should try to do the right thing by people.

One of the themes of Three Dollars is that no good deed is not rewarded and that these good deeds have their blessed consequences, that while there might be six degrees of separation, there might be far fewer degrees to join us in connectedness.

He is kind to an alcoholic he meets near his house, stops and talks. Huge repercussions for this kindness at the end of the film, even to saving his life as well as opening his eyes to the plight of the poor and homeless. He gives some coins to a street beggar – and later is lent his coat when he is down and out. He also comes to the old man’s rescue when racist thugs bash him on a railway platform. He helps an elderly lady who has fallen in Flinders St, going out of his way to get her something to eat and to buy some aspirin - and just reaching his appointment by the skin of his teeth. The only time he misses out (because he is so preoccupied with his daughter’s diagnosed epilepsy) is buying some food for a neglected old man in the hospital corridor who just wants something to eat – and gives him three dollars. At the end of the film, three dollars is all he has in the bank.

Eddie makes no big deal about acting on his feelings. He takes this for granted. Tanya helps him realise again that doing the right thing is leaking his report to The Age and, despite mortgage, medical bills and general lack of funds, leaving his secure job in the department. No matter what, he has his wife and daughter.

It is interesting to note that this is a theme that emerged in 2004 in Tom White. In that film Colin Friels’ Tom drops out of his security, job and family at the beginning and wanders the St Kilda streets to discover his empathy for ordinary and for marginalised human beings and to act on his Feeling function. Perhaps Tom White was on his journey towards becoming a Three Dollar Everyman.

It is good to see and encouraging to reflect on that Australian film-makers, without fuss or flourish, are creating some rightly decent male role models in our increasingly materialistic world.

1. Australian society at the beginning of the 21st century? Lifestyle, work opportunities, family, hopes? Issues of the environment? Government? Ethics and public morality? Vision?

2. The Melbourne settings, the suburbs, the countryside to the west of Melbourne? The musical score, the range of songs?

3. The structure of the film: Eddie’s dismissal and packing, the flashbacks, meeting Amanda every nine and a half years, the beginnings of the relationship with Tanya and its development, the wedding, Amanda? The birth of Abby? The glimpses of Eddie’s past? The effect for a portrait of Eddie, Tanya, marriage and love?

4. The title, mortgage problems, Eddie having three dollars in the bank at the end? And the old man in the hospital having given him three dollars to buy some food?

5. The situation, Eddie at work, packing, being escorted out, the papers flying in the wind? The flashbacks, the importance of Amanda and his seeing her?

6. Eddie and his job, chemical engineer, surveying? Gerard as the new boss, the discussions amongst the staff? Eddie and his being at home with the staff? The planned development, beyond Horsham and the Grampians? His visiting the site, his being sprayed? His suspicions? Claremont and his wealth? Eddie returning, the shower, his second visit, checking for chemicals? His visit and his finding the chemical dump? The maps, his writing the reports, going over Gerard’s head with his report, leaking his report to The Age, the expose? The consequences for him? The consequences for Gerard? And Eddie’s explanation of going over his head, not to bother him?

7. The picture of Eddie, in the past, a young man, compassionate, studying, his love for the music, in the shop, listening with Tanya, their shared moments, the records, the relationship, the possibilities of marriage? Tanya leaving him, her relationship with Gerard, the letter, her return? The wedding, the family, the birth of their daughter? The picture of Eddie’s parents, the Gold Coast, the ill father, the phone calls to the mother? Tanya’s mother, her love for her granddaughter and playing with her? Eddie and his job, Tanya and her studies, her depression, tantrums, life at home, life with his daughter, a good life?

8. Eddie as a good and compassionate man, with his wife and daughter, the details of home life, his being nice to people? The friend and her marriage problems, Tanya inviting her to stay, Eddie agreeing? The night encounter with Nick, his dog, Eddie not being able to take the dog but having listened to Nick and his alcoholic story? His care for his daughter and her illness, the old man in the hospital giving him three dollars for food and his forgetting it? Giving money to the beggar in the street? The woman who fell, helping her for some food, getting the aspirin, at the risk of being late for his meeting? His encounter with Nick again, the old man with the coat, Nick taking him to the shops, getting the refund on the mouldy garlic bread, going to the shelter, meeting the poor? At the station, his having seen the group harass the Vietnamese students, their bashing the old man, his coming to his assistance, his being bashed himself? His seeing life on the margins, getting rubbish out of the bins? Getting the chickens as compensation and going home? The interconnectedness of good deeds and the repercussions for the good man?

9. Tanya, in herself, her past, her relationship with Gerard, the happiness with Eddie, the wedding, Abby? Her listening to her friends, sharing? Her tantrums, phone calls? The talk about her friend’s marriage and the possibility of their own break-up? Her being out when Abby had the fit, at the hospital? Her coping with her depression, losing her job, not telling Eddie, his reading the letter? Her support of Eddie – and his not telling her about losing his job and her discovering it from the office?

10. The friend, her marriage break-up, staying? Alone with Eddie, the advance, the kiss – his stopping? His fidelity to Tanya? Her returning to her husband?

11. The story of Amanda, the flashbacks, Eddie and Amanda at school, their relationship, Amanda and her having to leave school, her wealthy family, her father? At age eighteen and her virtually ignoring him? At twenty-seven, her being glad to see him, wanting to talk, her relationships, her future, his about to marry? Confiding in him? The chance meeting at thirty-eight, talk? The irony of his losing his job and going to the agency and finding her as the interviewer, his running away? Her card, people finding it on him at the station, calling her to the hospital, her meeting Tanya?

12. The glimpse of the people on the margin: Nick, alcoholic, walking his dog, the later meeting, meeting the beggars, getting the coat, teaching Eddie the tricks of the trade, the bins, the mouldy garlic bread, taking it for a refund, getting the chicken? The old beggar, his giving Eddie the coat, his being bashed at the station and Eddie going to his rescue? The old man in the hospital, wanting to talk, the three dollars for food? The woman who fell, his helping her, her wanting aspirin? The repercussions of good deeds?

13. Eddie as an Australian everyman, middle-class, good, self-deprecating humour, sentiment, honesty? His memories of his being radical in the past, discussions with Tanya, wondering whether they were becoming conservative? The issues of reports, doing approvals at minimum rate? His ethical and moral stances about the Claremont project?

14. A picture of Australian society, government, corruption, corporations, money? Individuals trapped within society? Honest decision-making? Solidarity with the poor, goodness?

OFF-SCREEN

Netherlands, 2005, 86 minutes, Colour.
Jeroen Krabbe, Jan Decleir, Astrid Joosten.
Directed by Pieter Kuijpers.

Off Screen is an impressive drama. It won the main prize at Montreal Film Festival in 2005. Running under ninety minutes, it has strong character performances as well as an intriguing plot. Belgian actor Jan Decleir (Daens, Molokai) won the best acting award. He is well supported by Dutch actor, Jeroen Krabbe (The Fourth Man and numerous American films).

The film can be seen as a realistic story of a desperate man, not wanting to be retired from his role as a bus driver, indulging his passion for electronics and confronting the head of Philips in Amsterdam. The film then takes on the atmosphere of a terrorist siege. However, clues are given about the mental state of the central character and audiences have to decide what actually happened and what is happening in the man’s mind and imagination. Many audiences saw it as completely realistic and then were surprised to find this extra dimension to it, needing to see the film again.

It takes its place amongst the many films which show madness, a mind disintegrating, a mind creating its own reality. Films like this range from Fight Club to Guy Ritchie’s Revolver.

Succinct, clear, well acted, intriguing, this is an excellent drama.

1. A psychologically gripping film? A psychological portrait? Contemporary multinational conspiracies? Sanity and madness? Contemporary media and technology?

2. The Amsterdam setting, the new buildings, homes, the countryside? Authentic? The moody score?

3. The title, information about screens, television, transmissions, audience effect? The irony of the title?

4. The structure of the film: John and his beginning the siege, the flashbacks and the technological technique to place them? Their being placed throughout the siege – and the cumulation of John’s memories? The realism? The madness and illusion? Which was which? How did they blend?

5. John’s back-story: thirty-six years driving the bus, his marriage of thirty-four years? His being terminated yet his wanting to work, insisting on his contract? His wife having left him? His love for his wife, his granddaughter? With his colleagues, with the fish tank? The discussions with Leo about his work, being re-rostered?

6. His wife, her character, her saying she was afraid of him, not letting him in, saying he was thinking too much? His gift from Gerard? The phone call, his granddaughter telling him not to ring? The birthday invitations and their not coming?

7. His living alone, his lifestyle, the television, answering all the quiz questions, knowledgable? His attitude towards Philips, his continued writing letters about the wide-screen televisions, the bars and codes? The woman who fell, his courtesy, bandaging her leg, his complaining about Philips’ goods, her writing the letter of complaint?

8. The role of Philips, the real-life company, the multinational, the headquarters in Amsterdam? The comment on their goods, good and bad? The personnel? Their transferring to the bigger building? Philips and power, control, intrigue for power?

9. John, his life, at home, driving the bus, the young boy and his demanding the tickets, eating the sandwich? The boy later returning and stabbing him? Gerard on the bus, their talking, the briefcase left behind, John examining it, finding his own letters? His going to the building and returning it? Gerard and his talk, being busy, giving him the gift for his wife? His reappearing in the bus, talking, admitting that he had purposely come, praising John for his intelligence? The discussion about the codes, the need for John’s assistance, in confidence? The outing in the woods? The birthday party and his coming with the television interviewer, his wanting his help? Going to the laboratory, the test, urinating and vomiting, the sexual urge, desperation? The role of the codes – just the images of the goldfish? The aftermath, telling him of the power struggle and his being ousted?

10. Gerard as a character, nice, talking, the case, his mother? His being interviewed on television, called the killer? Taking John into his confidence, sharing, the needs, the experiment itself? His coming to the birthday party with the television announcer? The power struggles in the company?

11. The siege itself, John and his quiet manner, the gun, the gift of the gun by Gerard for his birthday, going to the shooting range with the television interview and practising? Paul and Helene at the desk, the phone calls, the police, setting up the television, the press conference? His waiting, remembering? Going to the wrong building? Seeing Gerard on TV? Gerard and his suave manner, denying knowledge of John? Asking the police to do their job?

12. John going to the toilet afterwards, Gerard as nice, explaining the power struggle, the issue of fear, the psychological impact of fear – John threatening him with the gun, killing himself?

13. The scene in the street, John and his approaching his wife, the grandchild, the happy reconciliation?

14. What was the audience left with in terms of a psychological portrait of a loner, of madness? Of power struggles in big business? On the use of violence?

SELF-MEDICATED

US, 2005, 107 minutes, Colour.
Diane Venora, Monty Lapica, Michael Bowen.
Directed by Monty Lapica.

Self- Medicated is an accomplished first feature by a young film-maker in his twenties. Monty Lapica not only wrote the script but produced and directed the film. He is also the star, along with Diane Venora (Bird, Romeo and Juliet) as his mother. Lapica says that the screenplay is based on his own experiences after the death of his father.

Lapica plays Andrew, a young 17-year-old in Las Vegas. He mixes with the wrong crowd, drinks, is on drugs, plays practical jokes on people – which the police do not appreciate. His mother, on the other hand, is upset at his behaviour, while she herself is unwilling to acknowledge her dependence on prescription drugs which she is continually asking him to buy for her.

There is an alarming section of the film where Andrew is abducted, with his mother’s permission, during the night and taken to an ultra-strict rehabilitation centre. The regime is tough, brutal and humiliating – a kind of aversion therapy institute. The film shows that the staff have their own problems and the psychiatrist is particularly vindictive. Andrew and some others escape – but he is brought back on his mother’s orders.

The film is an exploration of contemporary American youth, living in a city like Las Vegas, prone to the difficulties of drug and rebellion. The film also questions methods for rehabilitation.

1. Monty Lapica’s film? Writing, producing, directing and being the star? Based on his own experiences after his father’s death? His dedication of his film to his mother? His age, experience, a first film, a student film? The qualities, the defects?

2. Dramatising his experience, the moral perspective, a moral fable? A warning yet offering hope?

3. The Las Vegas setting (his own home city)? The panoramas, the lights, the casinos? The contrast with ordinary, homes, school? The locations as authentic? The transition to the institute and the desert? To Honolulu?

4. The musical score, the final song?

5. The title? Drugs? Therapy?

6. The introduction to Andrew, firing the paint balls at passers-by, held up by the police, his mother having to get him? His age, his father’s death two years earlier? His not coming to terms with his grief? Drug taking, drinking? His relationship with Nicole? At school, asleep, the belittling by the teacher, his answering all the questions about Gutenberg, walking out of class, ringing Seth, their going out on the town, drinking? His friends? An aimless life?

7. The portrait of his mother, her taking prescription drugs, the death of her husband and her grief, her love for her son, her anger with him, his anger and hatred towards her? The difficulties at home? Watching home movies? The place of his ashes? Her growing more desperate, her friendship with Nicole, telling her in advance about her plan?

8. The sudden taking of Andrew, the guards, handcuffs? Being bundled into the van, driving through the desert? His arrival at the institute, the humiliation of the search? Discussions with Dan, no swearing, no insubordination? The penalties? The interview with the doctor, his IQ tests and his rapidity? Going to meals, no talking? His interaction with the other adolescents at the institute? His reactions, swearing, angers? His being punished? His interrupting the counselling session, insulting Dan? His being made to stand? His continuing to mock? His coming back and pretending to have repented but making signs? The continued antagonism towards Dan, the doctor and his wanting him to take drugs? The more kindly counsellor and the discussion about sport? The violence experienced in the treatment?

9. The nature of the regime, the psychological impact, physical? Harsh? Discipline? The sessions, the revelations by the young people, Michael and his Korean background, John and his brother’s suicide, the promiscuity of the girl and her having been abused by her stepfather? The invasion of privacy? His inability to cope with his grief?

10. The sketch of the staff, Dan, discipline, allegedly the best counsellor, hating swearing, giving impositions, his running off the open sessions? His final exasperation and his swearing outburst? His being vindictive, taking Andrew again? The doctor and his role, the guards? The kindly counsellor?

11. The escape, Andrew and his plan, the fire, its working, the boys running? The search and their being found at the phones, in the field, the others being caught, Andrew and his hiding, overhearing them? Ringing Seth, going home, confronting his mother?

12. The return, meeting Nicole, going to the party, the breaking through the police barrier and his pretence about his younger brother? In the sauna, discovering what Nicole had done, his anger?

13. The encounter with Gabriel, the talk, offering the job of cleaning the car, not being able to, his weeping, giving him the money, Gabriel’s sound advice? How well did this touch of magical realism work at this juncture of the film?

14. His being taken again, his mother’s reaction? The plane ride, his fooling the guard in Honolulu, the hospital? His escape, the key? Phoning his mother, telling her to come off the drugs, her relenting?

15. His return, his father’s ashes prominent, his reaction and anger? The visit to Sidona, the ashes? The long talk to his father and to God – how well did this work dramatically?

16. Nicole, getting the letter, her encouraging him to study, to turn his life around, his decision to do so?

17. The earnestness of the film, the emotionality? How credible the story? How persuasive the moral in dramatic terms?

THE DYING GAUL

US, 2004, 105 minutes, Colour.
Patricia Clarkson, Peter Sarsgaard, Campbell Scott.
Directed by Craig Lucas.

Early in this film about film-writing, Campbell Scott’s Jeffrey, an intense and acquisitive Hollywood producer, explains to the writer (Peter Sarsgaard in yet another different and finely tuned performance) that audiences go to movies to be entertained, not to learn, and that no one will pay to see a movie entitled The Dying Gaul.

He is probably right - in this case. And those who do venture out to see it will have demands made on them, especially in terms of realism (or not), memories and reflections on memories (many of them portrayed by dialogue in an internet chat room). The film is not predictable.

We also have to reflect on the explanation given of the Roman statue of the Dying Gaul. Gauls were enemies but a Roman sculptor created a masterpiece sympathetically depicting an outsider, an enemy. In this film Jeffrey finishes in that pose. Is he the contemporary Dying Gaul and, if so, why?

Craig Lucas (Broadway playwright and screenwriter of Longtime Companion, Prelude to a Kiss and The Secret Lives of Dentists) has written a very literate script that demands attention. While he mocks Hollywood (and its need to change a homosexual story to a heterosexual one – which does not happen in this film), he looks closely at affluence and success, at relationships, both homosexual and heterosexual as well as family, at betrayal, secrets and lies and at deep hurt. He is well served by the performances also of Scott and Patricia Clarkson as Scott’s wife.

Not an easy film but, because it raises so many questions and its plot is so elliptical, it is always intriguing.

1. The discussion about commercial films, commercial titles? Moviegoers and their motivation? Going to see a film called The Dying Gaul? Application to this film itself?

2. The title, its meaning? The statue in Rome, the visual presentation of the statue, its meaning? In the life of Robert and Malcolm and their visit? The Gaul, the enemy, carved by a Roman? Sympathetic? The outsider, the enemy? As applied to gay men? Who was the Dying Gaul at the end? The picture of Jeffrey, who killed him?

3. California settings, Hollywood, the studios, offices? Affluent homes? The musical score and its different style?

4. Robert, his screenplay? His personality, his grief, seeming weak, the visit to Jeffrey, the discussion about the screenplay and rewrites? The offer of a million dollars? His agreeing to the money, to the change to a heterosexual film? The cat-and-mouse interactions with Jeffrey? His reasons for taking the money, going home, the bath and ringing his son, the promise to his mother to give the money for his education? His being haunted by the memories of Malcolm?

5. Jeffrey, an industry man, enjoying doing deals, wanting the Dying Gaul, his philosophy of film-making, his philosophy on films? His liking weepies? His wanting to change the characters? Doing the deal, his excitement with Elaine? His attraction towards Robert, the come-on? His relationship with Elaine, loving her, the marriage, the children? The detail of home life, reading to his children?

6. Beginning the affair, his reasons, his explanations, bisexuality, needing his wife and family? The double life?

7. Robert being invited to the home, Elaine reading the screenplay and being moved, her motherly friendship towards Robert? The visits, the picnics and playing with the children? The film preview and their discussions? His betraying Elaine?

8. Elaine as a writer, her love for her husband, family? Managing the household, the affluence, the maid? Her swimming and exercise? Liking Robert, sharing intimate discussions with him?

9. The role of chat rooms, Robert identifying his favourite, Elaine finding it, finding him, interacting with him? The intimacy, the secrets? Her assuming the character of Malcolm, Ark Angel? Having read the script, knowing so much about Robert? Malcolm’s appearance and voice as she wrote her messages? The nature of their love, the Buddhist philosophy, the secrets, the illness? The assisted death? He telling the truth to his correspondent, explaining about Geoffrey, the affair, not wanting to hurt his wife, the possibility of the marriage break-up? Geoffrey’s speculation about killing and the reference to Crimes and Misdemeanours? His revealing too much?

10. His understanding that Elaine was the correspondent? The previous explanations of the garden, Monkhood and its poison? His trying to take it, sick? His being sorry? The background of the memories of Malcolm, Malcolm appearing, the illness, the brain operation, his giving him the injection?

11. Elaine and her controlling the situation, the appointments? Robert’s arrival and the confrontation? Her telling Jeffrey to come back later, his confession? With the children, in the car? The news of her driving into the wall and killing them all?

12. Jeffrey with Robert, the phone call, hearing the news – and the image of the Dying Gaul?

13. Robert, the aftermath, his being massaged, the masseur telling him how much he liked his films?

14. The film as realistic, imaginative? The film as portraying meanings, psychological states? The realism of the film – or a speculative screenplay brought to the screen?

MISSION IMPOSSIBLE 2

US, 2000, 120 minutes, Colour.
Tom Cruise, Thandie Newton, Dougray Scott, Anthony Hopkins, Richard Roxburgh, John Poulson, Brendan Gleeson.
Directed by John Woo.

Mission Impossible 2 was a very successful follow-up to the original Mission Impossible. The film capitalised on the popularity of remakes of television series of previous decades. The film combines action with developments in technology.

Tom Cruise’s company produced the film as a star vehicle for him. He had achieved great popularity in the 1980s with Top Gun, continuing with a great number of hits and action films including 1996 Mission Impossible. Thandie Newton (Flirting, Beloved, Crash) is the thief recruited to help him on a mission. There is a strong supporting cast of character actors led by Dougray Scott as the villain and Anthony Hopkins as Control.

The film opens with a mountain-climbing sequence in the United States (parodied in Austin Powers’ Goldmember with Cruise sending himself up). There are sequences in Spain. However, the main action is in Sydney with some trips to the outback. The location photography takes full advantage of the beauty of the city of Sydney and the harbour.

The film concerns viruses and controls, deadlines for finding controls, confronting villains – with the touch of the acrobatics that was a main feature of the original Mission Impossible film.

While the film has some interesting technology, it is basically a classy and well-crafted action adventure. Direction is by Hong Kong’s John Woo, who make his great reputation in Hong Kong and moved to the United States making a number of action films, the best of which was Face/Off.

1. The popularity of the TV series, the popularity of television series being remade as big-budget films? Sequels?

2. The work of John Woo, his skill as an action director?

3. The mountain locations, Seville and the Spanish atmosphere, Australia, the outback, Sydney and the harbour? The musical score and the television series theme?

4. The emphasis on technology, surveillance, the message given to Ethan Hunt on the mountain, satellite links, pinpointing locations of people, tracking devices embedded in the body? Biochemistry and viruses?

5. The film as an action adventure, the mountain-climbing, the acrobatic intrusion into the headquarters, the final chase?

6. The situation, the plane, the professor, the virus, the antidote? The villain stealing it, disguised as Ethan Hunt? Issues of power, money? The crash?

7. The mountain-climbing, the danger, the message being delivered?

8. Nyah, in Spain, her glamour, the cat-burglar, the party, her being caught by Ethan, his defending her, giving back the necklace? Their relationship, sexual liaison? His recruiting her, her part in the plan?

9. Australia, the villain and his being in Australia? His South African henchman and his ruthlessness – though his torture of the henchman? Wealth, aims, technology? The virus and capitalising on the antidote? The past relationship with Nyah, her return, his welcoming her back, his wanting to lure hunt? The racetrack sequence, the businessman and the card, the stealing of the card, his going home, looking at the videos, getting the information?

10. Tom Cruise as Ethan Hunt, personality, action hero, the climbing, in Spain, tricking Nyah, chasing her in the car? His relationship with her? The discussions with Control? The outback, his assistant, the Australian pilot? The surveillance headquarters, knowing everything the villain was doing, contact with Nyah? The racetrack sequence, his getting the information from Nyah?

11. The businessman, his plans, his illness, the information, the villain disguised with the Ethan Hunt mask?

12. The helicopter, lowering Hunt into the building, the split-second timing, retrieval of the cable? His detection, searching for the antidote, the fight, Nyah being infected? His leap from the building?

13. Nyah, left in the city, Ethan to rescue her? The spectacular chase – literal cliff edge?

14. The happy ending, mission accomplished, Hunt and Nyah? Ready for a sequel?