CLEAN

Australia, 2022, 95 minutes, Colour.

Sandra Pankhurst.

Directed by Locklin McLeod.

Background information for Clean indicated that this was to be the story of Sandra Pankhurst and her cleaning company, Trauma Cleaning Service, work in the most difficult of circumstances, death scenes, crime scenes, old people who have hoarded stuff for years.

And, this story was definitely at the core of the film. However, by the end of Clean, we might feel that we have seen several films in one. And all the more interesting and challenging for that.

We are introduced to Sandra Pankhurst, in her 60s, a vigorous personality, not lacking in being forthright, but suffering from lung infections which prevents her from doing her work. She founded the company in 1991, from home, then building up a team and having substantial headquarters in Frankston, Melbourne. And, in some ways another film in itself, is the introduction to members of the staff, interesting and articulate personalities, enlightening us about the work itself, techniques, some training on the physical, biological, infection difficulties of going to such sites. With quite a number of sequences illustrating their work in all its challenge, no reticence here, we feel we know a lot of what cleaning trauma sites entails.

While we have been given some of Sandra Pankhurst’s background, it is only a third of the way through the film when this biography become something else. For those not in the know, it is quite a surprise when we hear the word “transgender”. This means an elaboration of Sandra’s early life, born Peter, marrying, fathering two sons, something not quite right, divorce, and a plunging, extreme, into quite a different world, gender realignment processes, but also entering the world of Drag Queens, prostitution, and the personality and conscience crisis when Sandra is raped.

So, almost a film in itself irrespective of the cleaning company. And, at the end, because Sandra never knew her parents, an adoption agency tracks down her birth mother with the possibility, at this stage of their lives, for meeting each other.

Sandra Pankhurst became quite a significant figure in Melbourne but also beyond, sequences of her speaking at meetings, forthright again, battling on despite increasing illness. Sandra Pankhurst died in July 2021 after a  experience a decline as well as somewhat overwhelmed by the lockdown covid experiences.

A thought came while watching the end of the film: what would Jesus think about Sandra Pankhurst? Jesus would have found this film very interesting. After all, he did not live very long after those meals where he went to dine with the prostitutes and tax collectors so did not know how they turned out. He did have high hopes for them. He would have been very impressed by the lows and highs of Sandra Pankhurst’s life.

(There is an informative Wikipedia entry on Sandra Pankhurst, background, Catholic connections, the downs and lows, her achievements.)

WALKING WITH HERB

US, 2021, 110 minutes, Colour.

Edward James Olmos, George Lopez, Kathleen Quinlan, Jessica Medoffgh, Jonathan McClain, Billy Boyd, Christopher McDonald, Tammy Lee Santi Meyer.

Directed by Ross Kagan Marks/

The title which sounds pleasantly innocuous. And the IMDb labels as a comedy. Which is a bit of a surprise – although there are comic moments, of course, this is a film with far more serious intentions. In fact, it is a faith film.

In recent years, faith films seem to have been moving beyond particular churches, many of them without any reference to the church scenes or scenes in a church. This is one of those films. However, it is a film where characters believe in God, some with great devotion, others experiencing sudden deaths and anguish, railing angrily against God.

And, even more, this is one of those films (and we remember that back in the 40s there were a number of movie angels coming to earth, especially Clarence in It’s a Wonderful Life) where God actively intervenes in someone’s life, sending a guardian Angel to challenge and accompany.

A word of warning: this is very much a golf film, spending a great deal of running time on golf links, close-ups of shots, success and failures, the accompanying crowd, the media. Which means that if you are not a golf fan, you might have to make a serious act of the will to persevere in watching all the golf! The title refers to walking on golf links as well as the spiritual accompaniment in life.

The focus is on Joe, a successful banker, happily married to Sheila for many decades, and a daughter who is enterprising in charity and education, but having suffered the pain of unexpected deaths. The Joe, God is to blame. For Sheila, there is a confident faith in God. The couple is played by veterans Edward James Olmos and Kathleen Quinlan. The screenplay was written by Mark Medoff, writer, director, responsible for such films as Children of a Lesser God.

And, the important question, who is Herb? Well, he is in middle age, perhaps a touch later, dressed in outlandish relaxing clothes, riding his bike, a divine emissary, with more than a word to the wise. His played by George Lopez.

His way of drawing Joe out of himself is through golf, some local challenges, Herb giving technical advice, and, if this is not miracle enough, urging Joe to go into a national championship, playing against the best, huge prize money which Joe would hope to give to his daughter.

And, so we go on the various links, shot by shot, Joe playing off against the champion and winning, further teeing off, and, finally, a play-off against Scottish Archie Borthwick (Billy Boyd and memories of the Lord of the Rings), friendly negotiations with his caddie-coach, Christopher McDonald, and the question of whether Joe and Herb will reach their objective. And some renewed faith in God.

For those who accept the basic premise of God’s Providence, a faith entertainment. For those who do not accept it, they may be caught up in the humanity of the characters – and, of course, the golf.

1. Faith film, a religious film, in the broadest sense? Not associated with church or churches? But, belief in God, criticisms of God?
2. The New Mexico sitting, the comfortable family, the bank, homes, daughter’s charity work with children, the golf links? The musical score?
3. Audience accepting divine interventions in the world? Or not? How plausible?
4. Joe, his story, good man, relationship with Sheila, the years, his work at the bank, his staff, his Jewish associate? The deaths, the impact, his grief? His anger against God, crying out and railing against God? The contrast with Sheila and her sadness, grief but acceptance?
5. The introduction of Herb, eccentric, his bike, the touch of garish clothes, his manner? The encounter with Joe? The audience realising that he was a divine emissary? A contemporary Angel, guardian? Guide and protector?
6. The interactions with Joe, Herb knowing things, drawing on his long experience intervening? The effect on Joe? That Joe should have a special mission? And his puzzle as to why he should be chosen?
7. The film as a golf film, Joe and his experience in the past, liking to play golf, on the links, herb caddying, giving advice, urging him on? Wanting him to be competitive? Wanting him to go in the national competition? Joe and his reaction? Sheila and her reaction? Their daughter?
8. Joe, the golf matches, the film audience on the links with so much of the film, depending on their interest in and knowledge of golf? The match with the champion, the crowd, the media and their comments? Joe and his success? The badtempered loser?
9. Joe, his qualification to go into the major competition? The various matches, his manner, Herb and his presence, advice, knowledgeable caddy? Sheila and her watching? His daughter? The children?
10. The competition with Archie Borthwick, the young Scotsman, his manner, his wife, hearing-impaired and her sign language? Encouraging him? Going round the course, skills, climaxes, difficulties, the buildup to the final holes? The result?
11. Joe, sense of achievement, acknowledging Herb, sense of the presence of God? Bonding with Sheila?
12. Archie, his wife, the winnings, his donation, Joe giving it to his daughter?
13. A happy, faith-ending all round?

BODIES, BODIES, BODIES

US, 2022, 93 minutes, Colour.

Amandla Stenberg, Maria Bakalova, Rachel Sennot, Chase Sui Wonders, Pete Davidson, Myha’la Herrold, Lee Pace, Conor O'Malley.

Directed by Halina Reijn.

The title is, of course, enticing for those who want some kind of thriller, possibly with horror overtones. And, in fact, something of this does happen. However, this is very much a story about young twentysomethings, seemingly written by twentysomethings (although the director was in her 40s making it), using the vocabulary of twentysomethings (with its very limited vocabulary and exclamations).

Which means that there is a very limited appeal despite the title.

The film seems to have more than an eye on Agatha Christie’s Ten Little Indian/And Then There Were None. A group of young people assemble on an island on a very stormy night, some not invited but gatecrashing. They play a game of Bodies, Bodies, Bodies, with the chosen victim and everybody trying to work out whodunnit. So far, so ordinary. But, then the host is found with his throat slit. And the suspicion is on the older boyfriend who has accompanied one of the women. When he acts suspiciously, he is attacked with an axe. There are three more deaths, of the young women, leaving only the two who introduce the film, a wealthy heiress with mental and drug problems and a protégé in the beginning of a lesbian relationship.

The solution, in this context, is more than corny. However, there is a certain cleverness in the concept and would have been interesting to see what Agatha Christie would have done with it.

The film has a strong enough cast, Amandla Stenberg has appeared in substantial films. Maria Bakalova was introduced to cinema in the Borat Subsequent Moviefillm. The first victim is comedian, Pete Davidson. The second is Lee Pace.

The whole thing is not to be taken seriously – although is presented seriously enough, with touches of satire. But, maybe that is not enough, especially with all the characters having very low emotional intelligence quotient, very low likability quotient, especially the hysterical Alice (who we might have hoped had been dispatched earlier!).

It may be destined to be a cult film in the future. But, as someone remarked, how much do you really want to hang out with a bunch of partying gen z cliches?

UNDER COVER

Australia, 2022, 88 minutes, Colour.

Directed by Sue Thomson.

No, despite the evocative title, this is not an espionage drama, nor is a story of a police agent embedded in a criminal gang. However, the filmmakers do have a point in calling this film Under Cover even though it is about homeless women in Australia. The narrative makes the point that many of these women try to avoid being in the public eye in their homelessness, that they provide for themselves, despite the deprivations, under cover.

It comes as something of a surprise, no, even as a shock, to be informed that the growing number of homeless people in Australia are women over the age of 50. Most audiences, city audiences, have become used to seeing people sleeping out on the streets, but they have been men. Now we are informed, and are shown, a group of homeless women.

Documentary maker Sue Thomson has a sympathy for her range of women. And this is reinforced by the rather quiet narrative voice-over by actress, Margot Robbie.

In one sense, once we realise what the topic is, the structure of the film is as expected. But, the range of characters mean that we have to expect the unexpected. 10 women have been chosen for the film, all over 50, all having the experience of homelessness, telling the story of how they had to deal with it, some failures, some success.

For those wondering whether they should see Under Cover, particularly recommended is the two-minute trailer available on YouTube, a brief and very telling introduction to the range of women.

Particularly striking is First Nations author, Claire G Colman, her story, her writings, addressing women’s groups, a strong voice. Then there is the elderly lady who found herself without a home at the age of 84, the camera keeping company with her, going for walks, listening to her, and her philosophy of not complaining but that life must go on. There is a German migrant, cut off from her family at home, living in her car for three years. There are issues of mental health, bipolar. There are women whose marriages fail, who have no career to fall back on, and who, suddenly and without anticipation, find themselves stranded and homeless. Some have accommodated to life and have set up a van, their home rather than a house (as we saw very vividly with Frances McDormand’s character, Fern, in Nomadland.). In fact, quite number of the women have to rely on their cars, not just for transport, but for living in.

There is a matter of factness about the way the women speak about their lives, the sudden shocks of homelessness, the hardships, financial difficulties, finding ways to cope.

It is documentaries like this that contribute to a challenge to our awareness of social justice in Australia – especially social justice, equality, for women, as here, especially over the age of 50.

EVERY LAST ONE OF THEM

US, 2021, 82 minutes, Colour.

Paul Sloan, Jake Weber, Taryn Manning, Richard Dreyfuss, Michael Madsen, Mike Hatton, Mary Christina Brown, Claire Kniaz, Hudson Garland, Brian Hayes Currie.

Directed by Christian Sesme.

There is an opening quotation about vengeance. And, with the title, it is clear that this is a small budget, brief American action film focusing on vengeance. Paul Sloan plays a father who is in search of his daughter. He has a mysterious action background, keeping him from home, alienating him from his daughter. He entrusts her to a friend, Michael Madsen, but she leaves and is out of control.

The film opens with the determined hero, walking into a town, going into a bar, getting into a fight, taken by the town boss, interrogated by the police and to find the surest sympathetic and letting him go.

The film offers the background to the town, the financial boss, played by Jake Weber and his powerful sister, Taryn Manning. At the core of the disappearance of the young woman is his son, played by Hudson Garland, an addict, disreputable, his father’s tough bodyguards keeping an eye on him. Eventually, we realise that the daughter died in his company, overdose, but not quite dying and buried in the mansion lake by the father.

There is lots of action, fights, confrontations, an inveterate hero, overcoming wounds and defeat, outwitting his pursuers, eliminating them. However, he respects the town sheriff, Mary Christina Brown, and her deputy.

Meanwhile, in the background, half financial deals going on in the town, the purchase of land from Native Americans who agree, a vast amount of water underlying it, waiting for state affirmation which has been promised.

Also in the background and then to the foreground is Richard Dreyfuss is a as a veteran CIA manager, trying to keep control of the avenger as well as the town boss and the manager of the financial deals. It all comes to a head – in violence, especially through Richard Dreyfuss.

(This is the kind of action film that one might expect to have grows Willis in it, the many, many films he made over the 2010 is and into the 2020s – he could have been the Richard Dreyfuss role!)

Remembering Martin Wilson MSC

John Bosman led the ‘Sharing of Memories’ liturgy for Martin. As expected, there were special memories shared. These included his tennis and squash skills, his kindness, and stories of being snagged in a river with crocodiles. There were lovely tributes from his students on Martin’s gift as a teacher. Paul Jennings mentioned how grateful he was that Martin taught philosophy starting from the present rather than the past.

Noel Mansfield sent this memory on the day after Martin’s death. ‘A couple of days ago I went in to see him and pray with him. I decided to say a rosary and after a while, a wave goodbye. I completed the Rosary and some other prayers. Shortly after that Peter Guy arrived and joined us praying with him and close friend, Judy Wolff. Peter had gone down to pick her up at the tram stop nearby. I would like to share this with the Province to let them know of Martin in the final days. He knew he was dying and he accepted it. He did not like being in a nursing home. Cheers to Pauline and the rest of the staff  who were very good for him, to myself and other MSC friends.

Leo Wearden presided and preached at today’s funeral. A eulogy was delivered by Judy Wolff, the daughter of Keren Calvert. Keren was Martin’s secretary for 27 years. After lunch, the cortege made its way to St Mary’s Towers. 

In memory of Keren.

Leo's homily.

We gather this morning with a sense of loss and sorrow at the death of someone we have admired and loved but also celebrate all that Martin achieved through a long and dedicated life.

I want to pay tribute to Martin for his part in the missionary endeavour with the Aboriginal people of the NT that has gone for well over a century and what he has called the great saga that we are involved in that is as he says the great force stemming from the life, death and resurrection of Christ the Lord.

Born in 1930. Professed as a Missionary of the Sacred Heart 1949. After ordination in 1955 Martin completed his doctorate in philosophy at the Gregorian University. He taught philosophy in the seminaries at Croydon and Canberra and while teaching philosophy at Holy Spirit Bomana PNG he studied social anthropology at the UNPG and completed his Master thesis.

In the mid 1970’s almost 50 years ago I first encountered Martin as we studied his metaphysics course at Croydon. Metaphysics was not so easy for me but Martin also shared his love of literature and poetry and learning and his recent and developing involvement in the MSC ministry with the Aboriginal peoples of the Diocese of Darwin and the new ways that we were being asked to walk in this relationship. He also kept his door open and on more than one night I would find myself drinking his brewed coffee and sometimes with a drop of whiskey in hand learning of our works in PNG and the NT.   

The YTU invited Martin to present a new course on Australian Aboriginal society. He presented the complexity of Aboriginal kinship, marriage arrangements, ritual and the richness of the religious life of Aboriginal society. We were introduced to the writings of anthropologists and scholars of Aboriginal societies a number of whom he was in contact with.

By way of preparation for the course Martin had conducted a review of MSC missionary work in the NT. He had then spent some months living alone in a caravan at Peppimenarti in the Daly River. Peppi was in its beginnings as one of the new movements of Aboriginal people in the NT who were leaving the larger mission communities and returning to their homelands.

As well as lecturing at the YTU Martin established the Nelen Yubu Missiological Centre at Nauiyu Daly river. Its aim as described on the cover of its publications was to mediate between anthropology and similar disciplines on the one hand and the richness of Aboriginal culture on the other with the emergence of a church both truly Aboriginal and truly Christian.

In May 1978 in a series of papers presented at a seminar in Alice Springs and later published in a booklet titled New Old and Timeless Pointers towards an Aboriginal Theology Martin was buoyed by the recent encyclical Evangelii Nuntiandi. it may not be very surprising, he wrote, that the Church finds it should be respecting the art, dance, linguistic idioms of a people she is bringing the gospel to.

But he described it as a real shock to read there what the new attitude was, in the teaching, towards those who practise non-Christian religion.

While accepting that the Catholic Church was still tangled in past policies and attitudes in our relationship with Aboriginal peoples  Martin took hope in this immense change in official attitudes and wrote we do hope to find the way, the good way in which the Gospel of Christ will be heard with the right accent in Aboriginal ears, will satisfy Aboriginal minds and will call for a response in the deepest parts of Aboriginal hearts and referring again to Evangelii Nuntiandi he wrote that his special focus was to look at the nature and genius, the richness of what he called traditional Aboriginal religion.

Shortly after that on 29 November 1986 in Alice Springs Pope St John Paul II himself was to deliver his famous address to Aboriginal people:

The Church invites you to express the living word of Jesus in ways that speak to your Aboriginal minds and hearts. All over the world people worship God and read his word in their own language, and colour the great signs and symbols of religion with touches of their traditions. Why should you be different from them in this regard, why should you not be allowed the happiness of being with God and each other in Aboriginal fashion

For just on 24 years Martin and Karen Calvert persisted in publishing the periodical Nelen Yubu. This was a truly remarkable work and still remains a wonderful resource for anyone ministering today in Aboriginal communities. From 1978 to 2002 It gave voice to those who were exploring and walking the good way in their ministry with Aboriginal people. The number of people from different experiences and from around the country who contributed is remarkable. Women and men, Catholic and non-catholic have written on a vast array of matters related to this ministry. Though few in comparison a source of hope and particular value were the Aboriginal voices that also were beginning to contribute.

In early August Martin managed to complete a long held desire to have written up his notes on the months he spent at Peppimenarti in the latter part of the wet season of 1976. He was very pleased to be able to send copies with me back to the NT just 6 weeks ago. Titled Early Days at Peppimenarti Homeland Village he includes Harry Wilson’s report on “going home” a collection of photos of the families taken almost 50 years ago of the families involved and the story that Martin often repeated of the group of young girls who reminded him that they were Catholic and were entitled to request Mass. His work was mostly to do with writing and in the world of ideas but Martin continued to ask after these women and members of the Jimarin family as they did after him and though most of them have now passed on the Jimarin sisters sent their condolences in recent days.

Of special significance for Martin in recent weeks was a visit to him at St Joseph’s by Regina Wilson wife of Harry and their daughter. Martin rang to say how touched he was by the short visit embrace and well wishes. I was amazed as well and it was one of those moments when one gives thanks for the wonders that God works. The relationship between the Church and the Wilson family at Peppi has been difficult and virtually since Martin left in the late 1970’s no priest has been allowed to celebrate the Sacraments there. Recently when I asked Regina how she found her way to visit him she indicated that she was presenting a show of her art works in Sydney but had been to the Monastery before many years ago to visit John Leary.

It was a reminder again of the invitation that has been offered by Indigenous people to honour the value that they place on the relationships that they invite us into.

Patrick Dodson rang a few weeks ago on learning of Martin’s illness and asked me to pass on his best wishes which I did and to ask Martin to get the place ready for us with all those other missionaries who have gone before.

As we continue with the Mass to which Martin was so faithful we give thanks for his good life and pray that he now enjoy the peace that the Lord gives and that he continue the good road to eternal life.

As has been said by Indigenous leaders on many occasions that on the good road we not walk in front of the Indigenous people in their spiritual journey and spiritual development but that we walk together as brothers and sisters in Christ and that we be prepared to allow Indigenous Catholics to develop and lead Christian ministry in their way

With appreciation to Ben Fleming MSC, Kensington for photo and the text of Leo's homily

50 Years Anniversary of the death of former MSC Superior General, Patrick McCabe.

Patrick McCabe was born at Yamba, New South Wales, and later moved to Concord. On leaving school he joined the staff of the then Catholic Press and in 1915 entered. After profession and studies at Douglas Park in Kensington, he proceeded to Rome for further studies.

He was ordained and then obtained his Doctorate in Canon Law, one of the earliest Doctors of Canon Law in Australia. He taught Moral Theology and Canon Law at Kensington for the next 10 years, five which he was Prefect. In 1934-1947 he was canonical adviser to the Apostolic Delegate and in 1939 superior at Kensington.

In 1947 he was elected Superior General, the first Australian to hold this office. After 11 years, you’re-health forced his retirement. He returned to Kensington where, in spite of his ill-health, and was frequently approached for advice and counsel.

During the 1937 General Australian Synod, Father McCabe and Msgr Nevin (President of St Patrick’s Seminary, Manly) were effectively responsible for the famous individual decrees, which guided the Australian church for the next 25 years.

6/07/1898 to 28/ 09/72.

From the obituary by Jim Littleton MSC

Photos from the OLSH General Chapter, Rome, September 2022

Re-election of Sister Marife, Philippines, as Superior General.

Start of the election, Chris Chaplin MSC

General Councillors elected:

Sr Madeleine Ngoy (Congolese)  - Africa Province

Sr Margaret Bob (PNG) – PNG Province

Sr Eufrasia Wea (Indonesian) - Indonesia Province

Sr Fabilene Santo Castro (Brazilian) – Brazil Province

With the exception of Madeleine, all are new

Meeting: Philippa

Meeting: Lorraine

Meeting Gerardine.

And meeting with a friend…

Photos from the OLSH website, Daily Chapter Archives

DC LEAGUE OF SUPERPETS

US, 2022, 105 minutes, Colour.

Voices of: Dwayne Johnson, Kevin Hart, Kate MacKinnon, John Krasinski, Vanessa Bayer, Natasha Lyonne, Diego Luna, Marc Marron, Keanu Reeves, Thomas Middleditch, Ben Schwartz, Olivia Wilde, Maya Erskine, Yvette Nicole Brown, Jemaine Clement, John Early, Alfred Molina, Lena Headey, Dan Fogler, Busy Phillips, Keith David.

Directed by Jared Stern.

An animation comedy adventure which will probably entertain audiences of most ages.

All DC Comics fans, and audiences for comics, television shows, movies of Superman, Batman, Wonder Woman, Aquaman, Green Lantern, The Flash, Cyborg, will have relished the adventures of the Justice League.

However, there is a revelation of a well-kept secret in the opening sequences here. We go back to the eruption of the planet, Krypton. Jor-El and his wife have plans to send their young son in a star vehicle through space and time to earth. That we knew, of course, but, the baby boy has a pet dog, Krypto, who leaps at the last minute into the starship, accompanying the baby to earth, then a glimpse of the adult Superman and his now grown-up pet and friend.

And, as if that is not shock enough, it is then revealed that a lot of the feats achieved by Superman are really achieved by Krypto. What is happening to our DC world? Well, the first problem is that Clark Kent/Superman is in love with Lois Lane and Krypto is more than jealous, sulking, wanting to disrupt the romance.

But, there is a lot more to the film – bright colour, plenty of action and special effects, reminders of John Williams themes, the use of well-known songs like A Summer Place and What the World Needs Now… And some witty quips starting with Krypto and fans and offering them spots on their faces, a Pawtograph.

Well, the Justice League does turn up, familiar in their style, though a very morose and introverted Batman. But, they seem to be of little use because Lex Luthor has commandeered alternate kryptonite and is on the verge of taking over the world. However, his guinea pig protégé, Lulu, has power ambitions of her own. But, at the moment, she is trapped in a cage in a vet precinct, along with a number of discarded pets whose spokesperson is Ace, sometimes down in the dumps, wanting to escape (and his sad back story later revealed). Ace encounters Krypto, a certain rivalry, a certain friendship, and, eventually, a variation on the Justice League, the League of Superpets who confront Lulu and Lex Luthor. And have to rescue the imprisoned Justice League.

Youngsters of all ages will enjoy the shenanigans. Youngsters who have not yet seen the movies of the DC world will obviously be wanting to watch them. Adults who have grown up with the DC movies will enjoy these animated variations of the heroes and heroines. And, parents and grandparents who have gone with the younger generation will probably find much to enjoy.

And, a marvellous voice cast, Dwayne Johnson and Kevin Hart teaming up once again as the two dogs, Kate MacKinnon as the diminutive villain, Lulu, Keanu Reeves as Batman, Olivia Wilde as Lois Lane and John Krasinski as Superman.

1. An entertainment for fans of the DC world? By animation? Via a focus on the pets of the superheroes, especially Clark Kent/Superman? Tongue in cheek imagination, writing, characterisation, spoof and satire?
2. The style of the animation, bright, colourful, spoof exaggerations? Action, special effects? The musical school, the allusions to John Williams’ score? Popular songs?
3. The voice talent, the wide range of popular stars, character actors?
4. The revelation about Krypton, Jor-el, his wife, the young baby, fond of the dog, the planet erupting, the vehicle to earth, installing the baby, Krypto getting into the vehicle, Superman’s best friend?
5. The shift to the present, Superman’s home, his fondness for Krypto? Seeing him in action throughout the city, saving the day – but relying so often on Krypto to save the day? Lois Lane, the Daily Planet, work as a journalist, Superman in love with her? Her strong character? Krypto and his jealousy?
6. Lex Luthor as villain, his plans, to control the world, the special kryptonite, his associates in the laboratory, especially Lulu? Putting his plans into action, the confrontation with Superman?
7. Krypto, jealous, wandering the city, the pawtograph, the encounter with Ace? Ace, his background, in the vets home for pets, the other characters and their voices, Turtle, Pig, bird…? Lulu and her arrogance? Acce and his attempt to escape?
8. Lex Luthor, the challenge from Lulu, her abilities with the kryptonite? Capturing Superman? The arrival of the other men members of the Justice League, their characteristics, comments, morose Batman? No pets? Their all being imprisoned?
9. Ace, the good advice to Krypto, personality advice, encouragement? Krypto becoming the hero? Advice about Lois Lane?
10. The pets, their collaboration, their being allotted to each member of the Justice League? The stunts, affecting the escape?
11. The confrontations with Lex Luthor and his being defeated? The confrontations with Lulu, her being vanquished?
12. The restoration of law and order, Krypto remembering his origins (and the comic parallel of his father on crypt on like Jor-El, Dog-El)?
13. All the pets discovering their inner selves, their powers, having the chance to exercise them?
14. And order restored?

PINOCCHIO

US, 2022, 104 minutes, Colour.

Tom Hanks, Cynthia Erevo, Giuseppe Battiston, Kyanne Lamaya, Luke Evans. Voices of: Benjamin Evan Ainsworth, Joseph Gordon Levitt, Lorraine Bracco, Keegan-Michael Key, Jaquita Ta'le.

Directed by Robert Zemeckis.

The tale of Pinocchio, based on the 19^th century stories by writer, Carlo Collodi, has been a popular fable on the cinema screen. It was one of Walt Disney’s earliest animation films -one of the most admired, with an Oscar for the musical score and, especially, what became Disney’s theme song for its logo on all its productions, When you wish upon a star.

There was an Italian version in 2019 with Roberto Benigni as Gepetto, keeping to the details of the story, but sometimes a rather grim interpretation.

This version is a continuation of Disney’s policy of making live action features from their popular animation films. There have been varied reactions to these live-action versions from condemnation to praise. A great deal of the criticism comes from adults who enjoyed the animated versions in their childhood. This film has been directed by Robert Zemeckis, who directed Tom Hanks to an Oscar in Forrest Gump. He also made the combination of live action and animation in Who Framed Roger Rabbit? He also made films with digital capture, Polar Express and Beowulf.

Tom Hanks, resembling Gepetto in the original, is an old man, owner of many clocks in memory of his dead wife, making a wooden puppet, Pinocchio. He is observed by Jiminy Cricket (voiced by Joseph Gordon Levitt) who sings the key song and is designated by the Blue Fairy to be Pinocchio’s conscience. Gepetto has wished upon a star and the Blue Fairy (singer Cynthia Erevo with her own British accent) also singing the song.

The film follows the adventures of Pinocchio, going off to school, Jimmy Cricket sleeping in and having to catch up with Pinocchio who has encountered Honest John (an amusing voiced by Keegan Michael Key, singing High Didlee Dee) who sells Pinocchio to Stromboli, the manager of Circus, so that Pinocchio will be famous (and singing the of song about having no strings). There is a sympathetic member of the Circus, Fabia, who manipulates a sympathetic puppet, Sabina.

The story which caused some alarm in the early film is that where Pinocchio is taken with the young boys to Pleasure Island with all kinds of promises but, they are turned into donkeys. Of course, there are episodes where Pinocchio doesn’t tell the truth and his nose gets longer and longer!

Jiminy Cricket to the rescue, Gepetto selling all his clocks and buying a boat to search for Pinocchio,, the threat of a sea monster – but, a happy ending (except, rather surprisingly, that Pinocchio remains are but rather than becoming a real boy).

An entertainment – but the film received many hostile responses, complaining about comparisons with the original and Disney’s making live action features from the animation films.

1. A beloved story? Told and retold? The Disney classic? Other film versions? Live-action?
2. Audience familiarity with the story, with capture Petro, with Pinocchio, with Jiminy Cricket, with the Blue Fairy, Honest John, Stromboli, Pleasure Island and the boys turning into donkeys, the sea monster?
3. The musical score, the songs from the classic Disney film, further songs?
4. The blend of live action with animation and puppetry?
5. The introduction with Jiminy Cricket, his voice like the 1940 original, his appearance, When you wish upon a star, Gepetto’s house, watching him work with Pinocchio? His further interventions, with the Blue Fairy, his being appointed Pinocchio’s conscience, sleeping in and having to chase him, the encounter with Honest John, trapped under the jar, eventually out, finding Gepetto, at the Circus, with Fabiana and Sabina, Pinocchio with the boys, his intervening, his conscience philosophy, Brave, honest, and his participation in the rescue from the sea monster?
6. Pinocchio, the puppet, Gepetto remembering his wife, his many precious clocks and not selling, the wishing star, his wish? Sleeping? The Blue Fairy, her song, the light and power, Pinocchio coming alive? Echoing her words, learning how to speak? Jiminy Cricket as his conscience?
7. Gepetto, awake, the delight, wanting the best for Pinocchio, for his going to school, the books, Pinocchio on his way, the encounter with Honest John and his bullying his assistant, the song, An Actor’s Life for Me, persuading Pinocchio he wanted to be famous, the plan to sell him to Stromboli? The confrontation with Jiminy Cricket?
8. Stromboli, buying Pinocchio, the performance, the song about having no strings? The audience? Acclaim and throwing the coins? The encounter with Fabiana, the puppet Sabina, communicating through her? Her wanting to help Pinocchio? Stromboli, his comeuppance, arrest? Fabiana wanting to have her own circus?
9. Pinocchio, the group of boys, the coachman, his song, the going off together, his friend, the drinking, the potion, turning into donkeys?
10. Jiminy Cricket, the escape, the encounter with Fabiana? His telling the truth, losing his ears and tail?
11. The return, Gepetto having sold all his clocks despite his reluctance, buying the boat? Pinocchio and Jiminy Cricket searching for him? Finding him? The threat of the sea monster? The fights, the antics, their being swallowed? Pinocchio setting the fire with his wooden feet, the monster opening its mouth, the escape, Pinocchio and the speed with his feet, safe on land, fleeing into the cave?
12. The happy reconciliation? The variation from the original that Pinocchio does not turn into a real boy?