THE LAST COMMAND

US, 1955, 110 minutes, Colour.
Stirling Hayden, Anna Maria Alberghetti, Richard Carlson, Arthur Hunnicutt, Ernest Borgnine, J. Carroll Naish, Virginia Grey, Jim Davis, Otto Kruger, Russell Simpson, Slim Pickens.
Directed by Frank Lloyd.

The Last Command is the story of Jim Bowie before the Alamo. He is married to a Mexican, is a Mexican citizen, a friend of General Santa Ana. When he encounters discontent in Texas, he has to take sides even though he disagrees with William B. Travis (Richard Carlson). However, he and Travis fight together with Davy Crockett (Arthur Hunnicutt) at the Alamo.

The film climaxes with the Battle of the Alamo, seen in John Wayne’s 1960 film The Alamo as well as the 2004 version. Richard Widmark played Bowie in John Wayne’s film. He was played by Jason Patrick in the 2004 version. Stirling Hayden is a solid presence in this film. Anna Maria Alberghetti, opera and musical theatre star, is the love interest. Ernest Borgnine won his Oscar this year for Marty. J. Carroll Naish gives a more sympathetic portrayal of General Santa Ana than is usual.

The film was directed by Frank Lloyd who began directing in 1914. This was his last film. He won two Oscars for best director, 1929 for The Divine Lady and 1933 for Cavalcade. He also directed the Charles Laughton- Clark Gable Mutiny on the Bounty.

1.Another western on Texas and the Alamo? Its distinguishing features? The focus on Jim Bowie?

2.The Texas settings, Mexico and Texas? San Antonio? The Alamo? The battle sequences? The musical score? Anna Maria Alberghetti singing?

3.Audience knowledge of Bowie, Davy Crockett, William B. Travis, General Santa Ana? Of the difficulties with the Texans and the Mexicans? The battle with Mexico? The Alamo? The deaths of the American heroes?

4.Stirling Hayden as Jim Bowie, the strong silent type, a Mexican citizen, married to a Mexican, his scenes with Santa Ana and their friendship? In town, the discussions of the locals about the Mexicans? The clash with Travis? The fight with Mike Radin? Some plotting to kill him? Consuelo and her warning?

5.Bowie, his interest in Mexico and Texas? His strong character? The death of his wife and children? His discussions with the Americans? The build-up to the Alamo?

6.Travis, lawyer, the concerns about the imprisonment of lawyers in Mexico? The denunciation of Santa Ana? His rousing speeches? Wanting to go to war? The others who supported him?

7.Consuelo, and her uncle, the years passing, her attraction to Jim Bowie? To the young man, the romance?

8.San Antonio, the build-up to the fight with Santa Ana, the discussions with Bowie, Santa Ana and his strong stance?

9.The arrival of the men in San Antonio, the arrival of Davy Crockett? Travis and his command? The women, Mrs Dickinson wanting to stay, Consuelo staying?

10.The scenes of the battle, the injuries, the deaths of Bowie and the others?

11.The future of Texas, its becoming a state of the Union, moving away from Mexico? A significant event in American history?

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL

US, 2008, 123 minutes, Colour.
Harrison Ford, Cate Blanchett, Karen Allen, Shia La Beouf, John Hurt, Ray Winstone, Jim Broadbent.
Directed by Steven Spielberg.

Once upon a time (well, 1981 to be precise), the world discovered a new hero who indulged in jaw-dropping adventures but always with a genial tone and the advantage of being the embodiment of good against evil. Steven Spielberg, working from characters invented by Star Wars creator, George Lucas, created an icon. Harrison Ford wowed everyone as Indiana Jones. Two sequels later, everyone knew Indiana Jones with his characteristic hat and whip and John Williams’ rousing score.

It does seem odd that it took Spielberg and co twenty years to come up with another sequel, especially since Harrison Ford had a big disadvantage. At the time of filming, he was 65.

One way out of this problem was to place it centre screen, so in this new adventure, there are a lot of references to age (he is called ‘gramps’ and his age is guessed at 80!). There are also lots of references to
the past and he is not as agile as he used to be. Karen Allen turns up again after 27 years and has a surprise for him in the form of young Shia La Boeuf, though his identity will surprise no one except Indiana Jones himself.

The new adventures take up the spirit of the old except that we are in the 1950s, nuclear tests are taking place in the American desert and, surprisingly, a group of Russians turns up to take over the base. But, their leader, Irina Spalko from Ukraine, described as Stalin’s favourite scientist though her field is more psychological than physics, is more interested in some relics which came from Roswell and could lead to a close encounter of yet another kind. She is played, broken English accent and all, by Cate Blanchett making a claim to be a mid-20th century Fu Manchu (with some skills in fencing and martial arts as well).

The search for the El Dorado where the crystal skull comes from takes them to the jungles of Peru and a hidden city (which reminds us that there have been several National Treasure movies recently). On the way there is a long and adrenalin-pumping chase with swordplay on the back of speeding vehicles and Mud (La Boeuf) swinging through the trees like Tarzan.

John Hurt is in the cast as a bewildered professor and Ray Winstone as a double (or triple) agent.

Box office suggests that an eager world has been waiting a long time for the new Indiana Jones adventure. It will be interesting to see whether it is more than nostalgia from older audiences or whether he captures the younger moviegoers.

1.The popularity of the Indiana Jones films? The stories, adventures, the exotic nature of the action, the personality of Indiana Jones?

2.The effect of the films in the 1980s? The twenty-year gap for this film? Jokes about age, Indiana Jones as eighty, old man, Gramps? His strength, the near-misses and his miscalculating some of his action …?

3.The American action, to South America? The American deserts and the nuclear tests? The jungle, the trees, the falls, the monkeys, ants?

4.The special effects for chases, fights, explosions, the waterfalls, the ants, the kingdom of the aliens, the crystals, the aliens themselves? The overall impact?

5.John Williams’ rousing score and its familiarity?

6.The setting, the 1950s, the clash with the Russians, the Cold War? Russians in the United States, the communist scare? The nuclear testing? The Russians and the taking over of the American station? The search for the box, Indiana Jones and Mac? The Roswell connections, the aliens? Indiana Jones and his past friendship and working with Mac? The betrayal? Mac and the bet about getting out of the problem, going into action, the fights, the awkwardness? Using the gunpowder as a magnet to find the box?

7.Irina, Cate Blanchett, her look, accent, from the Ukraine? Stalin’s favourite scientist, psychic? In command? Her management of the soldiers, of her henchmen? Her power for reading minds – but Indiana Jones being difficult? Her goal with getting the crystal skull?

8.The university, Indiana Jones and his lectures, the grilling by the FBI and their suspicions, especially because of Mac? Indiana Jones’s academic friend, his being fired, the friend’s resignation?

9.The letter from Marion, Mutt and his bringing it to Indiana Jones, on the bike like Marlon Brando as The Wild One, the train at the station? The FBI shadowing them? The letter from Marion, the document from Ox and the symbols?

10.The trip to South America, showing on the map, going to Peru? Ox and the effect of the skull on him, losing his mind, mesmerised? Milton’s poetry and the quotes? The maps, Ox drawing? Marion and her presence, the truth about her relationship with Indiana Jones, Mudd as his son? Her marriage afterwards, Indiana Jones not keeping contact? The shock for Mudd? The explanations?

11.Irina, going to South America, with her henchmen, trying to get the knowledge from Ox?

12.The expedition, the long sequence of the chases, the quicksand and the help (and Ox getting help from the Russians)? The serial atmosphere and cliff-hangers? The trucks, the fights, the skull and Ox holding it, losing it, getting it back? The rapier fight between Mudd and Irina? The ants, Mudd and his swinging through the trees like Tarzan?

13.Irina, her persistence, following? Her skills, her martial arts skills?

14.Marion, driving over the falls, the three falls to get to the kingdom, their survival?

15.Going into the kingdom, the various keys, the obelisk, the chambers? The series of statues of crystal? Restoring the head?

16.Mac, leaving clues for Irina, being a triple agent, his greed in collecting the gold, his death?

17.The skulls, the aliens from Roswell, close encounters, the statues uniting into one power, Irina and her wanting the knowledge, making the plea, being taken up by the aliens?

18.The escape, the hole, the water, getting to the surface?

19.The happy ending, the wedding, the happiness for Indiana, for Marion? Mudd standing by? Wanting to get Indiana’s hat? Ox and the academic friend happy at the wedding? The possibilities for more sequels …?

TWO LOVERS

US, 2008, 110 minutes, Colour.
Joaquin Phoenix, Gwyneth Paltrow, Vinessa Shaw, Isabella Rossellini, Elias Koteas, Moni Moshonov.
Directed by James Gray.

Joaquin Phoenix starred in two other films that director James Gray had in competition in Cannes: two crime thrillers, The Yards (2000) and We Own the Night (2007). Phoenix had to do tough in these two films. This time he is required to play vulnerable and he does so very well indeed.

The beginning and the end have his character, Leonard, contemplating drowning himself. Leonard is bi-polar and has recently come home to his parents’ house in Brighton Beach (the setting for Gray’s Little Odessa) and works in his father’s dry-cleaning store. His love is photography and he is quite expert at taking black and white pictures. What are his prospects in life?

Two events occur, one planned, the other not. The plan is that the business is to be bought by the Cohen family and Leonard’s parents think that their daughter, Sandra (Vinessa Shaw) would be a good match, a good Jewish match. The other event concerns Michelle (Gwynneth Paltrow), Leonard’s new neighbour who is wandering the hallway to get away from her shouting father. Leonard is smitten and the two become friends, especially as Michelle finds that she can talk to Leonard about her problems, especially her current affair with a married lawyer (Elias Koteas). Not only is Leonard a good listener, he goes out of his way all the time to help Michelle, going to dinner where she asks him to give his verdict as to whether the lawyer will leave his family for her, taking her to hospital in a crisis, looking after her.

In the meantime, Sandra, who had a crush on Leonard, is now in love with him.

Phoenix is a very good actor (when we think of his range from To Die For to Gladiator to Walk the Line) and makes Leonard a very sympathetic character, the audience very much on his side. And Gray makes us realise that there could be fairy tales in actual life as well as the hard and disappointing realities.

1.The title? Referring to whom: Leonard and Michelle, Michelle and Ronald, Sandra and Leonard?

2.The New York settings, Brighton beach, the streets and shops, the subway, the atmosphere of the suburbs? Apartments, interiors and exteriors? The contrast with Manhattan, the skyline, its style, restaurants? Score?

3.The issue of death: the opening, the focus on Leonard, his attempted suicide, in the water, his decision to live, the rescue? His being bipolar? The end, going to the water, wanting to kill himself, throwing away the ring? His decision to live?

4.Leonard in his life, age, in the institution, his mental condition, pills, slitting his wrists? Coming home, with his mother and father, their support? His room, the clutter? Coming out to the visitors, bright with the Cohens, friendly with David, the magic? Sandra and showing her the photos, his working in the dry cleaners but his love of photography, black and white photography? Sandra’s crush? Their going out for desert?

5.Leonard at work, his father running the dry cleaning business, seeing Michelle in the corridor, her shouting “Father”, inviting her inside, her looking over the house, their talking, easily, his parents watching?

6.Their friendship, on the subway, his pretending not to see her? In the train? Her opening up? His seeing Ronald and her being chauffeured? The phone exchange, the texting? His taking photos of her from his room? Going out to the club, the dancing, his vigorous dancing, her taking the ecstasy pill, her collapse, his waiting outside? The discussion afterwards? His going to the dinner, arriving early, having her cocktail? Ronald and his arrival, the discussion, his asking for Leonard’s help? His verdict about Ronald, the discussion on the roof? His being in love with her, willing to do anything for her, taking her to the hospital, home in the taxi, in the room when Ronald came, listening, his listening to opera? The break? Telling her of the plan, buying the ring, going on the Internet for the ticket? Waiting for her, her decision not to go? The effect on him? His mother and his leaving? The return? Going to the beach, the decision to live, the return to Sandra?

7.Michelle as a character, her work, the affair with Ronald, drug-taking, her wealthy background, in the hall, talking with Leonard, inviting him to the club, the ecstasy pill, the dancing? The dinner, the opera? Going to hospital, her pregnancy? Relying on Leonard? On the rooftop, his declaration of love, their embrace? Her decision to go away with Ronald after his divorce?

8.Ronald, Leonard seeing him, his affair with Michelle, going to the dinner, married, comparing Leonard with his son, going to London for two weeks, not knowing she was in hospital or pregnant, the visiting of the apartment, his finally getting the divorce?

9.Sandra, the Cohen family, coming to the dinner, her crush on Leonard, looking at his photos, The Sound of Music and her comments, wanting to go out, stood up, going to the house, the night, together with Leonard? The collage of photos of their outings? Leonard going to the bar mitzvah? The family coming to the New Year celebration, Leonard leaving?

10.The portrait of the Cohens, the family, wanting to be partners in the dry cleaning business, the plans, the discussion with Leonard’s father, the meal, the bar mitzvah and the celebration, the photos, the heart-to-heart talk with Leonard about his future?

11.Leonard, the effect, Sandra in love with him, his neglecting her, Michelle, the phone calls, making decisions for her, always at her beck and call, his sadness? His being thwarted? His return to Sandra?

12.Leonard’s decision to live, Sandra and her excitement?

WHAT JUST HAPPENED?

US, 2008, 107 minutes, Colour.
Robert De Niro, Bruce Willis, Sean Penn, Michael Wincott, Katherine Keener, Robin Wright Penn, Stanley Tucci, John Turturro, Kirsten Stewart.
Directed by Barry Levinson.

An unstartlingly amusing film. Well, the cast is quite striking and A List - but there really are a couple of startling scenes to do with a dog and blood on the camera lens!

Robert de Niro plays Ben, a harassed Hollywood producer, based on prolific producer Art Linson and his autobiography. Linson also wrote the screenplay. Ben is seen sitting at a preview screening of his latest thriller, Fiercely, starring Sean Penn. We see the climax of the film several times in different versions. This is the work of a temperamental British director, accent and all, played excellently by usual villain, Michael Wincott. The hard-headed studio head is Catherine Keener. Stanley Tucci turns up as a writer and John Turturro is a somewhat passive agent.

Meanwhile, Ben is preparing a film to star Bruce Willis. Bruce, unfortunately has grown a long beard and refuses to shave, indulging in verbal and violent tantrums.

As with Hollywood people, there are complicated family issues. Ben takes his two younger children to school and has therapy sessions about how to live apart from his ex-wife, Robin Wright Penn. He also takes a teenage daughter (Kirsten Stewart) from a previous marriage to school and accidentally discovers her relationship with an agent who has committed suicide.

The film reaches its climax in Cannes with a screening of Fiercely, a fiery speech by the director, Sean Penn in attendance – and some gasps and applause.

De Niro worked with Barry Levinson on another media, crisis and temperamental director film, the satire on American propaganda, Wag the Dog.

This is more of a smile film rather than laughs as we look at (an exaggerated?) expose of Hollywood troubles.

1.The popularity of films about Hollywood and film-making? As stories, exposes, humorous and serious?

2.The Hollywood settings, the homes, the emphasis on cars, cars on the freeway, studios, editing rooms, preview theatres, the psychiatrist’s office, the screen sets? The musical score?

3.The Cannes film festival, atmosphere, the Montee de Marches, the Lumiere Theatre?

4.The film within the film, Fiercely, the scenes, Sean Penn as the star, his being shot, rolling down the roof, the focus on the bald killers, the dog? The previous and the spattering of the dog’s blood? The editing room and the friendly dog? The Cannes film festival and the multiple shootings of the dog?

5.Ben, his life, his voice-over? The flashback, the preview, his watching the film, watching the audience, his assistant, watching Lou, the cards and reading them on the freeway, the difficulties? His ability to see the bright side, presenting matters plausibly?

6.The structure and the days, the times, always in a hurry, the appointments, the continuous phone calls, in the car, the pressures?

7.The various personalities in the film world: Lou and her tough attitudes, at the preview, the interview with the director, the issue of the recut? Going to Cannes, the premiere, her face, the reaction – and the irony of her getting the Oscar? Her staff and her treatment of them, the comments, the editor?

8.Jeremy, his arrival, the phone call, the British accent, the argument with Ben, his being on drugs, off, on again? Lou and her reaction to his tantrums? Ben and his attempt at support while trying to get him to change? The re-editing, the pleasant ending? His insulting speech at the Cannes film festival, the final ending shown?

9.Dick, as an agent, his clients, Bruce Willis, pampering himself?

10.Scott, his scripts, going to Ben, alternate producers, the script about the florist, Brad Pitt, his relationship with Kelly?

11.Ben and his family, Kelly, the separation, taking the kids to school, Kelly as pleasant, their talking, the discussion about the sofa, meeting the psychiatrist, wanting to talk about the now, helping them to be apart? Her relationship with Scott? Her phone call to Cannes? The red-coloured sofa?

12.The first wife, his daughter, taking her to school? Seeing her at the funeral, wearing the dead man’s tie, his shock at the affair?

13.The agent and his suicide, everybody’s comments, going to the funeral, Bruce Willis’s speech and his swipes, the reactions, the graveside, Dick and the accident, falling in?

14.Bruce Willis and the satire on himself and his screen personality? His raves, the reputation, his language, smashing everything? The long beard, refusal to shave it, the phone calls, at the funeral, the joke and his shaving half the beard?

15.The plans for the film, the issue of the beard, the studio orders? The director and his anxiety?

16.Ben and his stress, his imagination letting loose, smashing Scott into the car at the funeral?

17.Cannes, Sean Penn’s presence, the screening, the audience reactions, the applause?

18.The aftermath for Ben? A Hollywood story?

THE PALERMO SHOOTING

Germany, 2008, 123 minutes, Colour.
Carmino, Dennis Hopper, Giovanna Mezzogiorno, Lou Reed, Milla Jovovich.
Directed by Wim Wenders.

There was a time when Wenders was considered a cinema great. He seems to have fallen from critical appreciation. A pity, since The Palermo Shooting is an attempt to go back to some of his themes of the past (and the mysteries he explored in Wings of Desire or Paris, Texas) with the perspective of a sixty year old. His early films were ‘road movies’. Now his voyagers travel by plane but, nevertheless, as his new company, ‘New Road Movies’, indicates, he is still interested in the journey.

This is an odyssey on the way to face death – and, in this case, facing death literally, death being personified by Dennis Hopper.

Singer Camino plays Finn, a photographer professor who acts like a rock star (which, in fact, the actor is). He risks elitist art opprobrium by enthusiastically doing popular fashion photography – we see some shoots with a pregnant Milla Jovovich. But Finn is prone to strange dreams and, at forty, wonders what he has done with his life. He also risks death in his car for the sake of a photo – and, at this point, his search becomes more intense.

After the shoot in Palermo (it is not a Mafia shooting but a photo shoot), he stays on, meandering on his odyssey, sleeping, dreaming, looking at the religious imagery, meeting an artist restoring a church painting, ‘The Triumph of Death’. In the meantime, he experiences arrows being fired at him (this is also a Palermo shooting) by a robed and hooded figure. Eventually, he sees Death in a huge archive containing the documents of people’s lives. A long conversation about the meaning of life and death, which Hopper is able to sustain, follows which offers food for reflection.

The film is dedicated to Bergman and Antonioni who died in 2007. His film seems to be a Wenders-like tribute and exploration of themes they valued.

1.Wenders and his career, his past road movies, 20th century meanings, his emergence in the 21st century? In his sixties?

2.The comments on art, museums and elitism compared with popular movements? Echoing Wenders’ career?

3.The scenes in Dusseldorf, Wenders’ own city, the vistas, the Rhine, the parks, the university, the photo shoot and its elaborate setting?

4.The contrast with Palermo, the ancient beauty, religious background, the large harbour, the hotel, the churches, fresco, the pier?

5.The musical score, Carmino as a rock singer? Lou Reed? The songs composed for the film by Nick Cave and other writers? The classical and religious music background?

6.The title, the variety of meanings, the Mafia and Palermo shootings, the arrows being shot at Finn, the photo shoot?

7.The focus on Finn, as German, brought up in England, living in Dusseldorf, his theory about photography, his lecture, the criticism of the student, his comments on surfaces, using digital alterations, editing and creating images? The conflict about classical photography, art, modern photography? His exhibitions, using the two floors of the building? Discussions with his agents? With his lawyer, especially about the divorce? The photo shoot with Milla Jovovich, his zest and activity, the style, talking, her pregnancy, the factory workers? Her wanting a more personal photo shoot? Going to Palermo, the plane ride, his doing the photo shoot of the naked pregnant Jovovich? His camera of twenty years?

8.His voice-over, his reflection on his life, forty years old, meaning? The significance of his having so many dreams? The visualising of the dreams, his not remembering them? Floating, the faces in frames, his being crushed in the room, the appearances of his mother? In real life his wife, her arguments? At forty what had he achieved?

9.His driving, being in the tree from his childhood, meeting the shepherd looking after the sheep and their conversation? The reckless drive, the 360-degree camera, the near-miss and accident? Meeting the old man, his comments, minding the car? Finn going for a drink? Stopping, reflecting, near-death? Lou Reed’s appearance and his advice?

10.The figure of Death, hooded and robed, almost seeing the face, the arrow shot at him, imagination? Breaking the camera, his being hit and falling into the harbour?

11.Palermo, the Festival of the Dead, the artwork of the Triumph of the Dead, the artist in the picture looking out? The face of Death absent?

12.Finn wandering Palermo, sleeping in the street, taking photographs, meeting the veteran photographer who photographed the Mafia? His being drawn, the discussions with Flavia? Their discussions about art, telling her about the arrow, falling into the harbour, the rescue, the ambulance, walking away, going on his bike to her house? Changing, the relationship, going to the church, the contemplation of the fresco and death? The night with her, love or some kind of reawakening?

13.Flavia, her background, her work, sketching Finn, the restoration, her knowledge of the painting, discussion of the themes?

14.Finn’s dream, the entrance to the archive of Death? Dennis Hopper as Death, his suit, the apparition, real? His tone, the American style? Joking and serious?

15.The significance of the conversation with Death, Finn and his being invited to reflect on his life, his awareness of fear, his dreams? Death and his mother’s face appearing? His fear of life? Asking what he could do for Death? Death’s complaint about the increase in the 21st century and the varieties of death? Restoring the camera, wanting the photo taken, his disappearance? Wenders dramatising a literal Near Death experience?

16.Waking, with Flavia? The close-up of the camera and her asking ‘You’? The enigmatic face of Flavia? Life or death?

17.The dedication to Bergman and Antonioni, the influence of their themes and styles?

IL DIVO

Italy, 2008, 115 minutes, Colour.
Toni Servillo.
Directed by Paolo Sorentino.

A fascinating film. But, principally for audiences who follow Italian politics. Otherwise there are so many different characters, names and dates that it may be too difficult to follow.

However, Paolo Sorrentino, who wrote and directed, does his best to offer a portrait of Giulio Andreotti which, while it does not give his biography and provide a linear outline of his career, does offer many insights into an enigmatic figure who was not only a power behind the throne but, as prime minister seven times, was a power on the throne.

Long acclaimed an edifying public figure in the Christian Democrats and lauded as a devout man, accusations were raised in the 1990s that he had strong Mafia links and was connected to many deaths (including those associated with the Vatican Bank scandals). After many trials and appeals, he was acquitted of all charges.

However, as one journalist puts it in the film, how much random chance can there be in Andreotti’s links with so many deaths and so many scandals, especially bribery and corruption in his inner circle. Andreotti who seems to have rarely smiled, let alone laughed, always has a wisecrack and an ironic comment on most matters and remarked that even Jesus had Judas in his inner circle.

Toni Servillo does an intriguing imitation of Andreotti, something like a semi-embalmed automaton in appearance, manner and speaking. Generally silent, always observant, taking note of everyone and everything for his archives, absolutely ambitious, seemingly pious, the representation sometimes seems like a ‘mockumentary’.

Fashioned like a cinema jigsaw, this study of Italian politics and intrigue resembles the enquiries into corruption, a hint here, a statement there, a revelation somewhere else. Given the picture of Italian argument in the parliament alone and the lobbying and cajoling, the accusations against Andreotti could be completely true or completely false.

1.The impact of this film as a film, in style? The portrait of a politician? Documentary material? Mockumentary material?

2.Audience knowledge about Giulio Andreotti? The Christian Democrats, the establishing of the Democrats after the war, the role of Aldo Moro, the later government, Andreotti’s own seven governments? The presidents of Italy? Italian politics, factions? Andreotti as a person, politician, his reputation?

3.The background of the Mafia, its influence, murders, the Vatican Bank scandals, suicides, bribery? Andreotti accused?

4.Italy in the 1990s, the interiors of homes and political buildings? The social background? Parliament? Andreotti’s visit to Russia? The streets – and Andreotti walking alone at night, guarded by the Carabinieri? The exteriors for the murder sequences?

5.The structure of the film: pieces, a mosaic? Sufficient information? The range of characters and their development – the faction members, their nicknames, appearance, sinister presence, their discussions? Journalists and their access to Andreotti? The ambassador, the ambassador’s wife? Andreotti’s secretary and her comments? The range of incidents, the range of interviews? Going to the church, the priest and his confession? His dream confession? The interactions with his wife? The elections for president? His meetings with significant people? The trials? A coherent mosaic?

6.Toni Servillo as Andreotti, his appearance, movement, face, immobility? His silent sitting, like an icon? Quiet speech? With his wife, at the party, with the faction members? The secretary and her observations about his twisting his fingers, his ring? The advice to the ambassador’s wife and his urging her to stay with her husband? Andreotti in Russia, phoning his wife, his observations on Gorbachev, reading, praying?

7.The focus on the faction, their names, the cardinals’ presence, their advice, lobbying, betrayal and people leaving the faction? The later accusations of corruption?

8.Andreotti’s wife, from 1945, controlling him, knowing him – did she have any doubts?

9.The Mafia types, the presentation of the killers, the executions, the meetings with the heads of Mafia? Those who were repenting, confessing – and their testimonies?

10.The collages of the various deaths, the Vatican Bank associates, the early 90s and political and magisterial suicides? The critical attack by the Archbishop of Palermo?

11.The journalist, his long interview with Andreotti, the discussion about chance and God’s will? The implications that all of the connections of Andreotti to crime were not chance?

12.The accusations, his being received at the Vatican, the information about being committed for trial, the preparations, the personal effect, his setting up the arguments, the argument about the judiciary not being above government? The consequences he foretold?

13.The scene of the vote for president, the lobbying, Andreotti doing badly, standing and applauding?

14.The various trials, his evidence, the testimonies? The accusations being dismissed?

15.A portrait of late 20th century Italian politics?

ADORATION

Canada, 2008, 100 minutes, Colour.
Arsinee Khanjian, Devon Bostick, Rachel Blanchard, Scott Speedman, Kenneth Welsh.
Directed by Atom Egoyan.

For over twenty years Atom Egoyan has been making significant films which often contain themes of family relationships – and an interest in how developing technology influences ordinary life. He has remarked that when he was making Speaking Parts in the 1980s, with video and the beginnings of what became the internet, people were witnesses to an increasing availability of images whereas at the beginning of the 21st century, people are creating images and making them available, both instantly and universally.

The writer of the press notes for Adoration has a helpful list of themes and threads for the film: the differences between appearances and reality, the subjective nature of truth, fragmented structures, multiple time frames and points of view, rich and complex characters and the dynamics of family. He might have specified also: fact and fiction, realism and imagination, performance and truth, racial and religious prejudice, personal intolerance, the role of education – and terrorism. They are all present in Adoration and quite substantially treated.

The film is both an intellectual puzzle as well as an emotional challenge. And very satisfying on all counts.

Devon Bostick convincingly portrays Simon, an adolescent who is concerned about the death in a car accident of his parents. His dying grandfather (Kenneth Welsh), whom he is filming in interview, accuses Simon’s father of being a killer since he doted on his daughter and belongs to a middle-eastern culture and religion. The opportunity is provided by a creative teacher (Arsinee Khanjian) for Simon to rewrite a story as if the parents in the story (the father being a terrorist bomber) were his own, enabling him to reflect on them. He also places the material on the internet where it is the subject of a great deal of teenage discussion and argument as well eliciting interviews from holocaust survivors to holocaust denyers.

The situation is further complicated since his uncle, despised by his own father, has been rearing him since his parents’ death. A situation to test his tolerance is arranged – and he fails. However, by a series of what seems coincidences but which are not, Simon is able to free himself from his grandfather’s influence (which has specific Christian overtones), reconcile with his uncle and discover more complex truths than he (or we) anticipated.

This means quite a tight script that offers all the clues but reveals its truths step by step.

Adoration is a word with transcendent overtones. Egoyan is using it in a more this-worldly sense, a sense of respect, of awe, of connection and of meaning.

1.The title, indications of transcendence, adoration in this world?

2.The range of themes: availability of images, people creating images, instant and universal, the differences between appearances and reality, the subjective nature of truth, fragmented structures, multiple time frames, multiple points of view, the complexity of character, the dynamics of family, fact and fiction, realism and imagination, performance in theatre and truth, racial and religious prejudice, personal intolerance, the role of education, terrorism?

3.The Toronto settings, ordinary, the homes, school, the tow-truck business, the cafés? The contrast with the countryside, its beauty and quiet, the mansion? The interiors of the mansion? The contrast with Israel and security? The range of the musical score, the violin pieces?

4.The perspectives on appearance and reality: Simon, his mother and her absence, the story of terrorism and his response to it, imagining his parents as involved in terrorism – and the specific flashbacks to security in Israel, the questioning of the mother, her visit to the Holy Land, her relationship with her fiancé, her pregnancy and not telling him? Simon and his describing what happened, presenting the story to the class? The possibilities of his mother’s death, of his own death because of being in the womb? The point at which the audience realised that this was fiction? The truth about his parents and the car crash? Sabine as the teacher, encouraging him? Listening to him differently? Encouraging his performance, rehearsals? The class and the listening? His decision not to tell Tom? His putting the information on the Internet, the chat rooms, the faces on the screens, the discussions with Simon, his friends feeling that he had not told them the truth, angers? The various comments – the victim of the Holocaust and her tattoo, the neo-Nazi and his saying the Holocaust was six million lies? The story becoming the reality?

5.Simon in himself, filming his grandfather in hospital – and later using the clip about the truth to persuade viewers that what he put on the Internet was true? Listening to his grandfather, his grandfather’s intolerant attitudes? His stories about his love for his daughter, the gift of the violin? The grandmother and the Christmas cards, the cribs and their being put out on the front lawn for the celebration of Christmas? His relationship with Tom, the deaths of his parents, Tom looking after him, care, in the family home – and Tom avoiding his father? Money tied up till he was twenty-five? The decision about selling the violin? The set-ups, Sabine and her visit, disguised as a Muslim, the talk with Tom, his prejudice? Simon and his knowing what was happening? In class, his nervousness, the development of the story? The end, the truth about his mother, getting the characters from the crib, going to the mansion, imagining his mother playing the violin, putting the statues and the camera with his grandfather in the fire? Burning the prejudice of the past – with its Christian overtones?

6.His parents, as imagined, as real? The flashbacks to the shop, the mother taking the violin, Sammy and his falling in love? The arguments with Rachel’s father, the prejudice, the dinner and the clashes, rudeness and civilisation? Rachel and her drinking? Tom taking Simon for a drive, not answering the phone? Sammy and the problem with his eye, talking on the road, the crash? The grandfather and his lies about the phone call and Sammy’s threats? Calling Sammy a killer?

7.Tom, his life, despised by his father, not having any talent, his being full of anger? The tow-truck work, seeing him in action with his clients and their behaviour? Looking after Simon? His reaction to Sabine’s visit, his prejudice? His towing Sabine, talking with her, the meal, the truth emerging, going to her home, the photos, learning about Sammy and the marriage?

8.Sabine as teacher, French teacher, the article, the children and their response, their notes? Simon and his response to the story, her encouraging him, wanting him to perform? The rehearsals? Her being fired, the discussions with her lawyer and the consequences of the Internet publishing of the story? Arranging the towing, meeting Tom, the meal with him, the taxi driver and Tom’s fight with him? The coincidences being planned? Revealing that she had visited the house? Her statements about the crib, about the Jews killing Jesus, the confrontation? Her return and the apology? Sammy, the reaction, allowing her into the family, her explanation that Simon was all she had?

9.The chat room, the various views, the characters, the students? The ease with which we create images?

10.The lawyer, the discussion about her being fired? The taxi driver, the lunch, the issue of money and Tom’s violent reaction?

11.The background of security, Israel, terrorism, the security and the interrogation of Rachel? Sabine and her losing her family in Lebanon, Sammy coming from Lebanon?

12.Everything coming together, the past, the acknowledgment of the truth, hope for the future?

SYNECHDOCHE, NEW YORK

US, 2008, 123 minutes, Colour.
Philip Seymour Hoffman, Samantha Morton, Katherine Keener, Emily Watson, Tom Noonan, Diane Weist.
Directed by Charlie Kaufman.

Set in Schenectady in upper New York state, this is a life drama and a death drama.

Written by Charlie Kaufman, who tantalised audiences with his imaginings, both creative and bizarre, in Being John Malkovich, Adaptation and Eternal Sunshine of the Spotless Mind, this film marks his directing debut. For some minutes, it looked as if he was going to present a ‘normal’ family in ‘normal’ situations and one wondered what he was up to. But, there was no need for apprehension. He soon moves off into the realms of the imagination.

Yes, a ‘synecdoche’! That is what Wikipedia is for, so (with acknowledgement to Wikipedia), Synecdoche is a figure of speech in which:
a term denoting a part of something is used to refer to the whole thing, or
a term denoting a thing (a "whole") is used to refer to part of it, or
a term denoting a specific class of thing is used to refer to a larger, more general class, or
a term denoting a general class of thing is used to refer to a smaller, more specific class, or
a term denoting a material is used to refer to an object composed of that material.
The use of synecdoche is a common way to emphasize an important aspect of a fictional character; for example, a character might be consistently described by a single body part, such as the eyes, which come to represent the character. This is often used when the main character does not know or care about the names of the characters that he/she is referring to.
So, that is what Charlie Kaufman is doing here. Fortunately, he has a strong cast to do it with.

Philip Seymour Hoffman plays Caden, a theatre director who is something of a hypochondriac, especially as so many things go wrong with him physically. But, things go wrong otherwise. His artist wife (Catherine Keener) leaves for a Berlin exhibition with their young daughter and her best friend (Jennifer Jason Leigh). Caden is directing a young cast in Death of a Salesman which stars Claire (Michelle Williams). The theatre assistant, Hazel (Samantha Morton) has a crush on him.

So far, so good. Then Caden wins a grant which enables him to go to New York and stage ‘a really important play’ in a huge abandoned warehouse. The rest of the film takes place in a parallel universe or, perhaps or definitely, inside Caden’s head. But we watch him direct the play of his own life for twenty years, changing the dialogue, re-building elaborate sets, getting new ideas, hiring actors, Tom Noonan as Sammy to play himself and Emily Watson as Tammy to play Hazel. Since Hazel is Caden’s assistant there are some clashes there.

Then, at some stage, Millicent (Dianne Wiest) is hired to portray a nurse but eventually considers that she could play Caden himself and direct the play, which she does as Caden assumes something of her identity.

Actually, that makes some sense in describing an overview of what happens – although there is a great deal more detail, character interplay and clash – and it all being a synecdoche of Caden. The conclusion, apart from several deaths and funerals: that one needs to see the film again.

1.The work of Charlie Kaufman, his unusual imagination? Perspective on life? Existential misery? A journey through life to death?

2.The title, Synechdoche, the town, New York Upstate, ordinary life, the blend of the banal and the humorous, the sadness?

3.Ordinary life, the family waking up, listening to the radio, the family, autumn and the poem by Rilke, breakfast, playing with the children, getting ready for school? His work in the theatre, directing, the young actors doing Death of a Salesman, the rehearsals, his comments, the first night and the success? His friendship with Hazel and her liking him? His relationship with Adele, the tension at home? His love for Olive? Adele’s exhibition, wanting some time away, the separation? The visit of Maria and her friendship with Adele? His friendship with the cast, especially Claire?

4.Going to the psychiatrist, the couple together, the manner of the psychiatrist, recommending her books? Adele saying she wished Caden could die, a new start? The separation, his continuing to go to the psychiatrist, issues of identity? His buying her book, the payment, reading the book and seeing her next to him on the plane? The ending years later and the books strewn in the street?

5.Caden, his life, waking up, family, the touch of hypochondria, his continued worry about himself, Olive and the examination of the faeces, the cartoons and the indications of virus? The accident in the bathroom, the blood, the stitches, his worrying about a scar? Going to the ophthalmologist and his worries, being recommended to the neurologist? The pustules breaking out on his face and his explanations to Olive, on his leg, the continued malfunctioning of his organs, his concern?

6.Adele, the nature of her miniature art, at home, her love for Olive, in the car, wanting Caden to use precise words? Not going to the play, the evening with Maria, getting high? Going to the performance, the congratulations? The separation – and her virtual disappearance in Berlin?

7.Caden, his decision, his getting the grant, going to New York, deciding to put on a spectacular play, being taken to the warehouse? The importance of the warehouse, as a theatrical space, his continually building on it for twenty years and changing it?

8.Hazel, her love for Caden, pursuing him, the outings, the discussions, the sexual encounter and his impotence, her anger? His relationship with Claire? The performance? Hazel and her marrying Derek, having the family? Caden and his imaginary alternate marriage with Claire, the child, yet still wanting to find Olive?

9.Caden’s play, the changing of titles, the passing of twenty years, Caden and his physical changes, his health? His appearance? The walking stick? The rehearsals every day, the changing cast, getting new ideas, directing the play, changing everything?

10.The invitation for Hazel to be his assistant, her ageing over the years, her relationship with Caden, her marriage to Derek, the twins? The domestic scenes? Her eventually leaving Derek? At work, the friendship with Sammy, liking him, going out? The talk with Caden? The performance by Tammy of Hazel and her character, Tammy with ideas, changing Hazel’s character? Hazel being hurt? Hazel’s love for Caden, Sammy and his killing himself, Hazel’s death? The funerals?

11.Imagining Olive, her changes, growing up, lost, her becoming a sex object, the tattoos, the relationship with Maria, her life ending, wanting Caden present, wanting him to confess his offences against her, her forgiveness? Maria’s arrival and her spurning of Caden?

12.Tammy, looking like Hazel, performing as Hazel? With Sammy and the performance? The clashes with Hazel, meanness? The night with Caden, the sexual attitude, the aftermath?

13.The role of Ellen in the story, going to Casting, Millicent being chosen, the interview with her, the makeup? Her performance, the old lady in the corridor, the key not fitting, the room? The effect? Her continued performance, her wanting to be Caden, her speech, deciding that she could be, the transformation, her becoming the director, talking to the actors unlike Caden, Caden becoming Ellen, the old woman in the corridor? The final direction and her performance as Caden, walking? The experience of death?

14.The passing of the years, the elaborate set, the change?

15.The philosophical themes about possibilities, about alternate worlds, reality and unreality, the imagination, creativity, mistakes and starting over, losses, illness, relationships?

16.The focus on death, so many funerals, the build-up to Caden’s own death?

17.The film as entertainment, as a thoughtful piece? Absurd and existential?

MY MAGIC

Singapore, 2008, 75 minutes, Colour.
Bosco Francis.
Directed by Eric Khoo.

A modest 75 minute film for Cannes to acknowledge the small but active industry in Singapore.

The film opens with a large man in a bar continually asking for another drink. We glimpse a small boy forlorn in a shopping mall. Soon we learn that they are father and son, the son, an intelligent boy, has to care for his alcoholic father.

Because the father was once a magician who specialised in fakir-like magic in enduring piercings, beatings and broken glass, he gets an opportunity to make money for his son by enduring more and more tests of pain for a paying Chinese audience. (The magician and his son are both Tamil and speak Tamil.) The proprietor is interested in acts that ‘make the audience squirm’ – which is more than a bit the same for us as the cinema audience watching.

The boy longs for his departed mother. Finally, the father tells his son the truth about what happened and there is a pleasing fantasy touch to end the film.

Brief but telling, with a sense of humanity and a glimpse of Singapore.

1.The brevity of the film, modesty, small budget?

2.Local film-making, the glimpses of Singapore: homes, clubs, the mall, apartment blocks, the streets? The musical score?

3.The Tamil characters, language? The Chinese audiences in the film?

4.The credits, Francis and his asking for more drinks, his anger, beating the bartender, chewing the glass, the glimpse of the boy, lonely at the mall? His phone call to his wife? Asking her to come back? Going home, sick, collapsing? The boy cleaning up? The set-up of the relation between father and son?

5.Father and son, the boy angry at his father’s drinking, the father’s work, cleaning the bar, drinking off the remainders, helping the prostitute in the kitchen, her later gratitude? The boy and his homework, doing others’ homework and being paid, at home, the tests, wanting a better job, commenting on his father? The boys attacking him and his fending them off by doing magic tricks?

6.The manager, the boss and his watching Francis? The proposal, the better money, the bargaining for the percentage, the various acts: fire, glass, the shards, the beating? The audience reaction? The razors and the string? Wanting to make audiences squirm?

7.The boss, his proposal, the long endurance, the money, the manager taking the money, Francis’s collapse?

8.The boy, talking to his grandmother, longing for his mother? Thinking it was his fault that she left? His father phoning, the phone cut off?

9.The magic, the boy being fascinated by his father’s tricks, learning?

10.The aftermath of the endurance performance, the money, their leaving Singapore, going to the old house, the father telling the story about meeting his mother, the performance, the mother tricked into carrying drugs? Her being hanged? The photos in the box? The boy’s delight in seeing the relics of his mother?

11.The appearance of the younger couple, their bowing, the curtain closing? The father’s death, the boy closing his eyes? The boy and his future?

12.An affecting film, humane?

SURVEILLANCE

US, 2008, 98 minutes, Colour.
Julia Ormond, Bill Pullman, Kent Harper, Michael Ironside, Pell James, Ryan Simkins.
Directed by Jennifer Lynch.

After a critical mauling for her Boxing Helena in 1993, David Lynch’s daughter, Jennifer, withdrew from films for writing novels and raising her daughter. Surveillance is her comeback, produced by David Lynch who also wrote the provocative lyrics to the final credits’ song. She has co-written it with Kent Harper who has a central role as the local police officer, Jack.

It opens like a variation of In Cold Blood with a vicious home attack at night on a family. Later, it will go into something of a Funny Games mode. Obviously Jennifer Lynch has been influenced by her father – we travel on another Lost Highway which has the alternate worlds of what the characters describe verbally and what the audience sees as actually happened. It also looks, especially towards the end, that she has also absorbed the spirit of Quentin Tarantino.

The plot has a twist at the end (which may or may not be signalled in advance although the present reviewer picked it early enough). The film takes place over one day as two FBI agents (Julia Ormond and Bill Pullman) arrive to investigate the killings. The police are resentful of the intrusion, although the chief (Michael Ironside) is co-operative as is the secretary (Caroline Aaron). They have two witnesses, a junkie and a 9 year old girl. Much of the film shows the interviews (with surveillance cameras) along with the tell-tale flashbacks to the truth. This builds an atmosphere of puzzle as to what happened, even why the witnesses are the only two present besides the police. However, all becomes clear with the twist and some truly manic and appalling violent behaviour.

Not everyone’s kind of police thriller but effective of its kind.

1.The work of Jennifer Lynch, film, novels? The influence of her father? Producer, writing the lyrics for the final song – its tone for the whole film?

2.The influence of Lynch’s films, of Quentin Tarantino and his violence? The background of David Lynch’s Lost Horizon with Bill Pullman? Mystery, parallel worlds, other worlds, violence? The score, the sound engineering?

3.The title and its variety of meanings? Especially for the cameras, the FBI?

4.The credits, the intruders in the house, the violent, killings, the woman escaping and running, the pursuit? The later photos – and Halloway wanting them removed?

5.Surveillance and the interviews, the flashbacks – and their not being true? Bobbi and her talking about her friend, the job, the interview – and in reality, their going for drugs, the supplier taking the overdose and dying, their robbing all the drugs, mocking him in death? Their taking the drugs, driving together? Seeing the family, offering to help? The interview with the police, especially Jack? His explanations of fulfilling his duty? This not being true, their shooting at serial killer targets, seeing the couple, shooting out the tyre, terrorising Keith and his girlfriend? Stopping the family, their behaviour with the husband, terrorising him, the approach to the wife? The children? Their behaviour with Bobbi? Stephanie and the flashbacks, her describing what actually happened in terms of the car ride, the vacation, seeing the abandoned vehicle, her experience of what happened to her parents and to Bobbi and her friend? The reality of what happened, the crashing of the vehicle, the killing of the driver, the explosion and the father’s death, Jack and his partner, opening the truck, the false hostage in the bag, Jack shooting and killing his friend?

6.The police, the chief, his assistant, their attitudes to the FBI, smirking, some slow-witted, inappropriate remarks? The fact that Jim had just been killed? Jack and his reaction? Janet, helping in the station, getting things ready, documents, her general concern?

7.Bobbi and Stephanie, the only witnesses, the reason for their presence? Issues of procedure, and Halloway and his criticising the police?

8.The FBI agents arriving, the scenes of their bonding, everything being good, audiences being suspicious or not? Their dress, the car, identity as agents, treatment of the police, getting the equipment, setting it up, the decisions about the interviews, the three screens?

9.Bill Pullman as Halloway, his odd style, his relationship with the girl, with the police, noting the tensions, the questions, the procedures? The breaks with the other agent, their intimacy and Stephanie noticing?

10.Julia Ormond as the FBI agent, her style, nice, with Stephanie, the drawing, with Bobbi, talking – and her saying that it evoked memories of the past? Her relationship with Sam?

11.Janet, contacting the coroner, getting the help, her interest – and the brutality of her death?

12.Stephanie and her poise, in the car, with the family, with her stepfather, seeing the van, the parents and their singing and not listening, her attempts at warning? The hold-up, her watching what happened, the behaviour of the police, David? The treatment of her stepfather, the sexual approach to her mother? Her brother’s reaction, taking the wallet? Going away – and the final crash? The father’s death? David and the mother being shot?

13.Bobbi, the truth about the driving, the crash, her friend’s death? The reaction to the police? Getting Stephanie and hiding in the car?

14.The episode with Keith and his girlfriend, decent people, the tyre, being robbed – being let go, and then their deaths at the hands of the killers? Keith and his hands taped to the wheel of the van?

15.Stephanie, telling the truth about the crash? Her being upset about not telling the truth to her family? The agent absolving her?

16.Jack, the grief at his partner’s death, the interview, his attitude towards the FBI agents, the flashbacks and the truth?

17.Billings, an honourable man, trying to do the best, smoking, his death?

18.Jack, the attempt to get the gun, wounding the agent, his death?

19.The agent driving the police to the motel, the information from the motel, the corpses? The irony of the dead FBI agents? Her killing the police? Bobbi, the sexual advances and tantalising? Bobbi’s death?

20.Stephanie, her telling Halloway that she knew the truth? This as being a reason for letting her live?

21.The overall impact of the film, the twist, the brutal murders, the ‘funny games’? The pessimistic and even nihilistic feel of the story and treatment?