BEAUTY

US, 2022, 95 minutes, Colour.

Gracie Marie Bradley, Aleyse Shannon, Niecy Nash, Giancarlo Esposito, Kyle Barry, Micheaal Ward, Sharon Stone.

Directed by Andrew Dosunmu.

In many ways, a strange enterprise. Judging by many of the comments, a number of viewers did not realise that this story was based on the actual story of Whitney Huston, her family, early years, her relationships, her agent and promotion, the beginning of her career. What made it even stranger is that the central character, Beauty (Gracie Marie Bradley) does not sing throughout the whole film.

The film introduces the family, Beauty and her two brothers, symbolically named Cain and Abel, Cain (Michael Ward), a half brother while Abel (Kyle Barry) is a full brother. Niecy Nash appears as the mother, a popular singer in her time, devoting himself to training her daughter in singing, style, preparing her for the time to launch her in a career. Giancarlo Esposito appears as the father, a most unpleasant character, dominating, mercenary, controlling. He is seen at his worst in forcing his daughter to sign a contract, in something her to his hospital bed to demand to cut from earnings, sending Cain out to destroy Beauties girlfriend-partner, Jasmine (Aleyse Shannon).

Which means that there is quite some melodrama in the establishing of the family.

The same time there is a focus on Beauty and her singing, especially in church where her mother is something of a celebrity, encouraged by the pastor, observed in a frowning way by her father.

There is also the focus on her relationship with Jasmine. This aspect of Whitney Huston is life and relationships, especially in the context of her marriage to Bobby Brown and the difficulties, is insinuated in some of the biographies but not emphasised. However, this is a key element, the relationship between the two young women, Jasmine and her place in the house and her being ousted, the relationship, the setting up of the apartment in New York City, Jasmine with her in auditions, tapings, in the dressing room at the final television show, Beauties first performance.

As a story of a young woman with strong ambitions, home difficulties, a propensity for continually smoking, seen in the context of all the changes in American society and culture in the 70s-80s, this film has some interest. However, the difficulty of never seeing the central character seeing is problematic for the drama.

Sharon Stone swaggers confidently through the role of the agent.

And, for those aware of the Whitney Huston biography, there is always the awareness of what happened, her career, celebrity, relationships, her death.

ONE SHOT

UK/US, 2021, 89 minutes, Colour.

Scott Adkins, Ashley Greene-Khoury, Ryan Philippe, Emmanuelle Imani, Jack Par, Danny Dietler.

Directed by James Nunn.

It is probably sufficient to say that this is an action show starring British martial arts expert, Scott Adkins. His appeared in quite a number of films – especially in the vein of Jean-Claude van Damme, Steven Seagal…

And, it is probably important to say that this is one of his better films, which could have an appeal to action film to devotees beyond his regular fans.

The action is straightforward, the setting on the island where terrorist prisoners are kept (and sometimes graphically tortured). Some American agency officials turn up to interview a particular terrorist because of a bomb threat in the US. In the meantime, a group of mercenaries also turn up, take charge on the island, a brutal in their manner, but find that they have a substantial opponent in one of the official security guards with the American delegation. And he is Scott Adkins.

So, quite a battle of wits at times. And, quite a number of physical encounters. And, a rather pessimistic conclusion to the procedures.

1. The popularity of the action films of Scott Adkins? Praise for this one?
2. The island, the offices, the prison areas, torture? The grounds, the buildings, locations for action? The musical score?
3. The situation, the arrival of Zoe Anderson, her commission, to get the prisoner, to return him to DC, his information about a potential bomb? Her escort, leadership of Jack Harris? The other members?
4. The authorities on the island, Jack York, is tough attitudes, harsh, the kind of torture permitted? Brandon Whitaker, two IC, his attitudes? The visit to the prisoner, the visuals of the torture, Zoe asking him to be released, the clash of attitudes?
5. The prisoner, his situation, his explanation, his company, the visit of the email, the death of his son, the pressures on him, threat of the death of his wife? His keeping quiet, eventually telling some of the truth?
6. The mercenaries arriving, the leadership, the large group, the attack? The siege, the various fights? Jake Harris and his leadership, his skill as a shooter, Sniper? Negotiations, support of Zoe, clashes with Jack York? The loss of communications? Eventual connection, the promise of helicopters? The time lapse?
7. The range of fighting, Jake Harris out in the field, killing so many of the enemy, shooting, knife? The other members of his troupe, wounds, deaths?
8. The leader of the mercenaries, background, aims, connection with terrorist groups, to get the prisoner? The tactics, shooting, the suicide bomber, the words of persuasion, his beliefs, brainwashed, his fears, going in, the attack, the explosives, the attackers and the tables with shielding, shots? The explosion? So injured, her dying? Jack York, injuries, confrontation with the prisoner, harsh attitudes? Orders? Whitfield killed?
9. Jake Harris, not by the explosion, try to persuade the prisoner, his escaping out of the building, his disguise, taken by the mercenaries, interrogated, the attack by York, persuaded by Harris?
10. The final fight, the leader, with Harris? Victory? The arrival of the helicopters?

SISSI, THE YOUNG IMPRESS/ DIE JUNGE KAISERIN

Germany, 1956, 107 minutes, Colour.

Romy Schneider, Karlheinz Boehm, Magda Schneider, Gustav Knuth, Vilma Degischer Walther Reyer, Josef Meinrad.

Directed by Ernst MarIschka.

The second film in a series on the young impress, Elizabeth, from Bavaria, marrying the Grand Duke of Austria, called, affectionately, Sissi.

The three films, opening with her childhood and growing up, the second with her early years as empress, the third on her later years, are very much in the lavish colour style and recreation of period, costumes and decor, popular in the 1950s, especially with the arrival of Cinemascope. So, the audience is transported back into Vienna of the 19^th century.

The young Romy Schneider was at the beginning of her career and portrays the Empress in the three films. Karlheinz Boehm, popular in Germany and sometimes appearing in English-language films (Peeping Tom, Wonderful World of the Brothers Grimm), is the enthusiastic young Emperor. While he is wildly in love with his empress, he is dominated by his powerful mother who spies on Sissi, takes her diary, reads excerpts to the Emperor – but is finally forced to accept her daughter-in-law.

There are various other officials around the court, a Hungarian soldier infatuated with Sissi, various delegations from Hungary highlighting the antagonism between Vienna and Budapest.

Old-fashioned but an opportunity to revisit some of the heyday of the Austro-Hungarian empire.

1. The second film of the trilogy? Relying on the information from the first, the introduction to the characters, audience sympathy for Elizabeth, Sissi, for friends Joseph, his mother? The political situation, Austria, relationships with Hungary? Europe in the middle of the 19^th century?
2. 1950s historical storytelling, traditional, pageantry, characters, interactions, at PG level?
3. Vienna, the Palace, lavish interiors, the office, private rooms, reception rooms and halls, the ballroom? The contrast with Sissy’s home, Bavaria, the countryside, the family residence? The visit to the mountains, climbing the mountains, the scenery, the small in, the couple staying anonymously? The musical score, 19^th-century Viennese music, the Strauss waltzes?
4. The couple newly married, loving each other, friends Joseph and his age, poise, governing, political situations, with Hungary, the delegations in meetings, he and sissy being eventually crowned in Hungary? The threat of war with Russia?
5. Sissi, her age, personality, charm, the official and his discussion with Telegraph sender, devotion to Sissi, his eventual audience with her, her smile? The courtiers? The ladies in waiting? Yet her mother-in-law, getting the women to spy on her, taking her diary, reading her son the poem and sissy is pining for Bavaria? Sissi arriving, Franz Joseph telling her about the poem, her love?
6. Her life in court, four weeks of marriage, horse riding? The reception, her mother-in-law and the insult to the Hungarians, the count and his decision to take the delegation away, Sissy and her intervention, offering the dance? Her collapse?
7. The doctor, announcing her pregnancy, her scurrying to meet her husband and tell in the news? The joy of the family in Bavaria, the children as uncles and aunts? The birth of the child, a daughter, the name? Sissi’s parents present? The dispute with her mother-in-law, the moving of the nursery, Sissi walking out, returning home? The diplomatic issues? Gossip? The political issues? Franz Joseph agreeing with his mother, Sissi and her political duties? The visit, the mountain climbing, the Edelweiss? The return, the ballet, attempts at reconciliation with her mother-in-law?
8. The counters visiting the Duchess, try to persuade her to let Sissi look after her child, the relating?
9. The finale, Franz Joseph pleading with Sissi to attend the Hungarians, her agreeing, the ceremony is in Hungary, the coronation?
10. And then the third film in the trilogy?

RIP.  Therese McNamara OLSH.  

9/10/1938 – 21/6/2022

“Let not your hearts be troubled. Believe in God; believe also in me.”

These words from the Gospel of John were chosen by Terie for her Funeral Mass a few weeks ago. They speak of Terie’s absolute trust and deep faith in God. On 21^st June, just five weeks after Terie had been diagnosed with terminal Cancer she came face to face with on the God she had so lovingly and faithfully served as a Daughter of Our Lady of the Sacred Heart for over six decades.

To Terie’s sister Brenda, her bother-in-law David, and her relatives, and all Terie’s friends, who loved her so much and are deeply saddened by her death, we offer our deep sympathy and love. You know well her deep love for you, her pride and joy in you, and her gratitude to you.  We also offer sympathy to those who join us via live streaming from around Australia, Papua New Guinea and the world, especially our Sisters.

Therese Ann McNamara, or Terie, or even Terie Mac, as she was known by many, was born in Sydney, NSW, on 9^th October 1938 to Patrick and Eileen McNamara, the fourth of five children. Patrick had come to Australia from Ireland when he was 24 years old.  Terie came from a loving, happy family, she enjoyed all things Irish, listening to Irish stories and singing Irish songs. Terie was a keen sports woman who enjoyed netball, tennis and swimming. During her short illness a drive to Maroubra Beach lifted her spirits, she loved outings and lunches at Maroubra Beach with her family and friends.

Terie’s parents had a deep faith with love of the Mass and Rosary. Her aunt Dolly, our own Sister Margaret Harrington, FDNSC made a great impression on her. Terie enjoyed hearing her stories of life as a missionary Sister.  At an early age she felt called to be a sister and dreamed of going to the missions. I can imagine Terie’s delight sitting with her family as they read letters from her aunty Dolly sharing her adventures as a Missionary Sister.

All of Terie’s ’s education was in Sydney where she was educated by the Mercy Sisters. Terie was a decisive woman and on leaving school she was convinced that Jesus was calling her to follow him in religious life as a missionary Sister; however, her parents did not allow her to enter straight after school. Terie completed a secretarial course, and in 1957 she entered the novitiate at Hartzer Park and made her first vows in January, 1959. She was given the name Sr M St Thomas.

Thus, began Terie’ lifelong ministry and her epic journey as a passionate, enthusiastic educator and missionary. After spending four years teaching in Australia at St Paul's Bentleigh  and St Agnes Highet, Terie began a journey of the heart, a journey that took her to the shores of Papua New Guinea , the place she called home for 41years with the people she loved.

The Trobriand Islands, where she first went, always remained very, very special for Terie.  She loved the Islands and the people, and always kept in touch with many of her early students and the families whom she really embraced and whom she continued to have contact with throughout the years.  Many of these students would call her their mother, and their children became her grandchildren.  Not long before her death Terie said her most rewarding times in PNG were  the years in the Trobs especially after she had the use of a motor bike, which her brother Maurice gave  to the sisters after his visit .  Now she had the freedom to get around after school to visit the villages. This meant a deeper understanding and relationship with the school children and their families.

Terie ministered in many other parts of Papua New Guinea, including Nimowa, Sideia, and Hagita, which were also in the Milne Bay area.  Being a true Missionary, Terie, put her whole heart into wherever she was sent.  She enabled many young PNG's to become great teachers and committed leaders in many fields throughout Papua New Guinea.

Photo: Catholic Outlook, Parramatta Diocese, on the occasion of Fr Maurice McNamara funeral and memories.

In 1994, Terie was called to join the leadership team for the PNG Province and so moved to the Provincial House in Boroko, in Port Moresby.  Terie was Deputy for nine years, three of these with the last Australian Provincial and six with the first Papua New Guinean Provincial. 

Since Terie’s death many tributes have come from Papua New Guinea, Sr Maria Koae, the first PNG Provincial Leader, shared stories of how much she appreciated and learnt from Teri’s many skills in administration and her qualities of companionship, friendliness and hospitality.  Another Sister spoke of her teaching career, mostly in isolated island missions and her ability to inspire both teachers and students to know God in their lives.  Others spoke of the encouraging and listening heart Terie showed to them when they were young sisters.  A young working woman wrote of the blessing Terie’s life had been to her family mentioning she had a ‘heart of gold’.  Some sisters wrote goodbye in the various languages with which Terie would have been familiar. Terie’s leadership in PNG was innovative, compassionate and always aimed for the good of the Sisters.

In 2002 Terie made a decision to return to the Australian Province where she continued to generously share her gifts in Province leadership as a member of the Provincial Council, as Director of the OLSH Associates, working with refugees in Blacktown and being a much-loved member of the Bentleigh, Daceyville and Stellar Maris communities.

Terie’s final years were spent living at Kildare Court, Maroubra. These were very happy years where she formed many friendships. She enjoyed her daily walks, drives to the beach and especially her coffee and chats with friends.

A few weeks ago, Terie was diagnosed with terminal cancer. What a time of suffering for our dear Terie. She accepted her suffering with her typical resignation and utter dependence on Jesus, the one she had loved since she was a child.

I am grateful to Srs Pauline, Helen and Evelyn for their loving care of Terie during these past weeks and to her Sisters in community whom she loved, and appreciated equally. I am also grateful to the staff at Sacred Heart Hospice for their compassionate care of Terie.

Terie was a courageous missionary, a compassionate woman of heart who drew her strength from her deep desire to love as Jesus loved, excluding no one, especially the poor and marginalised who held a special place in her heart.

Photo: Catholic Outlook, Parramatta Diocese, on the occasion of Fr Maurice McNamara funeral and memories.

We will be ever grateful to Patrick, Eileen and the McNamara family for the gift of Terie to our Congregation!

We thank you Terie for your welcoming heart, your generosity, and warm smile.

May your courageous soul rest in peace.Ph

Go in peace dear Terie united with the one who says “Let not your hearts be troubled. Believe in God; believe also in me.’

Philippa Murphy FDNSC

PROVINCIAL LEADER

4^th July 2022

Celebrating Blessed Peter to Rot and memories of Rabaul, mission, war.

This famous portrait of Blessed Peter To Rot -Catechist and Martyr was painted by a talented Korean natural Artist in Naju, Gwangju City South Korea. He is talented because to paint the colour of the melanesian body skin he improvised so he took a photograph of my bare arm so he could get the correct or near perfect skin-colour for the portrait. He also tried his best to capture the background of Rabaul and the unique tropical volcanic panoramic natural landscape with the backdrop of the Rabaul scenic Simpson harbour.

To add further significance to this portrait was that it was specially blessed and commissioned by His Eminence Petro Cardinal Parolin -Secretary of Vatican State during his pastoral visit for the Federation of the Catholic Bishops Conferences of Oceania (FCBCO) in 2018 in Port Moresby. This portrait was especially entrusted to the Catholic Laity for the promotion of popular piety amongst the Catholics and even all Christian faithful.

Thanks to my Korean friends who made arrangements for the Korean Artist to paint the portrait of Blessed Peter To Rot free of Charge and request our sincere prayers for his family's intentions. Blessed Peter To Rot pray for us so that we may grow in faith, hope and charity. (Photos:courtesy of Fr Ambrose Pereira and Mr Paul Harricknen from Feastday celebrations of Blessed Peter To Rot {Sunday 5th July 2020} at Mary Queen of the Pacific, Waigani-NCD)

ALI & AVA

UK, 2021, 95 minutes, Colour.

Adeel Akhtar, Claire Rushbrook, Ellora Torchia, Shaun Thomas, Mona Goodwin.

Directed by Clio Barnard.

Yorkshire Screen welcomes its audience to come and spend some time in the city of Bradford, to meet ordinary citizens, their lives, struggles, happiness. The credits indicate that the film is not based on actual characters but, rather, a group of writers and the cast workshopped themes of life in Bradford and came up with the story of Ali and Ava. Both of them can be described as “nice” people.

Ali represents the migrant population of the UK, Pakistani background, a landlord, but genial, driving children to school, married to a younger woman who has ambitions to go off on her own, to study, make a new life. However, they live next door to Ali’s family and they have to keep up the pretence that all is well. On the other hand, Ava comes from Irish Catholic migrants, is now widowed from a brutal husband, loving her children, and devoted grandmother who survived domestic brutality, done a course and is now a primary school class assistant. He is played by character actor in British films and television, Adeel Akhtar, she is played by Claire Rushbrook (who, 25 years earlier, played Brenda Blethyn’s daughter in Secrets and Lies, now resembling Brenda Blethyn as she has grown older). She is several years older than Ali.

They meet by chance at school, Ali giving her a lift home from the pouring rain. One thing they have in common is a love for music, he more for rhythms and beat, she for country and folk. In fact, there is a strong musical score playing through most of the film.

They meet, have conversations, gradual revelations about their situations, with time given to Ali and his relationship with his wife and keeping up the appearances for the whole family. Ava, on the other hand, finds that her young son takes a suspicious dislike to Ali, personal as well as racist. Those are the kinds of issues that citizens in Bradford take for granted every day. Ali has a kind of charm which can even cajole a group of nasty kids chucking stones at him by playing music, some dancing, a kind of Pied Piper.

Ava is very tentative in the relationship, remembering her past. Ali is more venturesome – but, gradually, the relationship develops, despite the hostile son, but encouraged by Ava’s daughter.

Yes, there are some moments of tension, but the niceness of the characters keeps us on side – and living in hope that each will find a future. With each other.

A pleasing slice of Yorkshire city realism.

1. The Yorkshire settings? The city of Bradford? Neighbourhoods? Streets, homes, schools, buildings? The musical score?
2. The musical background, the range of songs, Ali’s taste, Ava’s taste?
3. A Yorkshire slice of life, the areas in the city, Pakistani migrant families, Irish Catholic migrant families, some isolation, some racism?
4. Ali’s story, his age, seeing him dance on the car, his love of music, always music, his dancing? Landlord, the tenants, taking Sophie to school, his kindness? The encounter with Ava, the rain, giving her a lift, their talking, discussions about music? Different tastes? Ali and the marriage, his wife and her studies, living separately at home, the family next door, keeping up appearances? The scenes with the whole family, with his mother, sister? The friendship with Ava, the various meetings, drives, the cemetery to watch the moon, going home, the sexual encounter, the repercussions on each? Going away on holiday? The return, the future, Callum and the confrontation with the sword? His wife moving out, the embrace, Ava seeing this, leaving? The consequences? His future, overcoming to meet him?
5. Ava’s story, the Irish Catholic background, migration, her children, the fathers, memories of her husband, Paul, his brutality, wearing boots, her trying to save Michelle from a beating? His death? The grave, the cemetery? Grandmother, with Callum’s baby? With Michelle? With Dawn, friendship? At school, with the children? The story about the separation, her husband’s death, doing a degree, an assistant at the school? Scenes of her care for the children? The lift with Ali, discussions, music, friendship, the meetings, Callum attacking him, racism? The holiday? The discussions with Michelle? Seeing Ali with his wife, leaving, returning?
6. Nice people, age, experience, attraction, romance, love?
7. The next generation, Callum, marriage, attitudes, child? Michelle, marriage? Advice to her mother?
8. Ali’s family, his mother, his wife, her studies, in the house together, his tenderness towards her, her deciding to leave? Keeping up appearances at the family house?
9. Ali and Ava together at the end – and a future?

FALLING FOR FIGARO

UK, 2020, 104 minutes, Colour.

Daniel Macdonald, Joanna Lumley, Hugh Skinner, Shazad Latif, Gary Lewis.

Directed by Ben Lewin.

Figaro? It must be a film about opera. And it is. But, it is a pleasant, Saturday matinee for older audiences, lovers of opera but also appealing to those who would say they are not opera lovers. Something for everyone.

This is a story of Millie who has become disillusioned with her job as an adviser in a large company, attending board meetings, financial advice, and living in a flat with her boyfriend. But, she has always wanted to sing – and is prepared to give up the year of her life to train and to see where this would lead. She does have an adviser who suggests she contact a Scottish former Opera singer, Meghan Geoffrey-Bishop, who, apparently, does not suffer fools gladly! With that hyphenated name and discussions about her peremptory and often dismissive manner, it is not surprising to find that she is being played by Joanna Lumley. One might say it is a typical Joanna Lumley performance, haughty for most of the time, glimpses of some humanity, and, eventually, some niceness.

Millie is played by Australian actress Danielle Macdonald who had success in the United States with Patti Cake$ and quite a number of other films and television appearances. Millie is a solidly built young woman, more than capable of an opera stage presence, like so many of the other traditional divas.

So, here she is in Scotland, not the most comfy place to spend a year, boarding in an old pub, getting used to the locals, encountering Meghan Geoffrey-Bishop, seemingly dismissed, but allowed to try out. Of course, there is a great deal of entertainment in the interactions between the aspiring singer and the haughty former star, remembering her glory days.

And there is the complication of her other aspiring singer, who has actually won some local competitions, Max (Hugh Skinner). He has more than a touch of the surly Scott, not really responding to Millie, although he is forever turning up, doing all the jobs at the pub including cooking and serving the meals.

The film was directed by Australian, Ben Lewin (who has a solid 40 years career in writing and direction, the Dunera Boys, The Watch, The Favour and the Very Big Fish, Paperback Hero, The Sessions).

We know that Max eventually has to mellow, let go of this antagonism, but it does take quite a while.

Will Millie succeed? Will she go into the competition? What happens when she runs away, frightened? Will Max win the competition? And what about Millie’s boyfriend, will he understand? And, most importantly, will this year lead to a career?

Well, the only way to find out is to go to enjoy Falling for Figaro!

1. The title, Figaro and Opera, Max as the singer, Millie and her falling for him?
2. A Scottish Australian production, Scottish locations, Australian post-production? The Dir is Australian background, Danielle Macdonald?
3. The background in London, the opera, flats, business offices? The return to London for Singers of Renown competition?
4. The Scottish settings, the isolated town, the hotel, the farmhouses? The mountains and the beauty? The farms and the animals? Chickens?
5. The musical score, the range of Opera excerpts, their frequency, insertion into the plot, as sung by Max, as sung by Millie, as taught by Meghan? The competition? Singers of Renown and the several competitors and their singing? And the finale?
6. A film for opera lovers – and entertainment for those who are not so fond of Opera?
7. Millie, Danielle Macdonald, age, personality, large figure, with Charlie, the relationship, her business skills, the board meeting, her decision to step down, Charlie’s reaction? Her desire to be a singer? The contact, the agent and advice, communicating with Meghan? Driving to Scotland, the hotel, the pub owner, settling in?
8. Millie, her talent, her ambitions, the money, staying for a year? The initial meetings with Meghan, Meghan and her ironic manner, peremptory? The encounters with Max, the initial wariness, all his jobs at the hotel, the singing? The demands made by Meghan? Millie going to sing with the cows? The phone calls from Charlie? The conversations with the hotel owner, the various customers?
9. Max, dour Scotsman, singing lessons, his relationship with Meghan, her being a strict mother figure? All his jobs at the hotel? The initial wariness of Millie? Dislike? Accepting her? At the competition, her wanting to run away, his persuading her to sing? The beginning of the bond between the two, Meghan encouraging them to work together, the emotional effect, in the singing, in real life? The sexual encounter and Millie’s reaction? The decision to be wary of each other, passing each other, not speaking?
10. The character of Meghan, Joanna Lumley’s style, acerbic, peremptory, her past career and souvenirs, working with Max, over the years, her manner of encouraging, demanding? Taking on Millie, seeing something in her? The lessons over the months? Going for the competition? The aftermath, her seeing the relationship between the two? Encouraging them to sing together? Going to London, her presence at the Singers of Renown, her response to the two of them?
11. Charlie’s visit, Max’s reaction, renewing the relationship, Millie and her hesitation?
12. The buildup to the Singers of Renown, the range of singers, the nervous singer and her being sick, Millie encouraging her, then her going out on stage and being forceful? Millie, nervous, her singing, applause? Max, Figaro, his success? Charlie enthusiastic in the audience? The aftermath, the party?
13. The passing of three years, Millie and her singing, Max and his career, his agent, Millie and the interview, their singing together?
14. The tradition of the underdog in competition, work, success? And in the world of Opera?

Acknowledging Frank Andersen MSC,  80

Frank Andersen MSC, a North  Queenslander, turns 80 today. He made his first profession on February 26^th 1961. During his seminary years, he taught at Daramalan College, Canberra, and continued there after his ordination in August 1968. He spent over ten years teaching in the primary school.

While at Daramalan, Frank began to compose hymns, scripturally-based, for congregational singing and published Eagle’s Wings.

In 1980, Frank spent a year at Berkeley, California, at the Jesuit Centre, specialising in Liturgy, and liturgical participation. On his return from the US, he continued with hymns and a new collection, Everything I Possess.  This included The Galilee Song. He also wrote music especially for Liturgical use, Scripture in Song, Rising Moon.

In 1990, Frank became a member of the Parish team based in Sunshine, in Melbourne, but travelling all over Australia. This ministry also led to collaborative work in Australia and overseas with the Christian Brothers.

Another collection of hymns was Kindly Light. Frank also published the books, Jesus Our Story and Making the Eucharist Matter.

DEADLOCK

US, 2021, 97 minutes, Colour.

Bruce Willis, Patrick Muldoon, Matthew Marsden, Michael DeVorzon, Ava Paloma, Kelcey Rose, Douglas Matthews, Johnny Messner.

Directed by Jared Cohen.

Deadlock is one of the many, very many, action films that Bruce Willis made every year in his later career. He was awarded the Razzie for ‘Worst Bruce Willis Performance in a Bruce Willis Film’. However, at the time, it was announced that Willis was suffering from aphasia and would not be making any more films. The management of the Razzies then withdrew the award.

This is a typical enough Bruce Willis action story except that he is the villain this time, self-centred, self-absorbed, absolutely ruthless and relentless. He does not hesitate to kill the many that he does not approve of.

The film opens with a raid on a drug house which goes wrong, killing an innocent bystander in the wrong house. Willis plays the father of the young man and his brother who has been arrested on suspicion of drug dealing. He wants the police to confess, and while they admit that it was an accident, he considers that they have lied. He gets their girlfriends to lure them to a meeting with him where he torments and kills them.

He leads a company of rogue soldiers to the hydroelectric plant in County Fitzgerald, Georgia, threatening to open the floodgates – which he does, and which actually floods the valley and the county. Absolutely relentless. He has allies with old veterans who work in the plant.

The hero of the film is past military, in security at the company, wakes with a hangover – one of his friends, an ally of Bruce Willis, wanted him not to turn up on the day of action. There are betrayals, shootings, a bus load of young students touring, a roundup of the staff, the students, helpless hostages. But the hero, played by Patrick Muldoon, along with another worker, Douglas Matthews, do some outwitting of the soldiers, getting the hostages to safety in their bus and escaping the plant. However, Muldoon does not do it all by himself, a lot of heroics, skill in shooting, some fights, but the authorities eventually calling in the Army to resolve the situation.

In the past decades, it would have been Bruce Willis in the Muldoon role and a villain like Alan Rickman being the relentless avenger.

The screenplay not always 100% persuasive, but this is a typical Bruce Willis action film, neither better nor worse than the others.

LA TERRE ET LE SANG/ EARTH AND BLOOD

France, 2020, 80 minutes, Colour.

Sami Bouajila, Eriq Ebouaney, Samy Seghir, Sophia Lesaffre.

Directed by Julian Leclercq.

This is a brief French drama which combines social realism with police action and drug dealing.

At the centre is an older man, North African background, visiting a doctor and getting a terminal diagnosis. He owns a sawmill, is in debt, consults his sister-in-law, his concern for the future of his mute daughter and her art ambitions, deciding to sell the mill. There are realism and details in showing the mill, the workers, logging, working on the timber…

However, the film does open with four masked men doing a raid on a police station to steal the drugs there. Two are killed. One then goes to his younger, ex-con brother, stealing the drugs from the others. The young man works at the sawmill and conceals the drugs there.

While the old man meets with the potential buyer trying to organise matters, the dealers capture the brother who robbed them of the drugs, torture him and get information that the drugs are at the mill.

The rest of the film is a siege, shootouts, attempted escapes in the countryside. The old man uses all his wits and shooting skills in getting rid of many of the ruthless, multi-cultural, gangsters. He urges the young man to try to escape with his daughter.

This is a strong film for those who like action, some brutality in the deaths. But, ultimately, it is quite pessimistic in its final confrontations and deaths.

1. The blend of human drama, realism, and drug dealers and a siege?
2. The French situation, the drug dealers, race issues within the dealers, the police pursuit, the dealers betraying one another, the hiding of drugs? The contrast with Ted, terminal illness and the doctor, sister-in-law, daughter, plans, selling the mill, managing the mill, his debts? Yunis working for him? The connection with the drug situation? The musical score?
3. The harsh realism of work at the mill, going out into the forests, cutting the trees, transporting them back, the sawmill, the staff, the work, offices, Sophia, the accounts? The would-be buyer, observing, the discussions, the deal, the conditions, the price, the offer for Said to continue working?
4. The initial drug situation, the gang, masks, the raid in the police precinct, the deaths, taking the drugs, Mehdi and his wanting them, the confrontation with Yunis, his hiding the drugs at the sawmill?
5. The gang, torturing Mehdi, getting the information, writing, the confrontation, the numbers? The siege of the mill, Said and his reply, guns, shooting? Sophia and Yunis escaping, after Said locking him up, fleeing through the woods, the man pursuing? Using their wits? The house, the pursuit, the fight with Yunis, his wounds, death? Sophia and the house, the old man, sheltering her, his being killed? Ruthlessness?
6. Said using his wits, in the house, picking off the assailants, in the mill, at the back, the vehicle, the crash, in the tractor, the previous scene with it being hard to start, getting away? The crash, the burning car?
7. His finding Yunis and Sophia? His being wounded, the leader, the fights, the threat to Sophia, Said attacking him with the axe?
8. A grim crime story, and the harsh realities of making a living at the mill?