HEY, HEY, IT’S ESTHER BLUEBURGER

Australia, 2008, 103 minutes, Colour.
Danielle Catanzariti, Keisha Castle- Hughes, Essie Davis, Russell Dykstra, Toni Collette, Christian Byers.
Directed by Cathy Randall.

This is an accomplished first film for writer-director, Cathy Randall, drawing on her Sydney school experiences after she moved from South Africa to Australia aged 7. Her memories of going to a private school and not fitting in has led to her creating an eccentrically lively Australian screen character.

Esther Blueburger is Jewish as is Cathy Randall, This is an important (and so far rather unusual) focus for an Australian film: the Jewish family and their beliefs, preparation for the Bar Mitzvah for both boy and girl, the ritual, the party (full of humorously stereotypical older Jewish mothers), the ignoring of invitations by the schoolgirls, the Jewish school for Esther’s twin brother – and his adolescent fervour for prayer and for kosher meals. This is interesting and entertaining, something of a breakthrough for Australian cinema (Norman Loves Rose and Two Brothers Running were made in the 1980s).

The film is an M-rated for Australian audiences with a smattering of swearing and some allusions to adolescent experimental sexual behaviour – enough to raise discussions for teenage girls, parents and teachers.

Danielle Catanzariti is a real find. She gives a totally self-possessed performance for her first film. She exudes confidence but, under the surface, are a 13 year old’s uncertainties: not accepted by the accomplished Australian version of WASP girls; not normal - although Normal is what she calls her pet duck who is forbidden to go to her Bar Mitzvah and who turns up as a featherless specimen for a class on the digestive system; exaggerating and lying to her parents; happy to find a friend and secretly transferring to the public school (under the cover of a Swedish exchange student!).

It is this friendship with Sunni (Keisha Castle- Hughes very different from Whale Rider and her role as Mary in The Nativity Story) and her mother (a strong cameo from Toni Collette) that disrupts her life. At first it is fun. Then she responds to taunts and dares from her new friends and becomes two-faced when she bullies another girl and then basks in acceptance at her old school (these girls think she is a spy in an experiment).

Esther is lively but by no means perfect and she has to learn – especially through a shock tragedy and her being unmasked and having to face and accept herself.

This is a very cheerful film that will appeal to adolescent girls who can identify with Esther (rather than the conformist elitist girls) in her exuberance but also in having to face up to reality. (The film was a great favourite in Berlin in the Kinderfestival in the section for 14 and over with 4 screenings.)

1.The impact of the film, its appeal to an adolescent audience, adolescent girls, parents, teachers?

2.The semi-autobiographical story of the writer-director, her experience of girls’ schools in the 80s and 90s?

3.The filming in Adelaide, the schools, suburbs, the streets, homes, clubs, offices? Authentic feel?

4.The musical score and the range of songs? Especially the song after Mary’s death, sung by Danielle Catanzariti?

5.The title and the tone, Esther, her age, thirteen, her personality, normal or not? Eccentric? The obligation to fit in at the private school? Her not doing so, lonely at lunchtime, not in the patterns and dancing of the girls? Not fitting into her family, her attempts, mistakes, hurting people, learning? Spelling her name at the public school, changing letter by letter? Her repetition of this on stage at the end? Her self-assertion?

6.The Jewish background, the school, non-Semitic rather than anti-Semitic? Jacob, his experience of anti-Semitism? The Bar-Mitzvah?, its importance, the preparation, rehearsals, the ceremony? The party afterwards? The father and his blessing and giving a special tie to Esther? The Jewish families at the party, the Jewish mothers and their eccentricity, their suggestions, criticisms of her hair …? Her break-dancing and doing somersaults? The importance of the Jewish background, Jacob and his becoming more Kosher, eating, prayer?

7.The family, the father and his work, style, communication, the blessing, his being puzzled about his children, Jacob and his hurting the boy with the compass? Jacob going to the Jewish school – and going into it fully? The mother, proper, proud of the private school? Always busy, her briefcase, not listening, leaving the discipline to her husband, especially Jacob licking the plate? Esther’s behaviour, her being deceived? The plans for the Bar-Mitzvah? party, with each of her children? Her being sick, praying to God – and the toilet? Esther’s attack on her as a bad mother? The end and the bond? The comic scene of the attempt at family therapy, everybody sitting in the bean bag, the silence of the therapist? Ineffectual?

8.Esther, alone at lunchtime, watching the other girls, their orderly behaviour, synchronised eating …? The credits, the patterns? The private school, the attitudes, snobs, bullying, the fat girl and her being tormented, the discipline, the uniforms, the hall, the singing? Assemblies? Esther and her request to the girls to go to the Bar-Mitzvah?, their not replying, getting their hair done …?

9.Esther and the duck, Normal, taking it home, it following her, her mother upset at the duck on the table? In the street, the menstrual blood, going into the toilet, watching the boys doing martial arts and the girls in the band, Sunni coming to talk with her? The beginning of a friendship?

10.The Bar-Mitzvah?, the ceremony, the ribbon for her, Jacob and his role? Mother and father present? The party, the types at the party, Sunni coming in, talking, the old lady asking what her parents did and her asking vice-versa? The dancing? Sunni’s school, Esther deciding to change, borrowing the uniform, pretending to be the Swedish exchange student, spelling her name to introduce herself in the class? Sunni and the various groups in the school (as in Mean Girls)? The Lions’ Lair, the special group of friends? Their being wary, gradually accepting Esther? Esther and her lies, the uniform, taking the raincoat from the fat girl, offering to give her the cheque, the girl taking it because it was Esther’s mother’s money?

11.The therapy session – the comedy, ineffectual?

12.Sunni, playing the drums, talking to Esther, the duck, the Bar-Mitzvah?, school, their friendship, hanging out? Esther changing, the bashing with the coat, the sexual issue with the boy, her going first, Sunni and her reaction?

13.Mary, bright, love for her daughter, striptease and dancing, preparing for the interview, the party for Sunni’s birthday and Sunni’s change of mood? Going shopping with Esther and her not arriving? The interview itself, answering the questions, her success? Forgetting the helmet? Esther taking it? The accident? Her love for Sunni – yet Sunni taking Esther and the girls to see her at the club and her walking out? Grief at her death?

14.Esther and the story of being a spy, telling Missy, everybody knowing, the fat girl explaining it and congratulating her, the gossip in the school, her return to the school and her being feted, popularity?

15.Sunni and the disillusionment, her own life, Esther as a puzzle, pushing Esther to be herself but angry at the results? Compounded by the grief for her mother?

16.At school, the choir, Esther humiliated by having to sing aloud, her return to the school? The parents, the singing, Esther going to the front, the microphone, spelling her name with the change of one letter, Sunni applauding, the fat girl applauding? Missy pushing her off the stage, her injuries?

17.The background of the school, the difference in classes – and the humour of the dissection of the duck? Her concern about the duck, and her praying that Mary would actually see the duck in Heaven? Her fall, sense being knocked into her? Her having to decide what was normal, what was idiosyncratic, what was being true to self – and the possibilities of change?

18.The children and their trying to contact Mary, serious, comic?

19.The final meal, Jacob being particularly Kosher, Esther as more ordinary, poised, the father and the prayer and wanting to get on with the meal, the mother and her easier relationship with her daughter? Esther being able to move on to the next phase of her life?

FEUER HERZ (HEART OF FIRE)

Germany, 2008, 92 minutes, Colour.
Letekidan Micael, Salomie Micael, Seble Tilahun, Daniel Seyoun.
Directed by Luigi Falorni.

This is an emotional film about war in Eritrea. It is based on a memoir by Senait G. Menari. On its publication, controversy arose, questioning its veracity that the author spent time as a child soldier.

At the launch of the film in competition in Berlin, the Press Conference with the makers offered a definition of a child soldier, especially in view of the Eritrean government’s denials and literature distributed outside the screening. The definition is that any child under the age of 18 involved in any war effort (not just the bearing of arms) is a child soldier. The filmmakers also wanted to stress the point that in Eritrea, unlike in Uganda and Sierra Leone, children were not forced to take up arms but that many children did so voluntarily and became involved in war.

The makers also made another point, that the film was ‘inspired’ by the book rather than being a factual version and that they had called the little girl Awet rather than the name of the author.

This said, the film is a vivid picture of Eritrea, beginning peacefully at an Italian school in Asmara, then moving to the countryside and villages, then to camps and conflicts between the opposing groups of liberators from Ethiopia.

One of the man reasons for the impact of the film is the screen presence and performance of Letekidan Micael as Awet. She is quite a dynamic actress. As a schoolgirl in Asmara, she is intelligent and questioning, one of her key ideas being that Jesus was wrong about turning the other cheek. She shows how it is physically impossible. However, a local sister explains that it would be a backhanded slap and that this was a symbol of master-slave striking and that turning the other cheek is a defiance and a symbol that there should be no slaves.

Awet has many opportunities to test this when her sister takes her from school to go back to the family village to their father. Later she goes to a military camp. In each plays she readies her cheek for the second strike.

The film shows rebels, the children training with both chores and gun drills, raids – and deaths. It makes a plea against war as the children try to flee the military action and go to Sudan.

The title refers to Awet’s strong spirit. However, a symbol is also offered: a cloth picture of the heart of Jesus (and we also see a picture of the Sacred Heart in close-up) with Mary on the reverse side. Awet treasures it and finally offers it to the nomad leader as a gift for taking the group to freedom.

The film was directed by Luigi Forlani who co-directed The Story of the Weeping Camel.

1.The impact of the film, the target audience, negative critical reaction? The criticisms by the Eritrean government?

2.The controversies concerning the book, the adaptation? The use of the character? Child soldiers, Eritrean denial that there were child soldiers? The definition of the child soldier, the conditions, aged under eighteen, any part in military action? Coerced or free? The effect on the children? The evidence available on Eritrea?

3.The filming in Kenya, the Eritrean cast, the local language?

4.The introduction concerning the clashes? 1961, the relationship with Ethiopia, the clashes between the two sides in Eritrea? The Eritrean Liberation Front?

5.The introduction to Asmara, peace, the Italian heritage, the school, the nuns, the children, mixed race and mixed class? The Eritrean sister? Awet and the bond with her?

6.The classes, the Catholic doctrine, the heart of Jesus, the picture of the Sacred Heart, the cloth picture of the heart with Mary on the other side, Awet treasuring it?

7.Jesus and the teaching of turning the other cheek, the teacher’s interpretation, Awet disagreeing, saying that there could only be a smack on the other cheek? The Eritrean sister and her explanation about slavery, defiance? Not being a slave?

8.Turning the other cheek as a theme, the puzzle, her father, the trainers, the soldiers? The significance? Awet and her stances?

9.Awet called away, her sister coming for her, travelling, no contact with the family? The arrival, the father, the poverty, being cramped for sleeping space, the one dress, collecting the water? Defiant and critical of her father? His slapping her and her standing defiant with the other cheek?

10.Her father, his drinking, self-proclaimed hero, the bar injuries, his friends in the bar? His saving face?

11.Awet, her character, strong personality, intelligent? Going to the camp? Life, drills, work, training, the guns? Her emptying the bullets and being reprimanded, having to hold up the gun for a long time?

12.The attack, the shooting of the rebels in the back?

13.Mica’al, talking with him, friendship, his not being good at arms, military matters, his wanting to leave, his being killed in the attack?

14.The attack, the bullets, the boy shot in the leg? His anger – but willing to leave?

15.The trainer, her strength, Awet imitating her hair, the tougher young woman, the decisions, the role of women in the fighting? The fierce fighter, her clashes with Awet? The men in the group?

16.The decision to get away, going through the desert, the storm, the nomads, giving the cloth with the Heart of Fire, a new life in Sudan?

17.Awet and her own heart of fire, the cloth symbol, the Sacred Heart, Awet as a Christ figure and the use of the heart symbolism?

CORROBOREE

Australia, 2007, 95 minutes, Colour.
Conor O’ Hanlon, Rebecca Frith, Natasha Herbert, Susan Lyons, Jane Macarthur, Margaret Mills.
Directed by Ben Hackworth.

An experimental film which does not rely on narrative but rather impressions, performance and sketches of characters and situations.

A young man, Conor O’ Hanlon (and billed as himself) travels to a country town with instructions from a dying director to entrust himself to a group of women at a holiday house. After he settles in, the role plays begin (again with instructions from the director). The young man is to represent him in re-enactments of events in his life. They include an encounter with his mother, a sexual encounter with a young woman, a conversation with an older woman, his treatment by a doctor. The women play these roles.

The cumulative effect of these impressions is some understanding of the director. It is also a showcase for the actresses who, as themselves, talk and interact, sometimes seriously, sometimes with humour. They also enter into their assigned roles with some relish.

Conor seems rather unaware of what this all means but gradually enters into the spirit of the role plays, eventually splattered with blood and naked.

In the meantime, we see glimpses of the dying director himself, being chanted over by the women, himself watching the proceedings unobtrusively. There is also a nurse looking after him as well as a young man who is a cook.

The director explained that ‘corroborree’ was a word coined by the white settlers to refer to the aboriginal rituals of dance and mime that represented all facets of their lives.

Puzzling while it is going on (and a little more exposition would not have gone astray) but the film ultimately achieves its effect of drawing us into this theatrical and ritual process.

1.An Australia experimental film? The intended audience? Interest? Demands?

2.The visual style, digital, the countryside, the house, the surroundings and the woods?

3.The opening, the bus station, the bus trip, the driver, the passengers? Conor, his trip, the tape and the messages, advised to do what the women do, his being unprepared for the theatrical event?

4.The device of Conor being himself, having to become an actor, the re-enactment of the director’s life? Having to be spontaneous, following the script? His changing during the performance, his being affected, the alter-ego of the director? Building up to his death? Finally the blood, naked?

5.The meaning of corroboree, an English word ascribed to the Aborigines, for ritual and dancing, theatrical celebration?

6.The director, sometimes seen, often not, his voice? The nurse, the young cook? The watching of the prayer and chants over him? His death, coffin? The purpose of the play, reliving his life, some kind of purgatory and purgation, preparation for death?

7.The house, in the countryside, a kind of retreat? The actresses, the group in themselves, together? The meals, talk, acting, the blend of the serious and the comic?

8.Conor’s arrival, settling in, the preparations?

9.The re-enactments: Joe as a boy, his mother, the difficult birth, trying to protect him, letting him go, her ambiguous feelings towards her son?

10.The sexual encounter, the young girl, Joe being accosted, the effect on him, the effect on Conor?

11.The woman outside, the talk, work, Conor’s response? The main aspects of the director’s life? The place of the other women?

12.The walk in the woods, the young cook and his presence, the military outside, the outside world?

13.The hospital set-up, Joe as ill, the actress and her being the doctor? Conor lying down, the hypnotic effect? His going under? The reaction of the women?

14.The reality of death, the nurse leaving?

15.Conor being painted white, being in a trance, the doctors’ treatment, the violence, the blood, naked?

16.The need for more exposition for the narrative? The film as narrative? As psychodrama? As art? As installation art and style?

HAPPY-GO-LUCKY

UK, 2008, 118 minutes, Colour.
Sally Hawkins, Eddie Marsan, Alexis Zegerman.
Directed by Mike Lee.

Mike Leigh has done it again. A fine, real and realistic portrait of ordinary Londoners, ordinary people.

But… the title? It sounds like the winner of a competition for the least likely title for a Mike Leigh film. Happy is not a word that one readily associates with Mike Leigh films, let alone happy-go-lucky. There is no question, however, that Leigh has made an extremely happy and happy-go-lucky film.

The cast must really have enjoyed Leigh’s process for developing the screenplay: having the cast create responses to situations he suggests, find the dialogue, find the wit, find the emotions and interactions so that he can fashion a tight script from their creativity.

And he is blessed, as usual, by a marvellous cast and a totally persuasive performance (as happened with Brenda Blethyn for Secrets and Lies and with Imelda Staunton for Vera Drake) from Sally Hawkins who had appeared in the cast of Leigh’s recent films. Like Brenda Blethyn and Imelda Staunton, she won a Best Actress award for her performance, this time in Berlin. From the opening credits where she is seen cheerfully riding her bike through the streets of a sunny London to the end where she is rowing on a lake with her room-mate, Zoe (Alexis Zegerman in a more quiet but perfectly complementary performance), Sally Hawkins commands our full attention. Her Polly is a woman of happiness, zest for life which is admirably optimistic, geared to helping others through laughter but not taking herself too seriously. She is wonderfully extraverted but could be more than a bit wearing for those who cannot emulate her exuberance.

Yet, you know that at some stage, she will be challenged by people who are more serious-minded, who feel threatened by her joie-de-vivre. But, you hope she has the goodness and the moral resilience to take criticism on board, absorb it and be the better person for it while it does not quench her spirited zest.

So, this is a few weeks in Polly’s happy-go-lucky life. The screenplay is quite episodic and some sequences seem arbitrary to the plot, like that of her chance meeting at night in a deserted space, without fear, with someone most of us would find too frightening and avoid, a homeless and mentally unstable man. Yet, we are glad the episodes have been included.

Just a list of a few of Polly’s encounters gives a flavour of her life: at first joking with a most taciturn bookseller, then her girls’ night out dancing and drinking, talking and laughing, with her sister and friends, then her preparations for her class with primary school children learning about birds (complete with home-made bird masks). She also has to deal with a little boy bully in the school yard and the social worker who comes to work with him, then a liaison with the social worker…

And her driving lessons! Who else but Mike Leigh could engross his audience in driving lessons? It is here that the clash between the over-jovial and the over-serious comes into play with Eddie Marsan giving yet another of his completely different performances as an angry, rigidly uptight instructor who makes the intensely aggressive speeches in the film, exasperated by Polly’s chat, laughter and his feeling she did not take him and the lessons seriously enough. Polly’s pregnant sister is also a controller, of her husband as well as visitors to the house and reacts hypersensitively to Polly’s easygoing love and support.

And Leigh makes a Flamenco lesson a highlight of his film, amusing but then hilarious as the Spanish instructor lets loose with an exhortation to her motley class for intense passion for the story of the dance – along with some very funny observations on British pronunciation and reserve. The audience at the Berlinale press screening burst into loud spontaneous applause as the sequence climaxed.

Leigh has always believed in human nature and has never been afraid of showing its darker side, especially in Naked. And now, believe it or not, he is not afraid to portray the profoundly happy-go-lucky.

1.The impact, entertainment, a wise film?

2.Mike Lee and his serious body of work? His turning to happiness? Sally Hawkins embodying the title? Her best actress award in Berlin?

3.The title, usage, happiness, happy outlook, temperament, extrovert, joy, relationships, laughter, the funny side of life, serious sides of life? Happy-go-lucky, not making decisions, chances, opportunities? Cheerful? Support? Taking the mickey out of people yet affirming them?

4.The credits, London, North London, a character in the film, the streets, the flat, the driving lesson’s routes, the school, the visit to the family in the country, the end and the rowing scene? Musical score?

5.The introduction to Poppy, the credits, her riding her bike, sunny disposition, the market, the taciturn bookseller, with her girlfriends, dancing during the night, drinking, enjoying life, the weekend, talking, coming home, Zoe as good friend, Susie her sister, the chat, carefree? Sleeping, waking, breakfast?

6.Poppy’s life, her name of Pauline, thirties, her studies, intelligent, Susie and her exams, Helen and her pregnancy, Helen as serious? Their parents? The London life, Zoe and travel, settling down, the flat in London, their ease with each other? Their preparing the bird masks for school, enjoying this, with the children at school, play? Poppy noticing the bully, later taking this up, the confrontation, discussions with the principal, with Tim, the social worker, handling the situation?

7.The principal as her friend, the invitation to the flamenco lessons, their talk, going, Poppy laughing, the teacher and her seriousness, the range of clients, the history of flamenco, the mocking the English passion and pronunciation? The dancing, the story, the intensity of the lecturer, her storming out? Her later praise? An enjoyable character?

8.The homeless man, the danger for Poppy to walk in this area, meeting the old man, talking, noise, singing, hungry, her getting him a sandwich, her warmth, sharing with him, his warnings?

9.Tim, liking him, his skills in dealing with the boy and his home life, drawing out information from him, the drawing? Going out with Poppy, the dinner, sharing, going home with him, the sexual encounter? Scott seeing this? A future for Poppy and Tim?

10.Zoe as a character, the ten years of friendship, travel, the flat, the practical one, complementing Poppy? Quiet support, listening, the visit to Helen, the end and their rowing together?

11.Scott, his lessons, the car, the company, conditions of employment, woking on Saturdays, payment? His rules and the explanation, the triangle, the third eye, the incantation? Poppy and her real name? Her response to him, the jokes, the gears, turning, the dangers? Her keeping going? Scott spying on her and running away?

12.Scott as the only child, living alone with his mother, his prejudices, speeches, Middle England? Serious, his taunting Poppy, his irritation with her, his mad driving, his serious attack on Poppy, her life, her values, her humour?

13.The challenge to Poppy, taking this seriously, thinking it over, Zoe’s comments, Helen and her visit, control, the reactions to Helen’s control? Helen and her pregnancy, her husband, the house, the décor, forbidding him to play computer games?

14.Sharing life with Poppy, her life as a person, character, her goodness, relationships, humour, laughter, jokes? The possibility that she would be a bit wearing in real life?

15.Yet her taking life seriously, focused, responsibility? Considering criticisms? Rowing with Zoe and talking with her?

16.The final shot, going up into the air, looking down, the audience sharing the rowing, peaceful for Poppy, moving on to the next phase of her life?

KATYN

Poland, 2007, 118 minutes, Colour.
Directed by Andrzej Wajda.

For more than fifty years, Andrej Wajda has chronicled the history of 20th century Poland. Initially, in the 1950s, he told stories of World War II and the Polish resistance. Later he ventured back into earlier history but, in the 1970s, he took up themes of the Soviet dominance of Poland, propaganda and the unrest that led to the Solidarity movement (Man of Marble, Man of Iron). As he grew older, he dramatised 19th century historical battles and epic poems like Pan Tadeusz.

At the age of 80, he has returned to World War II, a personal as well as a national quest, as his father died in the massacre that he now portrays.

It deals with events not known by those outside Poland and, as the drama shows, an event that was covered up for half a century.

The key event was the capture and subsequence execution of over 10,000 Polish officers. Victims of a secret pact between Berlin and Moscow in 1939, the Russians executed these men, burying them in mass graves. When Russia and Germany became enemies, the Russians changed the official dates of the killings
and attributed them to the German forces. During and after the war, this was the official line, the truth being revealed only in the late 1980s with Boris Yeltsin in the 1990s finally acknowledging what happened.

As might be expected, Wajda keeps the re-enactment until the end of his film. Most of the film is not about the officers (there are some sequences establishing relationships, tensions and uncertainties). Rather, it is about the families affected by the long absence, the list of names of the dead and the sadness and loneliness: the wife and daughter of one officer; his mother and his interned professor father; a nephew turning up after the war wanting to study; the wife of a general and her being urged to sign a document accusing the Germans of the atrocities; the sister of a victim trying to set up a tombstone stating the truth; the comrade of the officer who has survived the war and is a Russian soldier.

This episodic style is often difficult to follow as characters suddenly turn up without our knowing exactly who they are. While this can be dramatically disconcerting, there is no doubting the intensity of the re-creation of the period, the war atmosphere in Kracow and, ultimately, the savage massacre.

1.Wajda and the fifty years of his work, his embodying Polish cinema after World War Two, his range of themes: history, World War Two, Resistance, the communist era, Solidarity, changes, the collapse of communism? His chronicle of Poland?

2.The personal interest in this film, his father killed at Katyn, the background of the massacre, the cover-up, the expose?

3.The re-creation of period, 1939, Krakow, life in Krakow? The attack by the Germans in September, the attack by the Russians in the east? The crowds of people at the bridge, the cars, confusion? Anna and her finding the camp, her husband, the officers imprisoned?

4.The Katyn story – the number of Polish officers, the massacre? It being seen and visualised only at the end? The officers, the Russians, the cruelty, the massacre, the shooting of the individuals, the mass graves? 1939, the officers arrested, the army men let go? Taken to Russia, the trains, the cold in the camp, the focus on Andrzej, Jerzy, their talk, lending the pullover, Pilot and his being an engineer, his anger and outbursts, their calming him? The general and his speech at Christmas? The spirit amongst the officers? The later information about the list, the names on the list, the Russians and their attributing the massacre to the Germans, the continued cover-up by the Russians?

5.The Russian-German? agreement, Berlin, Beria in Moscow, the agreement, Stalin signing it? The later attack on the Germans? The post-war attitudes, the Russians preserving the German fiction? The student trying to enrol, the sister trying to get the correct date on the tombstone, the newsreels about Katyn?

6.The film consisting of episodes during and after the war:
(a) The wife, her child, seeing her husband in the camp, his commitment to his officers, going to Krakow, staying with her mother-in-law, the professor, his going to the talk, the Nazi haranguing the staff, the closing of the university, the arresting of all the teachers, their being bundled into the trucks, going to the camp, hard labour, the professor’s death, his ashes returned?
(b) The general and his speech to the soldiers, his wife at home at Christmas, alone? Seeing the newsreel? The officials asking her to sign a letter accusing the Germans? Her pondering, refusal? The post-war screening and her objecting?
(c) The young man, coming to his aunt, his studies, going to the university, the issue of the documents, the truth about the massacre, his wanting to tell the truth, the attitude of the dean and the professors, the encounter with the girl, the date, his being run over after being pursued?
(c) Pilot’s sister, in the Resistance, wanting to make the tombstone, to tell the truth of the date, the authorities, the smashing of the tombstone?
(d) Jerzy, the Russian official, surviving Katyn, the truth about what happened, the list, his lending the pullover to Andrzej, his discussion about the documents and the archives with the professor, that they be sent to Andrzej’s widow? His shooting himself?
(e) The documents given to Andrzej’s wife, her learning of the truth?

7.The film as a mosaic, of the war, the aftermath? The expressed pessimism about a free Poland? The collapse of communism and the 21st century retrospective?

8.The dramatic effect of keeping the massacre till the end – and the audience leaving with the impression of the massacre?

RESTLESS

Israel, 2008, 100 minutes, Colour.
Moshi Ivgy, Ran Danker, Karen Young, Phyllis Somerville.
Directed by Amos Kollek.

The films of Amos Kollek, which sometimes veer between Israel and New York, between Hebrew and English, can be tough. This one is. It is also a 2007 view on Israel and Israelis in the Middle East, highlighting what he sses as a confusion of identity in recent years. And he makes this confusion apply to Jews as well who have spent years in the US and to the younger generation in Israel.

As with so many directors of Israeli films, they are against hardline Zionism, pro a more secular culture and lifestyle in their faith and are prone to offer images of mutual humanity with their ‘enemies’, especially Palestinians. There is a questioning of the political heritage and the status quo. This is part of being ‘restless’.

Restless is an interesting drama, sharply written, sympathetically played, even for characters who would try the endurance of Job in real life.

At the centre is Moshe (Moshe Ivgy), a middle-aged Jew, born in Morocco (and more than adept in making Moroccan soup), educated in Israel, who married a Polish wife and, restless and not ready for married life or fatherhood, abandoned them and made his way to New York, eking out a lonely life by deals and by busking sales in the streets, not paying his rent, being abusive to friends and foes, drinking, womanising, surviving.

He would like to be a stand-up comic and gets the opportunity in a friend’s bar with his badly rhyming poems and his sardonic remarks that question Jewish assumptions. He even persuades the tough manager of the bar (Karen Young) that he is worth considering.

When Moshe’s wife dies, his son (Ran Danker), a crack sniper in the army, discovers Moshe’s address. He is advised to leave the army because he is so angry and uptight. He decides to confront his unknown father in New York.

The film does not take easy ways out but it is not without hope.

1.Amos Kollek and his long career? His affection for Israel? His critique? His love for New York, at home in New York? Jews in the United States?

2.The New York locations, the streets, apartments, the bars, selling on the streets? The American-style score?

3.Israel, the military background, the landscapes, the work of the sniper, the roads and roadblocks? The Israeli score?

4.The title, Moshi, the introduction to his character, age, the deals, failures, his being bashed, not paying his rent? A man of attitude, restless? The background of his life, Morocco (and his ……??? in soup), training in Israel, marrying, feeling constricted, not wanting to be a parent, leaving, not having any contact, the letters returned? His sexual life, picking up women? No fixed compass in his life?

5.Selling on the streets, the belly-dancer, exploitation? Faking the photos of the rabbi? At the bar, Yolande, her spurning him, her tough attitude, the owner, friendship, asking him to perform, the clientele? His wanting to be a stand-up comic? The performance, his becoming a hit? The contents of his poems, Israeli identity, confusion, Israel itself, loss of purpose, materialistic? Israel in the past, contemporary, the Jews in New York?

6.Tsach, his mother’s death, the effect on him, the makeup and the dress? His military life, seeing his skill as a sniper? Hypertense? His friends, their giving advice, his being ordered out? His leaving, walking up the road, the decision to go to New York? His mother’s things, discovering the address, a life of anger at his father? The phone calls?

7.Yolande, her military background, tough, managing the bar, love for her son, the clashes with Moshi, his paying attention to her, her listening to the poetry, the performance, softening in her attitude, his waiting for her, the flowers, going home, the meal and the son, her sympathy, listening, the possibilities for a future?

8.The military man as a guest in the bar, arms deals? His hold over the owner? Ownership of the bar, partnerships? Attitude towards Moshi? The owner and his friendship, Moshi’s last performance, the reaction of the clients, success?

9.Tsach, his arrival, coping in New York, apartment, encountering the military man at the bar, the offer of a job as a bodyguard?

10.The confrontation with his father, meeting Yolande, the anger of the past, his mother’s suicide, his not being reading to reconcile with his father? Moshi, acknowledging the abandonment, his sense of wonder, anger, trying to be real for his son? Did they have a future in terms of father-son relationship?

LEMON TREE

Israel, 2008, 106 minutes, Colour.
Hiam Abbass, Ali Suliman.
Directed by Eran Riklis.

For anyone who wants to appreciate different point of view of the state of Israel an d the attitudes towards the Palestinians, this film is well worth seeing. It also contains vividly alarming vistas of the separation wall, higher than one might have thought, a fortress wall keeping people in as well as out.

The plot is both realistic and symbolic. The new Israeli Defence Minister owns a mansion on the border with Palestine on the West Bank, looking straight out on a lemon grove inherited by Salma (Hiam Abbas) from her father. The Israeli Secret Service declare that the grove is a security risk for the Defence Minister, a cover for intrusive terrorists and the military decrees that it should be cut down. Salma takes a firm stand and eventually appeals through various courts up to the supreme court in Jerusalem.

The background to the story is the Israel- Lebanon war of 2006 with its sense of heightened tension. On the Israeli side, the minister is taking his job very seriously while trying to give a genial media impression about the lemons. His lonely wife has more empathy with Salma.

On the Palestinian side, Salma employs an eager young lawyer and finds him personally attractive (while being sternly warned against this by the local Palestinian authorities).

Hiam Abbas (Free Zone and Anna in The Nativity Story) is a woman of great beauty and bearing making Salma a woman of character and significant stature. The drama is movingly humane.

The political interest is in the Israeli courts and the drastic issues of security, the role of the media and the potential for freedom of the media in reporting a more sympathetic Palestinian perspective to an Israeli readership.

But, in the end, the wall cuts through between the minister gazing out at it and Salma on the other side in the grove looking at its looming presence.

1.The Israel- Palestinian situation? The 20th century history? 21st century tensions? Road map to peace? Possibility of peace and understanding?

2.The border with Palestine and Israel, the West Bank, the minister’s mansion and wealth, the poor woman’s grove? Symbols?

3.The locations, the border, the West Bank, Ramallah and the offices, the camp, Jerusalem, the city, the courts?

4.The song, ‘Lemon Tree’, and its lyrics? Applicable? The musical score?

5.The grove, fifty years, the fruitful lemon trees, Salma’s heritage, Salma caring for the trees, the old man helping her, his memories? The minister, his mansion, security needs? The letter sent to Salma, her not reading Hebrew, going to Ramallah for the authorities to read it? Their advice not to take compensation? Issues of justice? Israeli security? Power?

6.Salma, her age, mid-forties, widow, the portrait of her husband on the wall, her daughter and her children, unable to get to visit her, the son in Washington? The threat, her decision, her dignity? Her rights? The daughter recommending the lawyer, her visiting him, the discussions, coming to inspect, her working in the garden, its being fenced around, her climbing over the gate, being ousted at gunpoint by the Israeli security, the deterioration of the trees after the fence was put up, her trying to water them? The lawyer and his work, his relationship with her, her attraction to him – and the authorities coming to give her warning? The case, the military lawyers, the judge and her decision, the loss of the case, the decision to go to the Supreme Court, the need for preparations?

7.The minister, minister of defence, his parliamentary work, the cabinet, at home, the background of the 2006 Israeli-Lebanon? war, security issues? The interviews by the media, his assistant (and possible relationship)? His wife, her loneliness, decorating the house? Her watching Salma, her reaction to the issue of the lemon grove, her compassion? Ringing her children – and their carefree attitude? Preparing for the dinner, the catering, the need for the lemons, going into the grove and taking them? Salma’s demands, the wife giving an apology? The dinner, the PM not able to come, the explosion, the attack? The wife’s decision to climb the fence, seeing Salma weep?

8.Israel, the reference to David and Goliath, the biblical background of Jezebel taking what was not hers, David and his greed and Nathan’s condemnation? Covetousness? Israeli arrogance, using the lemon grove, no apology? The minister, the press conferences, his expressing compassion but bowing always to the needs of security?

9.The security guard, trigger-happy, pulling the gun on Salma? The man in the tower, sleeping, nicknamed Quickie, his listening to the tapes for intelligence development?

10.The journalist, the friendship with the wife, talking, the interviews, the interview with Salma, the article, the headlines? The minister and his displeasure? The reaction of his wife – that everything in the articles she said?

11.The Supreme Court, Salma and her emotions, not being ready, the lawyer coming, the road block, the Palestinian authorities getting her through? The minister’s wife going? The decision? The reasons for security, the reasons for justice, the compromise and the pruning of some of the trees?

12.The lawyer, his life, his child in Moscow, his studying there, the attraction towards Salma, his visits, staying over, suspicions, her going to his office, tidying everything, the kiss before the Supreme Court meeting, his apology? His going to the authorities? His later engagement, the old man and Salma looking at the article in the paper?

13.The minister, coping with the crisis in the lemon groves, his wife leaving him?

14.The visual impact of the war, the completion of the war, cutting the mansion from the grove? The view from both sides? The pruned trees, the possibility of new growth, but continued separation?

BALIKBAYAN BOX

Philippines, 2007, 113 minutes, Colour.
Directed by Ramon Mez de Guzman.

A balikbayan box is used by Philippinos living outside their country to send home goods to their families. This theme of migration is in the background of this slice of life in the Philippine provinces. A woman returns laden from Japan. Another woman wants to go to work in Hong Kong but can’t afford the placement fee. And, at the end, the box has some sad symbolism.

This film is an observation of village life, focusing on three boys. They play together. They work together. They watch action Tagalog films in a hut, paying their money to an old woman who takes their coins and sits them on benches to watch a world that is so different from theirs.

The film is quite long and the camera wanders over the village, the water, the plantations, the homes, so that we feel we have been there. Some of the characters come alive, especially the boys as well as the father who poaches vegetables from an estate while the armed guard is sleeping or drinking.

The drama heightens at the end and we are left with a mixture of impressions of a simple life, provincial poverty, ambitions and tragic casual violence.

1.The impact of the film? A slice of life in the Philippine provinces? The focus on children? Adults? Ordinariness, poverty, the potential for violence?

2.The cinematic style, video production? The intimacy of the sequences, the closeness to the characters?

3.The Philippine provinces, the terrain, the water, the land, the crops? The towns? The mixture of poverty and affluence? The estate and the armed guards?

4.The focus on the three children, the opening with the two boys looking at the fish? The older boy and his answers? Their moving together? The youngest boy following? The ages of the three boys? The detail of their lives, at home, meals, getting food?

5.The boys and their going to watch the DVDs? The old lady at the BetaMax? house? Taking their money, the children watching the violent Tagalog films? Their enjoyment? Her counting the money, eating the nuts? Her husband, his travelling around with the poster for the Filipino film as well as The Terminator? His coming home, the relationship between the two? The ultimate build-up to her hiding the money, the boys coming back, trying to steal the money, the older money and his assault on the old lady, her death? The old man and his casual attitude towards her death? The boy and his bleeding, his trying to hide – but his callous attitude towards the old woman?

6.The estate, the armed guard, sleeping, the father getting in under the fence, having the little boy watch, the stealing of the vegetables, taking them to the market, the sales, able to buy food for his family? The detail of the family, the mother, her concern, the father and his drinking, the love of the son – and his going with the other boys?

7.The armed guard, his sleeping, drinking? His antagonism towards the poachers? His finally confronting the boy, shooting him? His taking the boy, changing his clothes, putting the boy in the box, going to the river, putting the box on the boat?

8.The women at the river, washing, the possibilities of migrating to Hong Kong for work? Seeing the woman come back from Japan with so much luggage? The difficulties of down-payments? The rich woman, her control, her office? Her servants? Her helping the young woman and the prospect of her going to Hong Kong – and the final scene of their watching the box on the boat going down the river?

9.The playfulness of the young children? Yet the potential for violence?

10.The absence of the church, the piety of the old lady as she prayed at her shrine?

11.Social justice in the area, the film and the observation of life, politics, ignorance?

12.The title, the Balikbayan boxes, people sending packages home to their family from other countries? And the irony of the dead young boy in the Balikbayan box?

THE OTHER BOLEYN GIRL

UK, 2008, 115 minutes, Colour.
Natalie Portman, Scarlett Johansson, Eric Bana, Kristen Scott Thomas, Mark Rylance, Jim Sturgess, Juno Temple, Benedict Cumberbatch, Eddie Redmayne.
Directed by Justin Chadwick.

Most audiences know the ending for Anne Boleyn, so it is how it began and how it developed that are the important matters here. Prolific writer, Peter Morgan (The Deal, The Queen, The Last King of Scotland, Longford, Frost/Nixon) has adapted a historical novel by Philippa Gregory – which leads to a strange disclaimer at the end of the film that this is a fiction and any resemblance…!

Already filmed for television in 2003 with Johdi May as Anne, Natascha Mc Elhone as Mary and Jared Harris as Henry VIII, this is a lavish screen version catering for what one commentator called the audience appetite for Tudorbethan dramas. Costumes, décor, locations should please those who want to see and visualise history.

The story is intriguing (in both senses). While the younger, married, Mary Boleyn, was designated by her ambitious and greedy family to be Henry VIII’s mistress after Anne, originally the choice fell out of favour, and bore the king a son, she is the other Boleyn girl. However, early in the film Anne refers to herself in this way. However, she eventually outshines and outmanoeuvres Mary. Anne is first chosen by the ruthless and blunt Duke of Norfolk (an alarmingly steely performance from David Morrissey), forcing his weaker brother-in-law, Thomas Boleyn (a credible Mark Rylance) to prostitute his daughter to the king to win favours and pay off debts. Norfolk’s sister, Elizabeth (Kristin Scott Thomas) is a strong woman but tends to accept this status quo.

Henry VIII’s desire to have a male heir to consolidate his kingdom is well-known and the core of this story. Catherine of Aragon (an effectively controlled performance by Ana Torent, the fine child actress from the 1970s in The Spirit of the Beehive and Cria Cuervos) bears her daughter, Mary, but only stillborn males.

This screenplay makes Anne and her shrewd and ambitiously scheming and Henry’s unruly passion for her the motive forces for defying the Pope and separating England from the Catholic Church (Peter Morgan’s explicit screenplay statement). Wolsey and Cranmer do not figure here, but the plot makes a strong case for Anne’s power and influence. With the birth of Elizabeth and a miscarriage, Anne knew that a king who had discarded his wife and her sister, Mary, would discard her too.

Eric Bana is a quieter Henry VIII than might have been expected. Scarlett Johansson is credible and quite effective as Mary, portraying her as a more decent and heroic woman given the treatment by family and king. But Natalie Portman is mightily impressive as Anne, charming, self-confident, wily and, given the momentum from the Duke of Norfolk’s plan, more than an accomplice, taking over and dominating until she marries and is crowned as queen. Then she reaps the consequences of her flirtatious whirlwind.

The other strength of the film is the dynamic between the two sisters, loving, a sense of betrayal, hostility and jealousy, dependence and reconciliation. An interesting and entertaining contribution to screen Tudor history.

1.Audience enjoyment of Tudor stories, the familiarity of this history, characters? The differences – and this film based on a novel?

2.The film as a more intimate look at Tudor characters? The focus on characters, close-ups, interiors? Yet the locations, exteriors, action? The interiors in the palaces, the rooms, the Tower of London? The momentary sequence on the beach and the landing from France?

3.Audience knowledge of the characters, attitudes towards Henry VIII, towards Anne Boleyn? Audiences not knowing much about Mary Boleyn? The background of the Duke of Norfolk, the Seymours and their influence? Catherine of Aragon, Mary, the still-births, her not producing a male heir? Henry VIII and his attitude, his love for Catherine yet divorcing her? The Catholic church, the Reformation? The film’s statement about Henry separating England from the Catholic church?

4.The title, the reference to Mary? Anne referring to herself as ‘the other Boleyn girl’?

5.The prologue, the three children, playing, the parents and their comments on each of the characters? The parallel ending with the young Elizabeth?

6.The Boleyns, the father and his debts, Elizabeth as the sister of the Duke of Norfolk, her wealth? Their home, Boleyn as weak, Elizabeth as strong? The three children? Mary and her future, the marriage, the happy ceremony, life in the country, her hopes? The marriage night, the preparation, talking with Anne, the aftermath? Her life being in order? The change?

7.The contrast with Anne, older, strong character, love for Mary, her place in the family, the information about the king’s visit, the potential to be the king’s mistress, her agreeing? Her ambitions, talk with the king, the discussion about riding, the hunt, the ravine, the king’s accident, her being ousted and in disgrace, the exile to France?

8.The character of Henry VIII, seeing the younger Henry, his relationship with Catherine, twenty-eight years on the throne, Mary as his daughter, the antagonism, wanting a male heir, his political reasons for England? The preparation for the visit to the Boleyns, the entourage and the arrival, meeting the family, Anne and her impact? The discussion about riding, his accident, Mary tending him, his response, his demand that she come to court?

9.The Duke of Norfolk, his plans, a hard man, direct and ruthless, with the Boleyns, persuading his sister? With the girls and George? Their reactions? Mary as the chosen one, the family going to court, Anne and her reaction, their being taken to Catherine, Mary singing and Catherine’s reaction, Jane Parker in the entourage?

10.Anne and Henry Percy, marriage, consummation, Mary telling the family, Anne and her anger, the marriage annulled?

11.Mary and the king, as his mistress, in love with the king, her husband and his subservience, taking his place in the court? Mary’s pregnancy, being left alone, in the dark, the birth of the son, Henry merely glancing?

12.Anne and her exile, the experience in France, the return on the beach, her going to court, her laughter, the king inquiring, her talking about the French court, the discussion about whether she could see a good man in the court, her tantalising Henry? His listening, forgiving her? The attraction, Anne and her power, refusing any sexual encounter, her aims, the annulment of the marriage, the divorce, not caring about the church or politics?

13.Mary, the birth of the child, Stafford and his devotion, their returning to the country?

14.Norfolk, his achievement, success for the family?

15.Anne, the wedding, her being pregnant, the birth of Elizabeth, the king’s reaction, being pregnant again, the alarm of the miscarriage, her discussions with Mary, the proposal that George make her pregnant, his agreement, refusal? The accusations against her? The witness of Jane Parker? Henry’s reaction? The court hearing, her being pronounced guilty by all?

16.The Boleyns out of favour, the family, the Duke of Norfolk? Anne and her discussions with Mary? The reconciliation? Her appeal to Mary? Mary, the confrontation with Henry, his later writing the letter, her receiving it as Anne was on the scaffold, the refusal for a pardon?

17.George, his place in the family, sharing the family’s ambitions or not? His being forced to marry Jane Parker? Jane Parker as an attendant to the queen, her jealousy, her being persuaded to spy? George and his place in the court, Anne’s proposal, his agreement, change of mind, being seen by Jane? His being taken to execution?

18.Elizabeth, her reaction to her children being killed, her slapping her husband’s face, accusing him of weakness? His being present at Anne’s execution?

19.Anne, going to the scaffold, her religious language, prayer, her death? The crowds watching?

20.The information given at the end of the film, especially about Mary and the happiness of her life with Stafford?

STORM

Sweden, 2005, 111 minutes, Colour.
Eva Rose, Eric Ericsson, Sofia Hvittfeldt.
Directed by Mans Marland and Bjorn Stein.

Storm is not exactly your typical Swedish film. Rather, this is a film for a younger audience interested in computer games as well as science fiction and science fantasy. It is similar in tone to some of the films emerging from Russia during the early part of the 21st century.

Storm begins as an action adventure in the X-Men? style. It then moves into the realm of comics, graphic novels and computer games. Underlying it, however, is a moral fable where a callous young man is guarded by an angel-type figure as well as tempted by a devil-like figure. It means that he has to face himself, go back into his past, understand himself, make moral choices. This means that the film is a morality play designed for a younger 21st century audience.

1.Audience interest in the film? Target audience? Comics and graphic novels? Computer games and Playstations? A morality play?

2.A film from Sweden, style, pace, images, locations, Stockholm and realism, the countryside, the stylised buildings, the games?

3.The title, the literal meaning of the storm, its striking Sweden, the television information, the passing of the storm? Lova and her character being like a storm? Its effect?

4.The prologue, Lova, the chase, the other girl, the box, Lova holding off the pursuers, covered in petrol, the threat of fire, her escape?

5.The transition to Donnie, self-centred, hedonistic, his voice-over and asking questions about the meaning of life, his relationship with his simple brother? Going out, on the town, drugs, drinking? The taxi, Lova suddenly taking over, the dangers, the pursuit? Going home, the shower, the puzzle, Lova coming to his house, her story about the box, the attack on his house by the diabolical figures? The going to the computer, the destination?

6.The computer game competition, a city in itself, darkness and light, the computer game players, the girl approaching Donnie, her being killed, the blood on him, the photo, his going to the police, the momentary imagination of what would happen to him if he was pursued, his talking with the police, escaping?

7.Lova, the box, urging him to go back to examine his life, the encounter with Helena when he was young, sexuality, drugs, the equivalent of rape, his shame? His brother, making him go into the shed, his brother’s fears, his father’s angry reaction, his visiting his brother, the question of who had died?

8.Lova, Donnie’s imagination of going to Cuba, the Cuban beach, the development of his self-knowledge? The devil figure, arriving on the beach, snapping his fingers, changing the locations, Donnie’s decision, his hitting Lova?

9.Going to his brother, going to the police, the Mormon’s arrival, his escape?

10.The background of the bars, his friends, the computer games, the friend and the hideout?

11.Lova, her being a saviour figure, her being captured, put in the cauldron, the burning? Donnie seeing the building in the comic book, the taxi driver helping him, his saving Lova, turning off the fire?

12.Bringing Lova to the hospital, seeing his friend, the attack in the hospital, his fears, his being about to be trampled, the devil vanishing, on the rooftop, Lova approaching?

13.Katta, his remembering the story, his sister, her glasses, the kids tormenting her, forcing him to trample on her glasses, her bewilderment, in the road, his beckoning to her, her being run over? His experiencing this, replaying it? His grief for Katta?

14.Lova, mission accomplished, her vanishing? Donnie’s future – more moral?

15.A contemporary treatment of moral issues, the hedonist, drugs? Comic books and games? Realities of life? Different dimensions? Morality, choices?