RED, WHITE AND BLUE/ SMALL AXE

UK, 2020, 80 minutes, Colour.

John Boyega, Steve Toussaint.

Directed by Steve McQueen.

Small Axe is the title for a series of five short films made four British television but seen throughout the world. They are cowritten and directed by British director, Steve McQueen, who won an Oscar for best film with 12 Years a Slave.

This episode is based on a true story, policeman Leroy Logan, who served as a consultant for this film. The setting is the 1980s in the black community in London, the migrants some decades earlier from the West Indies, becoming part of British society, sometimes accepted, often not, target of attitudes of racism as well as racist violence. This is illustrated in the film in the experience of Leroy Logan’s father, bashed by police, falls accusations, but wanting his day in court.

Leroy is well educated, quite British, working in a forensic laboratory but wanting to do something for the community, to be out there, and makes the decision to become a policeman. The film shows him excelling in his training, going out on the beat, despised by local youth, involved in the chase with a criminal and not being backed up by the white police nearby, his challenging them in the pool room, their remaining silent, some of them sniggering.

The question is whether Leroy will continue as a policeman, discusses it with his girlfriend, who urges him not to allow racist attitudes to hound him out of the police force.

The films screened at the end of 2020, the year of major protests in the United States, Black Lives Matter.

1. The place of this film in the series? Made for television? British television? Worldwide?
2. Based on an actual story and character? Leroy Logan as consultant for this film?
3. The 1980s, London society, the place of the West Indian migrants, after the migration and settling in England, areas in London, local communities? The next generation educated in England? Becoming British?
4. The theme of racism? The release of this film in the year of American Black Lives Matter? The parallels with the UK? White superiority, arrogant looking down on black citizens, violence?
5. The opening, Leroy, waiting at school, the police searching him, suspicion of burglary? His father’s arrival, angry attitudes?
6. The introduction to the family, Leroy grown up, his studies, forensic laboratory work? At home, the extended family, playing Scrabble? Leroy and his parents? Aunts, siblings? His girlfriend, pregnant?
7. Leroy and the decision to join the police, the discussions with his friends and family, with his aunt who was a community/police liaison? His father’s opposition?
8. His father, going to the shop, parking the truck, the accusation by the police, obstruction, the fight, their brutality, kicking him, his going to hospital? Wanting his day in court? The discussions with his lawyer? The eventual offer of settlement, not wanting to embarrass the police, especially with Leroy as a policeman? The effect on Ken Logan? At home, silent, towards Leroy?
9. Leroy, going to training, his father, his father embracing him, his father later saying his mother gave advice to encourage people to do what they wanted to do?
10. The outline of the training, the demands, Leroy and his excelling, physical, tests, confronting the baseball bat wielding test? His good results, graduation? Assignment?
11. His being in his own district, the base chief, commenting on his record? The reaction of the others, the emerging races, Nigger on his door, not backing him up, the episode of the criminal chase, through the warehouse, the fight, Leroy overwhelming him? The call for backup, his Pakistani colleague the only one to come? Leroy challenging them in the pool room, the silence? The local head and his severe attitude, Leroy not getting promotion? Despite his agreeing to the request that his face be on posters for recruiting?
12. The reaction of the locals, at the clubs, walking out on him?
13. The Pakistani policeman, the episode with the attack on the shop, speaking Urdu, the local police demanding English? The Pakistani policeman wanting to transfer?
14. Leroy, being tested, the support of his family, the baby, talking with his girlfriend, urging him not to be pressurised out?
15. Leroy as a strong character, motivations in the 1980s, to be out there, to serve, to help the community? His subsequent career and adviser to this film?

RUBY/ VC ANDREWS RUBY

US, 2021, 87 minutes, Colour.

Raechelle Banno, Karina Banno, Gil Bellows, Crystal Fox, Sam Duke, Ty Ward, Lauralee Bell, Naomi Judd, Bob Frazer.

Directed by Gail Harvey.

Ruby is the first in a series of popular films in the Landry series, which was attributed to VC Andrews, written by Andrew Niederman. There were five novels, and three subsequent films.

The settings are in Louisiana, at first and the bayous, then in affluent New Orleans society.

Most of the family secrets, skeletons in the closet, are explained in the first 25 minutes – and will be dramatised, exploited, made melodrama and the subsequent films. Many secrets, many revelations.

The focus is on a young girl, Ruby, brought up by a sympathetic grandmother and an alcoholic grandfather (who is prepared to sell Ruby to a neighbour). Just before her grandmother dies, there is a revelation about who her mother was, who her father was, her mother having a relationship with a married man and Lucy’s boyfriend, Paul, revealed to be her half-brother. Much will be made of this in the consequent films. There is also the revelation that Ruby’s mother bore twins, that one was taken by their father back to his affluent world, is ne’er knowing that there was a second twin.

After the death of her grandmother and threats by her grandfather, Ruby decides to go to the home of her father who is actually delighted to discover that he has another daughter. He has married in the meantime and his society wife will take the place of the cruel stepmother. The film also introduces the other twin, Giselle, and exceedingly wilful and self-absorbed snob who makes life a misery for Ruby, trapping her and compromising situations, and the stepmother inveigling Ruby into visiting the institution where her uncle, suffering mental problems after an accident caused by her father, spends his years. Ruby is then trapped into staying at the institution but is able to escape, creating a hold over the stepmother.

In the meantime, with encouragement from one of the servants, Ruby becomes involved in voodoo, visiting a celebrated practitioner, Mama Dede, who puts a curse on Giselle. Giselle is injured in a car accident where her boyfriend driver is killed. After hospital, she is on crutches.

The other character introduced in the story is Beau, who becomes close to Ruby, even closer in the second episode with complicated consequences after that.

One positive thing for Ruby is that she is an artist and hangs in the New Orleans Gallery. She will continue to paint.

As this episode ends, their father asks the girls to go to a boarding school which is the setting for the opening of the second film, Pearl in the Mist.

Throughout the series the twins are played by Australian twin actors, Raechelle and Karina Banno.

CRUELLA

US/UK, 2021, 134 minutes, Colour.

Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, John McRea, Emily Beauchamp, Mark Strong, Kayvan Novak, Kirby Howell-Baptiste.

Directed by Craig Gillespie.

Cruella. We all know who she is. In fact, she achieved worldwide fame 60 years ago, Disney’s animated film version of Dodie Smith’s popular novel, 101 Dalmatians. Her reputation, especially with her surname, De Vil, was reinforced in the 1990s in Disney’s live-action stories with Glenn Close embodying Cruella. Who could ask for anything more! Well, of course, in the trend in the superheroes and villains movies, an origin story.

So, here we are, back in the 1960s, at least for this story’s purposes, with the birth of Estella, growing up in the north of England, sometimes quite abrasive at school, especially towards the bullies, her characteristic black and white hair, and a kind of dark personality, Cruella, sometimes emerging. And, soon, expulsion from school (though her kindly mother quickly insists to the principal that she is transferring her daughter to avoid expulsion).

And this is all being narrated by the older Cruella, Emma Stone.

There are many elements of quite black comedy in this origin story, an initial death which is rather shocking – and has quite some shocking consequences. Estella wanders around a lavish manson, chasing her dog, causing all kinds of mayhem, the home of fashion-designer icon, the Baroness. Of course, Cruella is going to meet her match – or the Baroness meet her match in Cruella – a clash of the Titans of the fashion world, so to speak, especially when the Baroness is played by Emma Thompson. Emma is the queen of British haute Couture (lending itself to the happy pun, haughty Couture). Her staring and arrogant manner is a severe one-note performance.

But, there is a lot of preliminary entertainment when little Estella teams up with two young thieves, Jasper and Horace, spending 10 years picking a pocket or two on London transport. But, Estella has a talent for fashion design and eventually, Jasper providing false references, gets a job at the Baroness’s enterprise, cleaning the toilets amongst other things! And looked down on by a prim, haughty manager. And there are several of those in the Baroness’s employee, especially with her extensive security guard.

One of the challenges in appreciating Estella is that we know that Cruella is going to overwhelm Estella. The voice-over keeps reassuring us of this. And Estella does have some good moments, and relates well to her friends Jasper (Joel Fry) and the rotund Horace, a touch dim and sentimental (Paul Walter Hauser from Richard Jewell).

Ultimately, fashion takes over, fashion in London in the 1970s (accompanied by a huge playlist of popular songs of the period). The costume designers have obviously been working overtime, lavish dress after dress, gown after gown, displayed by the two Emmas.

Which will ultimately lead to combat, confrontation, a great deal of mean-mindedness on the part of both Cruella and the Baroness, and an ultimate stand-off. No prize for working out who will win! It is how the victory is achieved is the important thing, quite tricky and complex (from Australian Tony Mc Namara’s ironic screenplay).

The film runs for 134 minutes so it is not just some quickie either in running time or in production values.

1. The popularity of 101 Dalmatians? The animated version? The live-action versions with Glenn Close? This film in that company? Drawing on characters and situations by author, Dodie Smith?
2. A British story, the 1960s and 1970s (and the musical score and the wide range of popular songs of the period)? Costumes and decor? The world of fashion? Country life, homes, school? London, Regents Park, the streets, buses and traffic? Garbage trucks? Public transport and pickpocketing? The warehouse? The Baroness world of fashion? Artie and his shop? The background of the country mansion, fashion shows and parties? Cliffs and deaths?
3. Cruella telling her story, the tantalising tone? Her birth, the information that she was given away, the maid, acting as her mother, giving her love? Estella, her hair, black and white, at school, the bullying, her vindictiveness, her mother trying to control her, the headmaster the black dots, cumulative, her being expelled?
4. Packing, the visit to the Hall, Estella getting out of the car, the dog, into the party, under the tables, the mayhem and chases? Her mother, talking with the Baroness, the Dalmatians, witnessing her mother’s death, blaming herself? The escape, the garbage track, Regents Park, meeting Jasper and Horace, the friendship, their taking her home, using her as a distraction, the pickpocketing and the success? 10 years passing?
5. Estella and her talent for design, working in the warehouse? The various jobs with Jasper and Horace? The police chases? The getting her the references for the fashion company?
6. Jasper, humour, good friend? Horace, slower, and emotional? Their bonding with Estella? Over the years? Her beginning to change, treating them like the Baroness? Their questioning her? Yet participating in all the action, their disguises, the plan to steal the necklace, the Dalmatians swallowing the necklace, capturing them, waiting? Going awry, the chases, Horace falling in the cake…? Their escape? Estella and her relenting, the helping at the final demonstration? The Baroness following them, going to the warehouse, tying them up, in prison, the dog with a wallet, Estella engineering their escape?
7. Artie, his style, the shop, working in design, the risks, enjoying himself? At the end?
8. Emma Thompson as the Baroness, fashion, arrogance, dismissive manner, speech, treatment of people, dismissing them? Not wanting apologies? Admiring dominating characters? John has her assistant? The various attendants, security, Roger her lawyer and humiliating him, finally firing him? Her personal life, fashion, success, ruthless, demanding designs, dismissing them, firing people? Her shows, the parties?
9. The range of fashion, the Baroness and her clothes, the designs, Estella working for her, her designs, the clothes she wore as Cruella?
10. Estella, the job, cleaning the toilets, the supercilious supervisor, the 19^th of window, the Baroness seeing it, employing her? Estella as meek and mild, her advice, her presence at the occasions?
11. Estella, transforming into Cruella, her motivations, the treatment by the Baroness? The various shows, disguises, transformations, the white dress on fire, the red dress? The intrusions? Conversations with the Baroness? The demonstration outside, the floodlights on the walls? The continued rivalry?
12. The Baroness, her reaction, the media, confronting Anita? The talk with Cruella, even admiring her? Yet wanting revenge?
13. Anita, the friend at school, journalist work, photographer, Estella enlisting her help? Anita and the photography, the articles? Estella reading them? The Baroness reading them?
14. The revelation of the truth, John and his role in the household, the flashback to the Baron, the Baroness and birth, the baby, the maid and her taking on the role of motherhood? Estella and her memories of the party, her mother’s death? Her realisation at what it happened with the Dalmatians? The Baroness and her whistle?
15. Estella, captured by the Baroness, setting the warehouse on fire, the rescue by John? The funeral, Horace weeping, the necklace on the coffin? Estella presumed dead, her will bequeathing everything to Cruella? The mansion, the fashion company, the De Vil car?
16. The ultimate revenge, crashing the party, sending all the costumes to the guests, all as Cruella? Locking up the security guard? The Taser? All the guests going outside?
17. The confrontation between the Baroness and Cruella, the truth, the Baroness and hypocrisy, the hug, the Dalmatians? Estella going over the cliff – and the hang gliding?
18. Cruella, in the mansion, John as her attendant, Artie, Jasper and Horace all present? Her future?

CARMILLA

UK, 2019, 94 minutes, Colour.

Hannah Rae, Devrim Lingnau, Jessica Raine, Tobias Menzies, Scott Silven, Lorna Gayle, Greg Wise.

Directed by Emily Harris.

From the title, audiences in the know would be expecting a vampire story, a focus on women and relationships and vampire consequences. Audiences will be thinking of the novel by Irish writer, Sheridan Le Fanu, a strong reputation during the 19^th century, and an influence on fellow countryman, Bram Stoker, for his 1897 vampire classic, Dracula. (An interesting cultural question as to why key English language vampire novels emerge from 19^th-century Ireland!.)

Someone trying to categorise this particular version of the novel, Carmilla, has come up with the tag description “romantic horror”.

In fact, there is very little real horror in the expected sense during this film. The emphasis is definitely on the romantic. The setting is a wealthy mansion in the English countryside, a countryside with woods, a lake, surrounding mountains. A lot of the action takes place in the grounds, beyond, and in the interiors of the mansion. Plenty of attention to costumes and decor. And an appropriate classic style musical score. It is the setting for a Gothic tale.

At the centre of the story is a teenage girl (although this sounds too modern a description of this young lady of the upper-class). Her name is Lara (Hannah Rae). She lives with her father and has a governess, Miss Fontaine. Her father, Mr Bauer is played by Greg Wise. Miss Fontaine, a telling performance from Jessica Raine, one of those ambiguous 19^th-century characters, romantic but with a touch of Mrs Danvers as well, strict supervision of Lara, every detail, manners, prayers, meals, etiquette – and, well, Lara left-handed and having her arm tied behind her back for so many activities so that she will become properly right-handed. Lara is pining for some company and a young lady from town, Charlotte, is due to arrive.

Instead… A carriage is overturned on the country road nearby, and another young teenager (young lady) is rescued, recuperates at the house. Her background is something of a mystery. Her name is Carmilla (Devrim Lingnau). In the original, there is a strong lesbian falling in love, more explicit vampire conventions. They are not employed here, the conventions, except that the two girls bond eternal friendship by blood. Rather, the relationship and its sinister consequences are suggested by atmosphere, health complications, loneliness and languishing.

Audiences who were expecting more realistic interpretation of the classic expressed disappointment and frustration. Audiences who are satisfied with differing interpretations, drama by suggestion and intimation rather than the obvious may find this version interesting as well as tantalising.

1. The description of the film as romantic horror? More romance than horror?
2. The original novel by Sheridan Le Fanu? A less vampiric interpretation?
3. The English setting, the touch of the Gothic story, the 19^th century, the countryside and the woods, the lake, the mansion, the interiors? Costumes and decor, period? The musical score?
4. The focus on Lara, her age, her relationship with her father, young, isolated, ladylike? Under the care of Miss Fontaine? Her daily routine, control, meals, study, walks? The significance of Lara being left-handed, writing, meals? Her hand tied behind her back? Miss Fontaine’s strict interpretation and control?
5. Lara and her father, his concern? The doctor and his visits? The other members of the staff?
6. Lara, looking forward to the visit from Charlotte, her loneliness, wanting to share, letting her imagination go? The news that Charlotte was not coming? Miss Fontaine and her control?
7. The accident in the forest, the overturned coach, the deaths, the rescue of Carmilla? Bringing her to the house, the care of the doctor, gradual recovery?
8. Carmilla, gradually recovering, her friendship with Lara, developing, the beginnings of infatuation, the deeper relationship? The two girls together, talking, sharing, common interests, hobbies? Walks? Becoming blood sisters, sharing the blood?
9. The fair, the visit of the magician, his tricks?
10. Miss Fontaine, governess, repressed, control? Her relationship and passion? The discovery of the book, the cult overtones and suggestions?
11. Mr Bower, going to search for Charlotte, absence, return?
12. The buildup to the drama, Lara and her illness, Camille and her influence – at her death, reminiscent of the vampire death?
13. A contemporary to film? Atmospheric? Not explicitly vampiric? Finding suggestion, physical illness, mental conditions, emotional conditions as the vampiric equivalent?

SHIN GODZILLA

Japan, 2016, 120 minutes, Colour.

Directed by Hideaki Anno, Shinji Higuchi.

In the 60s, there were Japanese films focusing on the terrifying monster who attacked cities and levelled them, Godzilla. In more recent years, Godzilla has become something of a favourite in Hollywood, resurrecting him for more destruction and then pitting him against King Kong.

In the meantime, the Japanese industry made this Godzilla story, fairly straightforward in its presentation of the monster, in its wreaking havoc on Tokyo, in Tokyo Bay, on destruction of buildings, on evacuations by people, government officials, sceptical at first, having serious discussions, calling in experts, even from the United States, debating how to deal with Godzilla, to destroy the monster, to capture it for scientific inspection, then the problem of what weapons to use in its destruction, continual barrages, more destruction, and eventually freezing the monster – until next time.

The film has a great deal of discussion, especially amongst government advisers, the Prime Minister and his having to make so many decisions, as well as political experts discovering manoeuvres, and scientists with their various opinions.

Interspersed with these discussions are close-ups of the monster, a giant crawling creature at first, then undergoing some kind of evolution, beginning to stand upright, becoming more like the Godzillar we are all familiar with.

A lot of the Japanese commentators noted the satirical aspects of the dialogue, the ditherings of bureaucracy, the discussions about responsibilities, about codes of behaviour even for invoking weapons. Satire on the contemporary Japanese government.

Those wanting a Godzilla action show without Hollywood fanfares and ever more extravagant spectacle and CGI, this is probably a satisfying version.

I AM ALL GIRLS

Africa, 2021, 107 minutes, Colour.

Erica Wessels, Hlubi Mboya, Deon Lotz, Mothusi Magano.

Directed by Donovan Marsh.

The poster gives an emphasis about how the title of this film should be spoken. All Girls is actually printed ALL GIRLS. It is something like the equivalent of “I am Spartacus”. The speaker is saying that she represents all the young girls who have been abducted, abused, trafficked.

And this is the theme of the film, setting South Africa towards the end of the apartheid era as well as an investigation in the present, in Johannesburg.

Any film about child trafficking can be harrowing to watch as are many sequences here. The target is black children, lack girls, rounded up by white men and women, black collaborators, connection with the government officials, and international connections with Middle East countries. (This is shown by planes flying in to secret locations, men in Arab dress inspecting the girls, their being loaded onto the plains – but, at the end, part of the screenplay says that a group coming in is from I ran – and many have commented that this is not accurate, this kind of trafficking was not carried on for I ran.)

After watching the plight of a group of girls, we moved to the present where there is an investigation, a special squad, moving against child trafficking. The central character is a film, a white police investigator (Erica Wessels) is a driven woman, rather stolid in her intensity, over-willing to take leaps in her investigations, failing to work by the book, getting warrants…. She is part of a team, exasperating her supervisor George (my first seem a Ghana) a long-time veteran. Also working with her is a young woman, Ntombi (Hlubi Mboya), a researcher. She and Jodie have a tentative relationship.

We see black cloaked and masked person watching secret tapes of a confession of the child traffic who had then been murdered. And, throughout the film, there are posters of missing girls with their names and initials – and these initials start appearing on the chests of kill-victims either masked and cloaked investigator. Just as we suspect where this is going, the killer takes off the mask and we understand the driven nature of the pursuit, the harshest of judgements in the killings, the memorial with the bloodied carved initials.

And so, the main part of the film is the investigation, the further killings of perpetrators, Jodie intensely pursuing leads, especially in a container section of wharves.

All throughout the film and the audience has been seeing a politician, his contacts, at the airfields, and his choice and exploitation of a young girl who was not sent to the Middle East. He is found, a dramatic climax, a group of girls, the plane landing, taking off, his execution.

The film gives statistics at the end, always alarming, always half horrifying, a crime play play plague with millions of victims still today.

1. The title? As spoken by Ntombi? Her identification with all the trafficked girls?
2. The theme of child trafficking, in South Africa during apartheid times, white involvement, black involvement, government involvement, contacts with Middle East countries?
3. The South African settings, Johannesburg, the city? The past, the trafficking? The contemporary setting, police, investigations? Homes and locations? Apartments? Airfields? The musical score?
4. The focus on the girls, the initial sequences, the captive girls, interned, the white woman in charge, Nolte and the official connection? The other people involved? The visiting Arabs? The sale of the girls? Ntombi left behind, the choice by Nolte?
5. Ntombi, the black cloak and mask, watching the video of the confession? Jodie later watching it?
6. The police investigation, the special quad, George in charge, his manner and experience, in dealing with Jodie? The new investigator coming in? Responsibility? The closing down of the unit?
7. Jodie, her background, angry, impetuous, committed to her work? Leaping in without authorisations and warrants? In action, disappointments? The clashes with George? Her relationship with Ntombi, the relationship with her?
8. The killings of the traffickers? The cloaked and masked killer? Audience suspecting? Ntombi’s face revealed? The initials on the victim’s chest? In memory of the missing girls, their photos and names?
9. The various leads, the raids, the containers, the wharves, the finding of the girls, saving them?
10. The criminal brothers, the conspiracy, government connections, getting off because Jodie didn’t have a warrant?
11. Ntombi, her observing, the killings? Leaving the message for Jodie, Jodie watching the tape?
12. The brothers, the car, Jodie pursuing them, arguing with Ntombi, the crash? Taking the brothers? Ntombi killing them?
13. Jodie, Nolte, his family, political connections? The photo with Ntombi as a little girl, the flashbacks to her past? Motivation for Ntombi?
14. Stalking the house, the children, his escape? Going to the airfield, the plane arriving? The girls, their boarding the plane? Jodie and her attempt to stop the flight? Nolte and his death?
15. The official investigations, the death of the incoming detective at the airfield? No evidence the journey was present? Ntombi and her death?
16. Jodie, going to Iran – and the criticism that Iranians were not involved in this kind of traffic?
17. The final information, the relevance of this kind of story to world trafficking in children?

DELIVER US FROM EVIL

South Korea, 2020, 108 minutes, Colour.

Jung-min Hong, Jung-jae Lee, Jeong Min Park.

Directed by Wong- Chan Hong.

Deliver us from Evil been used many times as a film title, more recently in connection with documentaries and fiction on the sexual abuse of minors. There is abuse of a minor and minors in this film, but the particular focus is on the traffic of children, for sexual purposes, but, more sadistically, on using them for organ donation to the wealthy, criminal exploitation.

This is a Korean action film targeted for the many fans of this genre. The narrative is interspersed with violence, sometimes quite graphic (even the film opening with a paid assassin eliminating a gangster). There are many choreographed fight sequences, a smashing chart car Chase, all those popular ingredients.

And, one of the problems for identifying with the story and characters is that none of the central characters is admirable – though one becomes more and more sympathetic.

However, as said, this is a film about child trafficking. The opening sequences are in Korea, the world of gangsters, elimination, revenge. However, most of the action takes place in Thailand. Mother and daughter live in an affluent home, the mother trying to do a real estate deal. But, the daughter is abducted from school, disappearing, hidden with an alarming number of small children, marshalled to respond to affluent requests for organs even surgery that would kill the children who are easily disposed of.

Then, quite quickly, we discover that the initial assassin was part of a crack team of assassins in the past whose group was closed down and the members left adrift – assassin for hire in his case. Then, some flashbacks, and his discovering that the abducted girl was his daughter. And, we know what the rest will be as he gets his ticket for Thailand (postponing his ticket for anonymous retirement in Panama).

But, of course, there is more. A very suave looking (though his nickname is The Butcher his propensity for slitting his victims as they hang down) is the brother of the initial assassinated gangster. The brother is bent on relentless revenge, and has quite a thug entourage to assist him in his quest.

Which means then that this do a double pursuit, our hero (becoming more sympathetic because of his absolute search for his daughter) is also the target of a vicious chase.

What makes the story somewhat different is the introduction of a character who is to be the guide of the hero, getting information, accompanying him, all kinds of help. This character is a singer in a club, transgender, a Korean in Thailand who can do translations, wanting to earn money for final surgery. At times were distracted from the violent pursuit by the whims and ways of the guide, posturing, posing, camper mannerisms, but, essential to the completion of the mission.

And so, the evil that we must the must be delivered from is a contemporary scourge, the trafficking of children.

1. The title? Frequently used for films? The evil in this film? Child trafficking? Children trafficked for organ transplants?
2. The Korean settings, the world of gangsters, executions? Settings in Thailand, the mansion, the resort, the city sequences, the world of gangsters, police precincts, squalid surroundings for imprisonment of the children, for surgical procedures? A realist atmosphere? The musical score?
3. In-nam’s story? Down and out, his appearance, the commission for the execution, the violence of the killing? The consequences, the payment, his decision to go to Panama, a goal? His contact, the discussions, further killing or not? The flashbacks, his work as an assassin, the closing of the group, his history, and loose end? The flashbacks to his relationship, the flight attendant, her pregnancy, leaving her and disappearing?
4. Ray, gangster, butcher, his henchmen? Dress and manner, wanting revenge, tracking down his brother’s killer? The searching in Korea? The search leading to Thailand?
5. Thailand, mother and daughter, playing together, the affluent mansion, the financial deal, the discussions with the estate agent, the downpayment? The little girl, aged nine, at school, picked up by the nanny, abducted? Imprisoned? The mother, distraught, going to the police? The phone calls, to come alone, her death? The trying to get in touch with In-nam? His message to tell her that he was dead?
6. The information about the little girl, the realisation that she was his daughter? The decision to go to Thailand, to search for his daughter? His local contacts and their information? The local regular criminals? The search, pursuing them? His friend and going to the club, the transgender Korean, back story, money for surgery, agreeing to be a guide?
7. Yui, the script choice of a transgender person to be the guide, to become involved, personal manner, singing at the club, provocative attitudes? The money deals? Working with In-nam, the dangers, fears, the effect? The dangers, arrested, interrogated? Released? The challenge to continue helping, hesitations?
8. Ray, going to Thailand, his connections, ruthless, information, shooting his informants? The continued pursuit of In-nam, the buildup to the encounters, the vengeance, the range of fights? In-nam and his skills, defence? The drama of the fights with Ray?
9. Finding the girls, the interrogation of those involved, the guards? Torture? Information?
10. The discovery of where the little girl was, her being taken? The surgery? His being intercepted by Ray? Running, stopping the surgery, rescuing the little girl, taking her to the hotel? The information about Panama and the ship? The return, the doctor he had asked to check the little girl’s health, dead? The killings and a fight?
11. The buildup to the confrontation with Ray, In-nam being wounded, yet persevering? The grenade in the explosion? The final confrontation, the car chase? Crashing into the stores? The finale and death?
12. Yui, information about the money, the bag, passport? With the little girl, the bonding between the two? Panama and a happy vista at the end?
13. A violent action drama, drama with sentiment, expose of child trafficking?

THE HIDDEN JEWEL VC ANDREWS THE HIDDEN JEWEL

US, 2021, 88 minutes, Colour.

Raechelle Banno, Jennifer Laporte, Evan Roderick, Ty Wood, Sam Duke, Crystal Fox.

Directed by Michael Robison.

This is the fourth feature episode in the Landry Family series, based on the novels by VC Andrews, written by Andrew Neiderman in her name. He serves as a consultant for the film.

This is not a stand-alone film. It must be seen in the context of the whole narrative, bringing it to a conclusion. However, while there is a lot of melodrama, as in the other stories, this one seems highly contrived (not that the others weren’t). But, this time, it seems more obvious.

We are familiar with the two central characters, Ruby and Beau. And, while there are a few characters from the earlier films, the main ones are new. In fact, All That Glitters has Ruby and Beau together, some deaths along the way. They have their daughter, Pearl, the subject of the second in the series, Pearl in the Mist and now Ruby is pregnant again. We have been in the 1960s.

This film is set in 1982. Pearl is now 18, graduating, intending to be a doctor Ruby and Beau also have twin sons. What could happen?

The film opens with Pearl having a nightmare, seeing Paul who had drowned, Ruby’s half brother, their loving each other, but no future in their union, Paul despairing and killing himself. Paul’s mother (not exactly his mother) appears still grieving, vengeful against Ruby.

At Pearl’s graduation party, she intends to give her virginity to a boyfriend but hesitates, he proving himself instantly a cad. Later, a young Cajun man, John, will help Ruby in her search for her mother who, fearing the worst, that she is cursed, returns to the bayous to face her past.

In the first film, voodoo themes were introduced, Ruby and her maid in the house going to Mama Dede for rituals – and the curse affecting Ruby’s twin sister, the obnoxiously arrogant and self-centred Giselle (who might have been welcome in this one to liven up action!). The maid in the house is now sick, dying, Ruby going to visit Mama Dede, more rituals for Ruby to understand her past, including a portrait of Paul that she has painted.

There is also a family complication and one of the twins is bitten by a snake and dies, the other twin falling into a fever, seemingly also a victim of the curse, whose spirit must assert itself that he come to conscious again or die.

Then there is another complication, a character from the first film, Buster, the man to whom Ruby’s alcoholic grandfather sells her, feigns sympathy, viewers Ruby to his cabin and intends to cage her. But, very quickly, she shows enterprise, turns the table, puts in in the cage and calls the police.

As regards romance, she and John consummate their love – and, with Ruby recovered, the twin recovering, everybody together, months passing and Ruby pursuing her medical studies as well as renovating the house, there is no more, at least at this stage, in the Landry family saga.

KING IN THE WILDERNESS

US, 2018, 111 minutes, Colour.

Directed by Peter W. Kunhardt.

This is a highly recommended documentary on Martin Luther King Jr. It won an Emmy award for Best Historical Documentary.

The Director, Peter W Kunhardt has had an extensive career in producing documentary material for American television, especially with political emphases.

The occasion for the documentary is the 50^th anniversary of the assassination of Martin Luther King in Memphis Tennessee, June, 1968. (Robert F Kennedy appears in documentary footage – and was soon to be assassinated himself.). A prisoner who had escaped parole, James Earl Ray, was charged with the murder of Dr King and spent several decades in prison. As might be expected, because of the mysterious character of the assassin, there were conspiracy theories and court cases.

The filmmakers have assembled quite a range of associates and friends of Martin Luther King to reflect on their memories of working with him, the trip back into the past, 50 years and further. They include many of his working associates and collaborators, men and women. It also features actor-singer Harry Belafonte, friend of Martin Luther King, who appears close to the family in many of the footage clips.

So, there is a great strength in the memories of the collaborators, going back into the past, is visualized by the extensive historical footage, but also their reflections on the effect of Dr King, Civil Rights, the role of Lyndon B. Johnson, the consequences of Martin Luther King’s leadership. Personal aspects of Martin Luther King are not ignored, his relationship with his father, a stern man, and their sharing of the ministry at the Ebenezer Church in Atlanta. There is relationship with his wife, Coretta, and their children – and observations about his personal life and other relationships. There is also the influence of J Edgar Hoover and surveillance by the FBI. King achieved a great deal in his leadership of the civil rights movements, his espousing, especially, of non-violent campaigns, his great concern about poverty in the US, for black, Hispanics, Native Americans, whites. And he was a Nobel Prize Laureate.

Included is a great deal of footage of Stokely Carmichael and his contradicting King’s non-violent philosophy.

There is extensive historical footage throughout the film, some going back to the 1950s to King’s emergence in leadership. There is family footage, footage with friends. There are many campaigns, the March on Washington, I Have a Dream, Selma, a variety of meetings, presence at the signing of Civil Rights legislation, contact with Lyndon Johnson. And, there are many excerpts from his speeches and a realisation of what a way he had with communication, with words, with speech rhythms, with emotion.

This is a fine record, within two hours, of the life and work of Martin Luther King, acclaim, hostility, and, in the American way, death by assassination.

THE BROKEN HEARTS GALLERY

US, 2020, 109 minutes, Colour.

Geraldine Viswanathan, Dacre Montgomery, Utkarsh Ambudkar, Molly Gordon, Philippa Soo, Suki Waterhouse, Arturo Castro, Sheila McCarthy, Bernadette Peters, Nathan Dales.

Directed by Natalie Krinsky.

No surprise if this is an emotional, sometimes sentimental while tough, drama for 20 somethings.

The central character, Lucy (Geraldine Viswanathan from Newcastle) is a victim of her relationships, dwelling on the past, keeping souvenirs of her exes. She has two roommates, tough in their advice to her, one having a relationship with her boyfriend who is continually looking at his mobile phone, speaking only at the end! The other is exploring lesbian relationships. Lucy works in a Gallery managed by Bernadette Peters in a rare film performance. And Lucy is involved with one of the experts at the gallery.

Asked to speak at the opening of an exhibition, Lucy has a collapse when she sees her boyfriend with his ex. She drinks, climbs into a car thinking it is an Uber, pours out her life to the driver, Nick. She later encounters him in a bar where he rescues her. Nick (Dacre Montgomery from Perth) is renovating a building as a hotel. Lucy is interested, hangs one of her relics on the wall and calls it the Broken Hearts Gallery, publicises this on social media with the result that many contribute their mementos, and some finance.

Lucy works with Nick, taking for granted their developing friendship. In the meantime, she has her ups and downs with her former boyfriend who approaches her again, but she has the strength to break off the relationship.

There is a breakthrough when the director of the gallery invites her, after sacking her, to bring the Broken Hearts Gallery to the main gallery for an exhibition.

There are some complications with Nick, his not getting a loan to finish the renovations, working with a friend, Marcos, whose girlfriend is pregnant. There are further complications when Lucy misjudges Nick and his past relationships.

And am ending with a highly dramatic declaration of love, backed by the audience at the opening.

The main characters in the film are women – but there is a place for sensitive men.

1. The title, overtones? The idea of the gallery, the development, as an installation for an art gallery? The emotional dimension, those who contributed, the experience of break-ups and sadness?
2. The New York story, the city, the streets, art galleries, renovations? The musical score?
3. The three friends, Lucy, Amanda, Nadine, roommates, the conversations, issues? Amanda and her relationship with Jeff? His mobile phone, barely speaking until the end? Nadine and the lesbian relationships? Lucy, relationships, failures, relics of past relationships in her room?
4. Lucy and the relationship with Max, his going back to his ex, seeing him at the gallery, her work at the gallery, Eva Woolf asking her to introduce him, Lucy berserk, drinking, getting in Nick’s car, telling her story, his driving her home, her reaction? The morning after, Max, and her being fired?
5. Lucy, in the bar, the encounter with Nick? His place, the Chloe Hotel, his plans, renovating? Lucy and the relic of Max, her hanging it on the wall? The beginning of the gallery?
6. Lucy, enthusiasm for the renovations, meeting Marcos, his work for Nick, their friendship? The work in the renovation, the gallery, social media, the contacts, popularity, contributions, financial?
7. Nick, his personality, quiet, helping Lucy, working with her? The difficulties of the loan? Paying Marcos?
8. Lucy, the encounters with Max, advice, her friends, his approaching her, her breaking with him? Freedom?
9. The decision to take Nick to visit her mother, her mother’s dementia, flirting, the dance, Lucy wanting Nick to understand her background?
10. Nick, the story about the name of Chloe, the visit, Lucy and her being upset, walking out, her friends attacking Nick? The true story about Chloe and her leaving Nick?
11. Max and Eva Woolf, Eva’s story, the gallery, response to Lucy, commissioning her to bring the gallery to her own?
12. The work of the transfer, setting up the Broken Hearts Gallery? Ready for the opening?
13. Nick, the failure of the loan, the news that he had received alone? The later explanation?
14. Nick, talking with Marcos and his girlfriend, their going to the opening, is buying the Broken Half neon, through the streets, into the opening, Lucy’s speech, declaration of love, the audience shouting with Nick?
15. Lucy, the talk with Eva, leaving the past behind, clearing the relics? Happy endings all round?