GROWING UP SMITH

US, 2015, 102 minutes, Colour.

Roni Akurati, Jason Lee, Anjul Nigam, Brighton Sharbino, Poorna Jagannathan, Samrat Chakrabarti, Shoba Narayan.

Directed by Frank Lotito.

This is a very entertaining film. It was written by its star, Anjul Nigam (who appears as the father), looking at a family who have migrated from India in the 1970s to the United States, still holding onto its traditions, but also wanting to become very American.

At the centre is a very young boy, played very engagingly by Roni Akurati, with his adult character, Smith, appearing at beginning and end of the film and doing the narration, describing what happens to Smith at the time of Halloween 1979. And the title? The Indian family wanted very much to be part of the United States, mistaking Smith for a given name and handing it on to their son. There is also a daughter at home, very much the teenager of the times, telling her parents that she was going to study all the time but then hanging out with a boyfriend.

Smith is small, glasses, but very friendly, and is in love with his fellow student across the street, Amy (Brighton Sharbino). She has a very amiable father, Jason Leigh in a very friendly role. There are problems in that household but the father, Butch, is a great friend to Smith.

At the centre of the story is the celebration of Halloween, which coincides with the into Festival of lights which means that Smith has two big the Festival food, pray the prayers at the shrine to Garnish in the house, put up the lights, before he can go out to Trick or Treat. His mother, trying her best to fit into the American lifestyle, has delayed in getting Smith’s cost interim for the class discussion and vote about costumes. He is embarrassed that his costume is garnish and is mistaken for dumbo!

The sad part of the film is that the parents have chosen spouses for their two children and, with the couple at Halloween, Smith is sent back to India to fulfil his father’s desire for him to be a neurosurgeon, to marry the girl that he was promised to – which she does his wife and dies during operation and he cannot save her. Finally, he returns to the town, his father playing golf, Butch always friendly, cycling to find Amy.

The film was directed by Frank Lotito, from Melbourne.

1. The title? The humour of his parents’ choice to call their son Smith? Indian background, in the US? 1979?
2. The location, the American town, streets and homes, school, the details of ordinary life? The musical score?
3. The voice-over, the older Smith, the opening, by the river, his narration? The bulk of the film about young Smith? The end, Smith and his return to India, becoming a doctor, his wife, unable to save her in the operating room, his return to the US, his parents, meeting Butch, looking for Amy?
4. Smith, small, his age, his accent, dark skin, being bullied at school, yet his friendship with Amy? Butch and his friendship and support? Smith and his parents, his demanding father, Indian traditions, the planned marriage, the discipline, the prayers and punishment? Smith and his sister, her telling lies, age, going out on dates, pretending she was studying, finally caught, punishment? His mother, pleasing her husband, the traditions, sowing the Halloween costume, the broken needle, the proprietor of the shop insulting her, making the Ganesh costume?
5. Smith, earnest, creative, the meetings with Amy and discussions, his response to the bullying?
6. Amy, her age, school, friendship with Smith, the bullies? Relationship with her parents? Her father, his bike, issues of money, her mother, complaining, wanting to leave? Amy staying with her grandmother? Wanting to go to New York, phoning Smith, his coming to stop her leaving? Butch, alert, friendly, coming to drive Smith home and his daughter staying?
7. The focus on Halloween, the American tradition, the class and the discussions about costumes and votes, Smith’s mother and her being late, the costume, the Hindu feast, Smith having to put up the lights, the prayers, the food? Butch and Amy? The Ganesh costume? Going from house to house, the religious fundamentalists and their giving them the tract?
8. A pleasant story about young people? Coping with hardships? Decisions? Different traditions?
9. The surprise that Smith would be sent back to India and that his growing up would occur there? Hopes for his future?

THE MISFITS

US, 2021, 94 minutes, Colour.

Pierce Brosnan, Tim Roth, Nick Cannon, Rami Jaber, Jamie Chung, Hermione Corfield, Mike Angelo.

Directed by Renny Harlin.

Here is a piece of heist nonsense, a very undemanding action time-passer.

The film introduces us to a group of young adults with particular talents to facilitate robberies, like donning various disguises, a skill with explosives… They band together to approach a veteran thief who has spent time in prison, Richard Pace, played with his old style by Pierce Brosnan.

They all arrive in Abu Dhabi which features almost as a character in the film, the modern Emirates high-rise city, a centre for luxury living, surrounded by desert. It also holds a huge prison.

Pace encounters his daughter, Hope, who is earnest about civil rights, UNESCO and the fate of children around the world. In fact, it is she who is organised the meeting so that the group of thieves will work with her father to extract a huge amount of gold bars, preserved to fund terrorist activities, but held under strict guard in the basement of the prison.

The film offers an opportunity for the supporting characters to show a variety of styles, especially Thai a singer and dancer Mike Angelo, the explosives expert who also likes to dance. Also along is The Prince, played by the producer of the film, Rami Jaber, who works from the United Arab Emirates but is also based in Finland, the home country of the director, Renny Harlin, who directed one of the Nightmare in Elm Street films as well as Die Hard 2, an up-and-down career with directing action films, generally, for over 30 years.

Also cast is a calmly bewildered -looking Tim Roth who was responsible for the safety of the gold.

All kinds of shenanigans for the theft, disguises, distractions (a car exploding at the same time as the basement bought explodes), misdirection in terms of where the gold is, escape routes…

But, is a kind of film where Pierce Brosnan outwits them all, stealing the gold – but, ultimately, preserving it for a donation to UNESCO.

Rather slight – and generally not well reviewed.

THE SUICIDE SQUAD

US, 2021, 132 minutes, Colour.

Margot Robbie, Idris Elba, Viola Davis, Joel Kinnaman, John Cena, David Dastmalchian, Daniela Melchior, Peter Capaldi, Sylvester Stallone, Nathan Filion, Jai Courtney, Pete Davidson, Alice Braga, Taika Waititi.

Directed by James Gunn.

We are invited into the DC world, familiar from the Superman or Batman or Wonder Woman action shows. The comparison, of course, is with the Marvel Universe and its huge range of superheroes and super films.

This one is for the fans and, judging by comments afterwards, for younger fans. It opens with what might be called an extravaganza of mayhem. Then it moves into the main action, one extravaganza after another, more mayhem and then more mayhem.

There is a prologue where we are introduced to the control, Amanda Waller, played with hard as nails (or whatever is harder) determination and control (Viola Davis, who appeared in the original film in this role). However, the prologue has a group of the Suicide Squad sent out on a special mission – and, generally, they are complete failures! (And they played by a group of character actors who then disappear after their explosive deaths, Michael Rooker, Pete Davidson, Jai Courtney…).

So, it is time to start again, a new Suicide Squad, all prisoners, all hardened, all with idiosyncratic superpowers, led by Idris Elba, crack shooter but afraid of rats, John Cena, big and brawny, The Peacemaker (no matter what the cost), Chloe who keeps falling asleep but is able to conjure up rats (which might make the Pied Piper envious), madman who wears a polka dots suit, the polka dots glowing, enlarging and becoming weapons (especially when he imagines the target as the mother he has hated and who appears larger than life), and a huge shark with a penchant for human meat and learning to pronounce his words. Sylvester Stallone appears in the cast list – and, as it turns out, he is this shark.

But, captured after the first expedition, Flagg and Harley Quinn, from the first film (Joel Kinnaman and Margot Robbie – who does receive top billing) reappear to add to the mayhem. Flagg is the serious hero. Harley Quinn steals the show, of course, being both daffy and lethal, often simultaneously.

The plot concerns a Caribbean island, the revolution, counterrevolutionaries (Alice Braga as the leader, taking it very seriously as if she were in a different film), a tyrant, a mad scientist (Peter Capaldi beyond Dr Who), a vast scheme to foster an alien monster, Starro, a giant starfish, who controls everyone, an experiment secretly fostered by the US… Which leads then to a grand finale with rivalry, Godzilla in mind, mayhem in abundance.

The film was written and directed by James Gunn, responsible for the Guardians of the Galaxy films, those fantasies which combined superheroes, human characters, and strange creatures. It is said of him that he made films when he was very young, full of what is referred to as “comic splatter”. There is plenty of that here, a lot of it gleefully brutal, aided by bloodily-creative special effects, a lot of it just brutal. Actually, it would be interesting to do a case study on James Gunn’s psyche, his imagination, the creative directions in which this goes, his target audiences and how we perceives their desire for this kind of entertainment.

CAST A DEADLY SPELL

US, 1991, 96 minutes, Colour.

Fred Ward, David Warner, Julianne Moore, Clancy Brown, Alexandra Powers, Arnetia Walker, Lee Tergesen.

Directed by Martin Campbell.

This is an HBO production from the early 1990s, the precursor of so many feature films they would make over the coming decade, many of them so much more interesting, so many of them focusing on American politics, The Second Civil War, Path to War, Pentagon Papers…

The concept of this film is a combination of the Sam Spade-Philip Marlowe private eye investigation with the world of magic and horror. The setting is private eye Los Angeles but with all the inhabitants resorting to magic – except the private eye, Philip (as in Marlowe) Lovecraft as in the horror stories of HP Lovecraft. The film was directed by Martin Campbell who had directed Riley, A soft Spiders and Age of Darkness for television and was to move on to a cinema career, directing two James Bond films and to Zorro films.

Fred Ward is the typical gumshoe, not using magic, following an investigation for recovering a copy of the necromantic on for millionaire, David Warner. Julianne Moore, in a very early role, plays the femme fatale, with the villain, Clancy Brown, and being seductive because of the past relationship with Lovecraft.

There is a huge finale with a huge diabolical monster appearing and devouring the millionaire. The femme fatale also is engaged in various double crosses.

Actually, rather a lot of nonsense, but of interest for genre fans and how it uses the private eye conventions with the horror conventions.

1. Tongue-in-cheek parody of private eye dramas, monster horror films, necromantic on?
2. Dish and that everybody in Los Angeles use magic to achieve their ends? The consequences? Werewolves and monsters?
3. The Los Angeles setting, the period, costumes and decor, the private eye office, the clubs, mansions, settings for the cult? The musical score?
4. A private eye called Lovecraft? And in the context of horror? His Christian name – Philip, as in Marlowe? Not believing in magical using it? Downbeat, renting officers from the manager of the dance class? Mixing up the cards? His past relationship with Connie? Meeting Hackshaw? His commission, the book? His daughter riding the unicorn, the interaction with Lovecraft, commission, deadline, payment?
5. Borden, owning the club, wanting the book, wanting power, his hold over table, doing his dirty work, Mike and the book, wanting payment, his being drowned? The relationship with Lily, Lily and the disguise, hiding? Borden dissatisfied with Tugwell and killing him? The monster present doing his will? His relationship with Connie?
6. Lovecraft, his investigations, going to the new building, the landlady, information about Lili, working for Hackshaw, being fired? The relationship with Mike, the disguise, in hiding? Lovecraft tracking him down, getting the information, the monster killing Lily?
7. Connie, the femme fatale, the past relationship with Lovecraft, meeting him again, seductive, the night, the revelation that she was working for Borden, wanting the book and its power, killing Borden?
8. The buildup to the confrontation and the deadline, Hackshaw and the book, willing to sacrifice his daughter, a 16-year-old virgin, the moon, the eclipse, the incantations, the appearance of the vast monster, devouring Hackshaw, the daughter and the police guard, the sexual encounter, her not being a virgin, the plan thwarted?
9. Lovecraft and Connie, any future?
10. How effective the combination of the private eye thriller with the Lovecraft world?

MICHAEL JACKSON: SEARCHING FOR NEVERLAND

US, 2017, 105 minutes, Colour.

Navi, Chad L Coleman, Sam Adegoke, Starletta Du Pois, Richard Lawson, Aidan Hanlon Smith, Taegen Burns, Michael Mourra, Isabella Hoffman.

Directed by Diane Houston

The world was shocked at the death of Michael Jackson in 2009. Over many decades, from being a little boy (The Jackson Five, singing Ben…), His adult career, music, music, dance and moonwalk, Thriller… And the range of documentaries about him, he had become the King of Pop.

However, his later years were clouded by his eccentric behaviour, relationships, children, accusations of sexual molestation.

This film, played fairly straightforwardly rather than any sensational manner, considers the final years of his life. He is played, by Navi, sufficiently resembling Michael Jackson but sufficiently different to make audiences realise that they are watching a performance, and impersonation.

The opening information indicates the difficulties in Jackson’s life, the accusations, courts, his exoneration – but the strange mixture of his reputation throughout the world, hostility (and the screenplay here voices one of the vitriolic accusations), as well as besieging fans.

The framework is an investigation into Michael Jackson’s death, the role of the doctor, Conrad Murray, Michael Jackson’s drug dependence, the intervention of the doctor or not. And, it is from the point of view of his bodyguards, the security detail (and the film is based on their book:

The point of view is very much that of the senior guard, Bill Whitfiied  (a sympathetic performance from Chad L. Coleman) who employs his relative, Jovan (Sam Adegoke). Bill bonds very much with Jackson, almost immediately, and with his children. And, he allows himself to be at the beck and call of Michael Jackson – with the demand that the guards revealed to know one whom they work for. In the house there is a nanny, sympathetic. There are also manages, especially a domineering agent, Miss Green, who wants Jackson to appear on stage in Las Vegas to remedy his financial difficulties. Jackson does not want to.

And there are the three children, with Jackson as their beloved father, acting as an extravagant buyer of gifts, wanting to take them out, sheltering them from the public. There are some episodes indicating how difficult this is, taking the children to a mall in Las Vegas and being mobbed. The contrast is his sitting in his limousine and watching them go out to play as normal. And a solution where he puts on a crash helmet and is able to go out with the guards and the children undetected.

This is quite a sympathetic film for Michael Jackson even though one of the children asks his explanation of his being caught Wacko Jacko. He is eccentric. He is reclusive. His father comes to visit and he refuses to see him without an appointment. One of his brothers crashes his car into the gate demanding money and his father coming to tell him to back off. There are scenes with his very sympathetic mother.

There are some moments of singing, some moonwalking especially with the children, reminding us of the impact that Michael Jackson made. There are also fans at the gate, the police trying to ward them off, and, when he walks in the mall at Las Vegas, fans mobbing him.

The Jacksons had to move out of Neverland after the scandals. They lived in various hotels and there was the prospect, with the tour of a mansion, which might have become Wonderland.

There are financial difficulties all the time, the two guards going for months without pay, Jackson at times trying to remedy the situation but, in an extravagant scene, his going through a shop and buying $39,000 worth of toys and gifts for his children.

Throughout the film, officials interrogate the two guards, who tell the story, building it up, explaining Michael Jackson and their loyalty – and their shock when they were not present and saw the news of his death on television.

There is some epitaph information, Jackson’s grave, the guards attending.

An opportunity for fans to look at and understand Michael Jackson. An opportunity for those who do not know much about him to see this interpretation of him and of events.

JT LE ROY

US, 2018, 108 minutes, Colour.

Kristen Stewart, Laura Dern, Diane Kruger, Jim Sturgess, Kelvin Harrison Jr, Courtney Love.

Directed by Justin Kelly.

Those who come across this story for the first time will probably not believe that it was true. But, it was. Prior to this feature film, there were two documentaries made, 2014, 2016, on the true story of JT Le Roy. Googling will reveal the details and indicate that this film with its intricacies dramatises the main events of this elaborate hoax.

The story took place in the 1990s and into the 2000s. JT LeRoy is the alleged author of a novel about his harsh childhood, his prostitute mother, his making his way in the world. In fact, it was the work of a musician, Laura Albert, unable to promote herself as herself. She has the idea of finding an avatar. And she chooses her boyfriend’s sister, Savannah Knoop. Savannah then becomes the presence of JT LeRoy, allegedly painfully shy, awkward, clothes, white wig, ambiguous in terms of gender… And this took place for several years, public appearances, some press conferences, eventually the issue of the film based on the novel. In fact, the characters are in this film, the European director, in real life was Italian actress-director, daughter of horror film director, Dario Argento, Asia Argento. She became infatuated with JT Laroy and made a film on the novel, The Heart is Deceitful Above All Things. She was not in the know about the reality and was completely dismayed by the Revelation.

Many in the show business world were fans of JT Laroy – and some disillusionment when the truth was revealed. Savannah Knoop then went on to write her story: Girl Boy Girl: How I Became JT Leroy. This film is based on that book, the screenplay cowritten by Savannah Knoop herself along with director, Justin Kelly (whose films have shown interest in this kind of ambiguity, sexual identity, I am Michael, Cobra King).

Kristen Stewart fills the part of JT Leroy/Savannah Knoop but many have commented that many of her performances are in a similar vein. After this film she made Seberg, a portion of actress Jean Seberg. (Later, she was to be Diana, Princess of Wales, Spencer.) In an opposite performance, Laura Dern is Laura Albert, the voice behind JT Leroy, especially in many of her phone calls, and especially to Asia Argento. In public, with red wig and British accent, she appeared as JT Leroy’s mentor, Speedie, an eccentric and intrusive character. Also in the film are Jim Sturgess as Savannah’s musician brother, Kelvin Harrison Jr as Savannah’s boyfriend, and a cameo by Courtney Love. Diane Kruger is the Asia Argento equivalent.

For those who know the story, and it is an interesting dramatisation though not always particularly engaging, given JT Leroy is enigmatic shyness and silence. For those not in the know, perhaps some disbelief.

1. Based on a true story, the actual events, the hoax, the revelation, the aftermath?
2. San Francisco settings, visits to Los Angeles, visits to Paris, American and international flavour? Musical score?
3. Laura Albert, her novel writing, musician, the band, her relationship with Geoff Knoop? Meeting Savannah, getting the idea for the avatar? The many phone calls as JT, her closed-door? The proposal, Savannah agreeing, dressing her in the image of JT? Laura disguising herself as Speedie, the red wig, British accent, intrusive, getting in the way, guiding, advising?
4. The hoax developing, public appearances, JT and extreme shyness, clothing, the white wig, enigmatic comments? The prospect of the film, going to Paris, the meetings with Eva? Eva and her infatuation with her image of JT, wanting to make the film, the screenplay, to play JT’s mother? The discussions, the sexual encounter? The visits to the US, the making of the film, atmosphere of the set, JT’s presence? The completion of the film, going to Cannes, the red carpet? The revelation of the truth? Eva upset?
5. Savannah, working in the bar, meeting Sean, the relationship, his personality, support, knowing the hoax, his shock at the betrayal with Eva?
6. Geoff, relationship with his sister, with Laura, exasperation about practising for the band, the music, the lyrics, his awareness of the truth?
7. The consequences, Savannah, interviews, phone calls, journalists, expose? Her going to the book signing, Laura and her success, the fans? Farewelling Laura? Going on to write her book…

Celebration of the 90^th Anniversary of foundation of St Therese’s Parish and school 

And a pictorial record.  With thanks to Krish Mathavan MSC, PP.

There was great anticipation and excitement in the air as the day (Sunday 24^th October) dawned for our parish community to come together as one to celebrate our 90^th year of foundation. There was only one Mass that weekend and a good crowd (English and Polish speaking parishioners) gathered at the start to wish each other a happy 90^th anniversary! There were the regulars, but also in attendance were those who had a connection with the parish from yester-years, those who grew up here and came back specially.

Covid restrictions on entry to Tasmania meant we could not have a lot more of the previous MSC priests and Polish chaplains with us. Retired Frs Graeme Howard and Denis Allen from the diocese as well as a few Sisters of St Joseph of the Sacred Heart based in Tasmania Colleen Power, Jill Dance and Helen Hickey joined Fr Jozef Migacz SChr and myself to celebrate this wonderful moment in the history of the community.

There were readings and songs in both Polish and English (two were a blast from the past, sung 90 years ago at the laying of the foundation stone: Nearer my God to Thee and Hail Holy Queen!), but what made the celebration most memorable was a special edited video of an interview with a few ‘seasoned’ parishioners (Betty Wilson, Barbara MacArthur and John Adamus) and recent MSCs (Stephen Hackett and Mark Hanns) reflecting on their time in and experience of the parish.

(Polish choir at the back of church)

(English choir at the front)

After Mass, we gathered at the undercover area in the school for an old-fashioned Aussie BBQ.

Many also checked out the history display in the school hall that were put up by both parish and school for this occasion. Our own historian Colin Dennison compiled and wrote up a booklet ‘90 years young’ that is worth reading to know the ups and downs in the last 90 years. All in all, it has been a pretty special celebration and I am thankful for all going as well as it can, especially as this happened the weekend after we came out of a snap lockdown!

Some of you might recognize the art work (above) by Patrick O’Carrigan msc during his time in the parish! We have not displayed many of them in the church because of their size! There were photos, mementos and ornaments in the display that sent many down memory lane. An Irish lady and her husband helped to landscape this’90’ for us on the side lawn. We owe much to the volunteers in the parish and we celebrate them specially on this day.

MARVIN/ REINVENTING MARVIN

France, 2017, 115 minutes, Colour.

Finnegan Oldfield, Gregory Gadebois, Vincent Macaigne, Katherine Salee, Jules Perrier, Catherine Mouchet, Charles Berling, Isabelle Huppert.

Directed by Anne Fontaine.

Anne Fontaine has directed quite a number of striking French films ranging from Coco before Chanel to the fine drama of Polish nuns and a French Communist Dr during World War II in Les Innocentes.

This film is based on a biography by an actual actor but then fictionalised. The French title is simply Marvin with the English title adding, forcefully for the theme, Reinventing.

The film is set into time eras and moves between them, the story of Marvin as a little boy in the town, living with his tough and rough family, being bullied at school, homophobic bullying (but with some of the boys acting out sexual behaviour). He has a young friend in the town and she is supportive. The new principal of the school encourages him in performance. He then gets a scholarship to leave the town and go to Paris to study acting.

Marvin goes to Paris, meet some actors who support him, does some training, acknowledges his sexual orientation. This is a particular the case when he meets an older man, played by veteran Charles Berling, who takes him under his wing, even pays for dental work. Marvin also goes to the theatre, especially a performance where the men appear naked, his being intrigued.

His patron is killed in a car accident but has introduced him to Isabelle prepare, playing herself. She tells Marvin that his patron asked her to help him, they rehearse a performance which he has written dramatising, often verbatim, incidents from his childhood, especially the reaction of his parents. Ultimately, the two perform his play on stage to some acclaim. He also writes up the story and it is published.

Marvin, changing his name to Martin Clements (after the encouraging principle), goes to visit his family who are critical of the book – but has quite a moving scene where he reconciles with his father.

Finnegan Oldfield gives a strong performance as the adult Marvin. And it is intriguing to see Isabelle prepare playing a version of herself.

1. The French title? Focus solely on Marvin? The English title and Marvin’s life, choices, progress?
2. The French town, homes, poor neighbourhoods, streets, school, classrooms, halls and theatre? The musical score?
3. The two time frames, the intercutting? Marvin as a boy, at school, at home, bullied? Marvin going to drama school, life in Paris, friends, theatre, relationships, his play?
4. A strong film about bullying, homophobic bullying, at school, behaviour by schoolboys? Non-understanding and non-acceptance by families? Homophobic presuppositions? Marvin, his experience at school, faggot, the reaction of the boys, even sexual behaviour? Marvin and the puzzle, his own identity, fascination with watching the naked men dancing? Able to cope or not? The audience seeing the younger Marvin in the retrospect memories and flashbacks of the older Marvin?
5. The family, the bullying older brother, the little brother, the sister emerging later in the film, the mother, the touch of slatternly, her talk about giving birth? Dany, rough, at home, his work, prejudices? The dialogue of the various home sequences and Marvin remembering, incorporating them into his play, performance, his taking every voice?
6. Classes, Marvin mocked, talking with the young girl, playfully fighting with her? The new principal, stances, interest in theatre, driving Marvin home – not to his house? Encouraging Marvin with theatre, his performances, the application, her congratulations, the family not giving him the letter?
7. Marvin, leaving home, the train ride, memories, hopes? The theatre, the training? Meeting Abel and Peter? Abel and his art, his philosophy of life, influencing Marvin? The couple encouraging him, taking him in? Marvin and his going to the clubs, the fascination, the encounter with Roland, the older man, inviting him home, Marvin not staying, yet returning, Roland and his encouragement, sexual encounters, paying for dental reconstruction? The visit to the theatre, the naked men in performance? The discussions afterwards with Marvin and friends?
8. Roland introducing him to Isabelle Huppert, the actresses herself, the meetings, the discussions, the club, dancing, encouraging Marvin? Listening to his dialogue? Eventually acting with him, the performance and the response, the reviews? The news of Roland’s death and Isabelle agreeing to look after him?
9. The media, critical of Marvin and his family, his changing his name to Martin Clements, the decision to visit home, the reaction of his sister, animosity, the reaction of his mother, the separation from Dany, his going to visit his father, the sympathetic response, his father proud of him, the conversation, Marvin and his book and the inscription, leaving it on the train? A sense of reconciliation in the conversation with his father?
10. Marvin’s future – success?

THE CORRUPTION OF DIVINE PROVIDENCE

Canada, 2020, 97 minutes, Colour.

Elyse Levesque, Ali Skovbye, David LaHaye, Corey Sevier, Tantoo Cardinal, Paul Amos, Eugene Brave Rock, John B.Lowe, Andres Collantes, Keith Damboise.

Directed by Jeremy Torrie.

A Canadian film, the setting in Canada, open plains.

However, this is a film about religious traditions. On the whole, the community seems to be Catholic although many are now lapsed. There are also the local Native Americans with their traditions. And, there are some personal eccentricities, shaman issues and aspects of ancient Egyptian culture.

However, when a young teenage Catholic girl experiences something of the stigmata, everybody intervenes. There is her rather bigoted Catholic father who does not want to acknowledge his native American Heritage. There is her lapsed mother. There is the concerned parish priest. The Native Americans come and want to perform rituals. And, the media turn up, in the form of a Texas evangelist with his entourage, even persuading the priest to let him hold an interrogation of the stigmata girl in the church.

A tangle of personal issues. A tangle of religious issues. Some mystical aspects – even involving St Francis who himself experienced the stigmata. Touches of horror, touches of religion, touches of the corruption of divine Providence.

1. The title? Expectations? The explicit reference in the film to the native American traditions by Louis Seraphin?
2. The Canadian settings, Central Canada, the open plains, the crops? The town, homes, the church, the bar? The musical score, popular music, religious atmosphere?
3. The introduction to the town, Louis and the alcohol, the deal with the Native American, legal and illegal? Setting the tone? Louis at home, staunch and bigoted Catholic, alienated from his wife, the background story of their marriage, New York, her career, marrying, pregnant, trapped back at home, working in the garden, Luis suspecting she was having an affair? Their son, devotion to the family, going fishing with his father? Gene, her age, her life and her parents not knowing what she was doing? Family dysfunction?
4. The early sequence of the doctor, filming the hypnotism, family present, Jean, estate, the revelations, the strange experience, discolouration, bending backwards, the strange spirit, writing down the message coming from above? Resuming as normal?
5. The Catholic background, Father Luke in the church, reading the Scriptures and praying, no liturgy as such? His comments about faith, discussions with Denise? Urging her to faith and prayer? People not going to church?
6. Denise, driving, the old woman in the field, the iron trap, calling the ambulance, her death – and the later mysterious reappearances? In the field?
7. The news of Jean, in the ambulance, Jeanne waking, the blood around her head, the stigmata? In the hospital, being dead for 12 minutes, her parents present, there impatience, the calm attitude of the doctor, giving her information, rational?
8. The indication of miracles and healings in the town? Gene is recovery? The people queueing to see her, her father controlling, taking the money? His avaricious attitude, the encounter with the Pentecostal leader, visiting, bargaining for a higher check, going to the priest, wanting the percentage of the donations? Jean’s disappearance and the thwarting of his hopes? Is trying to persuade Denise that it was a good thing?
9. The native Americans, their assembly, aware of the case, the rituals, talking together, travelling, their being rejected by Louis?
10. Juniper Fairweather, mystical, Egyptian traditions, a wide travel, part of the town, leaving, Sharman, her visions, friendly, leading to where Jean had been abducted, the house, the basement, her mother finding her? The rescue?
11. The Texan Pentecostal us, the screenplay not sympathetic to him and his religious style, swagger, ambition, money, playing to the crowds, to the camera, able to cut instantly and shift mood, bargaining with Louis? Father Luke enabling him to have his meeting in the church, the crowds, his having the snake, the cameras, the interview with Jean, her confession, his reactions, threatening her, his being repelled by force? And the crowd exiting the church? The effect of the confession, able to forgive Jean or not, fear of her power?
12. Louis, the encounter with the Native American, ashamed of his tradition, telling his son he did not want suntan revealing his origins? His condemnation of the selling of the liquor to the Native Americans? His dream, the gun, shooting his wife? He himself being shot? Waking?
13. The abduction of Jean, her visions, demonic, St Francis, the stigmata, the struggle for her, her mission? The consequences, the stigmata still present, a capacity for levitating?
14. Everybody present the church, Jeanne’s confession and the reaction? Her going into the field, getting the stalks, her vision, her prayer, her disappearance? Her father going into the empty field?
15. The apocalyptic touch, the creatures, hibernation, emerging, Jeanne’s explanation to Jennifer? Their pervading the town?
16. The religious dimensions? The horror dimensions? The combination? The critique of contemporary Canadian society?

INTRUSION

US, 2021, 93 minutes, Colour.

Freida Pinto, Logan Marshall-Greene, Robert John Burke, Megan Elizabeth Kelly, Mark Sivertsen.

Directed by Adam Salky.

Intrusion is a psychological thriller.

And the person who is the subject of the intrusion is Freida Pinto, happily married to a top architect who has built them the ideal contemporary house out in desert country. She has recovered from a bout of cancer. She is a psychologist in the town. What could go wrong?

The answer is to house intrusions. In the first, a computer is taken. In the second, shots are fired and some of the intruders killed.

Needless to say, this arouses her curiosity, especially when her car is put out of action and she has to borrow her husband’s, finding destinations on his GPS, following them, making further discoveries…

There seems to be something cheerfully phony about the husband, played by Logan Marshall Greene. And, at the end, there definitely is, quite some psychological disturbances and compulsions.

Familiar material, but watchable.

1. The title? The intruders, the burglary, motivations, mystery, solutions?
2. The remote setting, the desert background, the mountains, high country? Small town, the lavish home and interiors, hospital, offices, the trailer park? The musical score?
3. Mirror and Henry and their story, 12 years married, living in Boston, his work as an architect, her work as a counsellor, the building of the house, a new beginning, the lavish house, exteriors and interiors, the plans, the secret staircase and basement? Mirror and the shower, lump, the history of cancer, her recovery? Henry, his work and skills? The sequences at home?
4. The intrusion, the stealing of the computer, the response of the police? Mirror upset? Henry very calm?
5. Mirror, at work, the cancelling of the young man, the oncologist, her results?
6. The second intrusion, Henry and his hidden gun, Meera going to the car, hearing the shots, the deaths, the young man unmasked and shot?
7. Nero, following Henry, leaving his wallet behind, the detour, the car crash? Her using Henry’s car, the GPS, going to the trailer park, the cog trailer, the envelope, her being accosted by the man at the park, the camera in the postbox? Watching the film, the man having broken the camera, buying a new one? Asking Henry, his avoiding the issues?
8. Her going into his office, the USB stick, the photos, the missing girl on the photos, her father? The dilemma about going to the police on not?
9. The housewarming party, Meera watching the tape, going to the office, finding the hidden switch, the secret door, the staircase, finding the girl tied up? Henry, the guests, single life in the office, his coming to the basement, tying up Meera? Are getting loose, untying the girl? The attempted escape? The fight with Henry? Back into the basement for the girl? Mirror and his Boston clock, her attacking Henry, tying him up, his death? Freedom?
10. Meera, selling the house, driving away?
11. A credible psychological thriller? Henry and his explanation that he was born that way, sadomasochistic drives, covering it, planning a future to foster his deviation?