YOUNG FUGITIVES

US, 1938, 68 minutes, Black-and-white.
Harry Davenport, Robert Wilcox, Dorothea Kent, Larry J.Blake, Clem Bevins, Myra Mc Kinney.
Directed by John Rawlins.

In the 1930s and 1940s, elderly character actor, Harry Davenport, was very popular. Here he is at his most popular best.

The title is misleading – there are no really young fugitives. Rather, this is the story of Civil War veterans in the 1930s, the ever-diminishing number of survivors. In fact, at the opening of the film, there are only two left and one of them dies. Harry Davenport, as Joel Bentham is the last – and there had been a fund for veterans building up which meant that $50,000 was to be given to the last survivor.

Joel has very fond memories of the war, admiration for those who fought, is very patriotic. However, he lives in a boarding house, a very cranky landlady who criticises him, and he spends most of each day fishing. After meeting with the other survivor and promising to look after his son when he dies, Joel goes fishing again and returns to find that he is being given a new room, that the townspeople want to give him an honour – but he turns up for the honour, castigates the mayor and the crowd who have ignored him and he moves off, with an old friend, Benji (a genial performance from Clem Bevins) to the dead veteran’s house. On the way there, they pass a depression train with all the travellers getting off and being pursued by the police, one of them getting into the car and being revealed as a young girl (Dorothea Kent).

There is a further complication when the son (Robert Wilcox) turns up. He is about the money and intends to steal it and return to the city. However, he is also charmed by the young girl and stays to help Joel and Benji. Joel notes that he cheats at chess and buries the money under a tree. The young girl is aware of this and is also trying to test him out.

Matters get complicated in the last 10 minutes or so when associates from the city turn up, hear about the money, hold up the group in the house, intending to take the money and run. However, Joel was to be escorted by the locals to the train so that he could travel to the Declaration Day remembrance procession in Chicago. Which means that in the nick of time, the band of the locals and the mayor turn up, the crooks skedaddle, are pursued by the crowd, the son making good decisions, the girl happy with him, and their all attending the parade.

Harry Davenport is certainly a pleasing character actor, even when a bit crotchety, which makes this an entertaining 1930s pastime.

DESERT LEGION

US, 1953, 86 minutes, Colour.
Alan Ladd, Richard Conte, Arlene Dahl, Akim Tamiroff, Oscar Berrigi, Leon Askin, Anthony Caruso, George J.Lewis.
Directed by Joseph Pevney.

This is one of those very popular action shows produced by Universal Studios in the early 1950s. It is a star vehicle for Alan Ladd as he was turning 40 (and, in fact, released in the same year as his classic, Shane). Richard Conte is always a reliable villain. And Arlene Dahl adds glamour.

The setting is Algeria and the Foreign Legion where Alan Ladd plays the commander, under the major played by Leon Askin. They are commissioned to find a rebel leader. However, Ladd and his militia are trapped in the mountains with all dead except for Ladd. He wakes, mysteriously, in the presence of Arlene Dahl, in a mysterious city ruled by a benign leader. Then, mysteriously also, he is returned to headquarters.

He wants to return to find this mysterious city in the desert, takes with him a comic assistant, Akim Tamiroff, and discovers something of a Shangri-La? in the desert. One of the guests is an aristocrat, played by Richard Conte.

If Universal Studios had a playlist for all the genre conventions of desert action that should be introduced within 90 minutes, then Desert Legion has them all.

The city in the desert is exotic, wealthy, every convenience, dance spectaculars. The leader of the city is a former legionary who rules benignly. Arlene Dahl is his daughter and, despite a rocky start on the part of Alan Ladd, the love theme is inevitable. And, inevitably, the aristocratic visitor turns out to be the rebel chief. While there had been a siege in battle at the beginning, there is also a duel in the middle between Ladd and Conte, quite exciting in so far as there is one spear and, after its thrust into a hard surface, the opponent has the opportunity to draw it out and then thrust. No surprise in who wins.

And, at the end, returning to the mountains where the first action took place, the legionaries are again besieged by the hostile rebels – but, Alan Ladd, overcoming the guards and getting weapons, the ruler finding his older rifle from his legionary days, come to the rescue – with another fight, on mountain cliffs between hero and villain. The old ruler is killed – bequeathing the city to Alan Ladd to rule along with his daughter as his wife.

While it looks a bit old in style, it moves along at a pace which is enjoyable – with its echoes of Beau Geste and Lost Horizon.

THE GHOST THAT WALKS ALONE

US, 1944, 63 minutes, Black-and-white.
Arthur Lake, Janis Carter, Lynne Roberts, Frank Sully, Warren Ashe, Arthur Space, Barbara Brown, Matt Willis.
Directed by Lew Landers.

There is a line of dialogue in the middle of this film about radio and radio drama where one character criticises the plays as having silly dialogue. And, unfortunately, this is one of the main criticisms of this blend of comedy and slight murder mystery.

But, for most contemporary audiences, who can sometimes live with some silly dialogue, it is the presence of Arthur Lake and his performance that will be the most off-putting. Lake appeared in many films in the 1920s. From 1938 he began a long series of many films and then television episodes of Blondie, and he taking on the role of Dagwood. His character here is very much a bamboozled Dagwood character which must have appealed at the time but seems too silly now.

He plays Eddie, the sound effects man in the studio, about to be married to the leading lady. In the background are some shenanigans about the manager, his wife and one of the actors. The performance goes badly with the sound effects man so focusing on his wife that the result is something of a shambles, and the sponsor threatening to withdraw support. After the wedding, the couple go to his sister’s boarding house but all the cast and crew turn up with the command to have rehearsals.

Then, one of the characters is found murdered, Eddie pressurised by two of the characters to help them hide the body (which then is mysteriously transported to LA in Eddie’s special effects kit). There is a very dotty lady in the house who sleep walks, imagines Eddie as a gallant knight and compels him to go for a night walk, much to the wife’s dismay. There is also the complication that she tells Eddie that she saw someone kill a man in her reverie.

The local sheriff (who actually makes a remark about the silly dialogue) has to deal with the police from Los Angeles who are investigating, puts Eddie in jail for his protection, Eddie then trying to get the truth from the old lady.

And the murderer is not so mysterious, the only candidate except for the sullen worker at the boarding house.

ALL TOGETHER NOW

US, 2020, 92 minutes, Colour.
Auli'i Cravalho, Rhenzy Feliz, Carol Burnett, Justina Machado, Judy Rreyes, Anthony Jacques, Gerald Isaac Waters, Taylor Richardson, Fred Arneson, C.S.Lee.
Directed by Brett Haley.

Is there was to be an audience classification for All Together Now, it would be: recommended for older teen and younger teen audiences. It is also has strong appeal for female audiences.

Amber Appleton is an enterprising young teen. She is played with vivacious energy by Auli’i Cravalho who supplied the voice and the singing for Disney’s Moana. She lives in Portland, Oregon, goes to school, but is highly energetic and does a number of jobs, including at a diner and work at a home for the elderly. Her father is dead and her mother has taken up with a violent boyfriend. She and her mother, who is a local bus driver, spend many a night camped in the bus depot, in the buses.

Amber also has a number of friends, a motley array who drive to school together. She also has another friend and admirer, Ty, from a wealthy family.

So, in the first part of the film, we are asked to identify with Amber and all her energy, her friends, her enterprise in arranging the school annual review (to raise money for school cause – this time to buy trombone for the school band). Older audiences will enjoy one of the elderly characters in the home. She is played by Carol Burnett, in her mid 80s at the time of filming. She is acerbic as ever, a crusty old lady, continually sparring with Amber.

It is in the middle of the film, that it becomes more dramatic, with the death of Amber’s mother and boyfriend in a car accident. Amber is bereft, the audience seeing, as do her friends, that while she is generous to a fault, she has and unable to accept help from others. She had been invited to do an audition in Pittsburgh, the plane ticket had bought, but she cancels and withdraws. This is heightened by her beloved dog becoming sick and the price at the vets for surgery is prohibitive. She takes on even more jobs.

There is a moral to this story, of course, that we should be able to accept kindness from others no matter how generous we are in helping those in need.

The friends band together, Ty persuades her to come to the school review, everyone performing, including a group of older Korean- American ladies and their priest chaplain whom Amber had been helping with language studies as well as singing. And, the appeal for the review is to raise money for her dog’s surgery. And, as Amber recovers a happy outlook on life, there is an extraordinary donation. Audiences won’t be the least bit surprised when they find out who the donor is – and why.

A happy ending. A hopeful ending.

1. A film for an older teen and younger teen audience? Especially for a female audience?

2. The focus on Amber Appleton? Her story? Her generosity? Her problems and challenge? The screen presence of Auli’I Cravalho? Cheery? Her singing?

3. The Portland Oregon setting? The city, the streets, school, home for the elderly, the city bus depot, the mansion in the countryside, the variety of workplaces? The musical score, songs?

4. Amber, her age, her singing talent, the death of her father, her relationship with her mother, her mother drinking, the mother’s relationship with Oliver and his brutality? Amber
and her mother spending nights in the buses? Her mother eventually fired? Amber at work, especially in the home for the elderly, her encounters with Joan?

5. Amber, the Korean ladies, the priest chaplain, teaching them, helping them to sing? The cheery support of the priest? The ladies later dressing up, performing at the show, and
the priest singing along as well?

6. Amber, her spirit of generosity, giving of her time? Ricky and his mother, Ricky and his humour and puns? Chad, in the wheelchair? Jordan, singing, the group as friends? In the car together? At school, in the common room, the friendship and support of Mr Franks?

7. Amber, the tradition of putting on the show? Organising everybody? The performances?

8. Amber, her love for her dog, illness, going to the vet, the expenses for the surgery? Not having the money?

9. Amber, the invitation to audition in Pittsburgh, buying the ticket? Amber and the clash with her mother, staying with Donna and Ricky? Donna and her support, especially as regards Pittsburgh and the ticket?

10. The news of the death of Amber’s mother and Oliver? The impact on Amber? Withdrawing, concern about her dog, giving up the audition?

11. Ty, a good friend to Amber, taking her to the country house to give her a break? His attraction towards her? Her wanting him to be in the show, his reticence?

12. Amber, devoting herself to various jobs, cleaning, in the diner (and the manager friendly with her), in the home?

13. Audiences enjoying seeing Carol Burnett as Joan, Carol Burnett in her mid 80s? Continually acerbic? Her quips, criticisms of Amber and her behaviour?

14. The group organising the show, Ty tracking down Amber, getting her to come to the performance? The range of acts, the Korean ladies and the priest, Ricky and his humour, the musicals, Ty even performing as well as hosting?

15. The tradition of raising money for school issues, the trombone for the band? The appeal at the show, the sign with the donations? The appeal? Amber being transformed, enjoying the show? Ty and his trying to make her realise that while she gave to everyone, she needed to learn how to receive?

16. The sudden increase in the donations? Audiences suspecting Joan? Joan talking with Amber, explaining why she gave the money?

17. Amber going to Pittsburgh for the audition – and the possibilities for her future?

THE PENALTY

US, 1941, 80 minutes, Black and white.
Edward Arnold, Lionel Barrymore, Marsha Hunt, Robert Sterling, Gene Reynolds, Emma Dunn, Veda Ann Borg, Richard Lane, Gloria De Haven, Grant Mitchell, Phil Silvers.
Directed by Harold S. Bucquet.

A surprisingly interesting supporting feature from 1941, MGM production values and cast.

Edward Arnold, who could portray sympathetic characters but who seemed to specialise in heavy (literally heavy) villains, think of It’s a Wonderful Life, plays a scheming and tough bank robber. In fact, the opening sequence where he sympathetically goes to a group of men looking for employment, signs them up, promises the money, goes to the bank to withdraw the money – actually a cover for his robbing the bank and getting away.

On the one hand, he is ruthless. He also has a girlfriend, Veda Ann Borg, but is absolutely devoted to his teenage son, Roosty. Roosty is played by Gene Reynolds and practically steals the whole film, a boy absolutely devoted to his father, knowing who his father was, defending his father, surly towards the police, sent to a juvenile delinquent centre but placed in a farm under supervision for his betterment (but also as bait for his father to turn up and so be caught).

Robert Sterling plays the farmer who is to supervise Roosty. He is engaged to the local teacher, Marsha Hunt. Lionel Barrymore does not appear until 50 minutes into the film but then makes his mark, the sympathetic, homespun grandfather, who takes a shine to Roosty who has wanted to be a pilot (and has piloted plane arranged by his father). Emma Dunn plays Robert Sterling’s mother, and a very young Gloria De Haven appears as Marsha Hunt’s sister. And, one recognises the voice before recognising the face, Phil Silvers has a small walk on role.

The drama between father and son, the son finding new hope at the farm, plays well – with a tone of moralising for the times.

1. The title? Criminals and crime? For Stuff? For Roosty?

2. The times? The aftermath of the Depression? Criminals in bank robberies? The police? Juvenile criminals? Farm work and fostering?

3. The opening tone, the need for work, the men waiting, Stuff arriving,, genial, his plans, the men asking to see the money, the small man and his punch and in charge, going to the bank, their witnessing the withdrawal, Stuff and his note, taking the money, the men waiting, the officials fearful? His getaway, his truck, the car?

4. Stuff, his nickname, the police identifying him? His age, personality, ruthless, but his devotion to his son? His relationship with Julie? Their waiting for Stuff? Going to New York?

5. Roosty, his age, devotion to his father, aware of the criminal activity, his attitude towards Julie, going in public in the fur, his criticisms?

6. His father turning up, travelling with his father, his father and hideout, the network and the grapevine, the desire to rob a bank and make good? Rusty and his wanting to be a pilot, his father allowing him to take the plane up, anxieties as he watched?

7. The police, the plans, the pursuit, shooting? Stuff hiding? Roosty and his refusal to give his father away? The siege, Julie being shot?

8. Roosty, going to juvenile court, and, responsible for him, knowing the truth, and that Roosty was bait to catch his father?

9. Roosty, his room, the altercations with the goose, his trying to run had away, picked up by Katherine, their discussion, her returning him home? His resentments? His wanting to read the paper, the arrangement for his father to put a message in the paper?

10. The grandmother, her kindness, the cooking? Eventually going to see the grandfather, his interest in planes, communicating with Roosty? Taking a shine to him? The episode of stealing the money and the gun, trying to hide them, Ed knowing what it happened, making good? His attraction to Anne?

11. Going to school, beginning to change, not wanting to work, Ed and his plans for the pollen, the attack by the goose, his accidentally killing it – and the irony of his being served up for dinner? Roosty not wanting to eat him?

12. Ed and Catherine, fiancés, schoolteacher, care for Roosty?

13. The newspaper message, waiting for Stuff to turn up? His arrival, by plane, the brusque manner, hostile, confronted by the grandfather, shooting him, Roosty and his not wanting to go? His father shot?

14. The grandfather recovering, Ed and the bond with Roosty, and his wanting to stay? The prospect of flying the plane?

THE SLEEPOVER

US, 2020, 100 minutes, Colour.
Sadie Stanley, Maxwell Simkins, Cree Cicchino, Lucas Jaye, Malin Akerman, Ken Marino, Joe Manganiello, Harry Aspinwall, Erik Griffin, Karla Souza, Matthew Grimaldi.
Directed by Trish Sie.

So, it’s going to be one of those nice films where teenage girls enjoy each other’s company on a sleepover. Well, no, not exactly, not even exactly.

In fact, this is something of a comic romp, a kids’ own adventure that does take place overnight but, sleep is out of the question. (It is something of a surprise when a number of bloggers criticise the film for its lack of credibility – they seem to have missed the whole point that this is adventure, exaggerated adventure, not the least bit realistic, but highly imaginative and entertaining.)

The children, two boys, two girls, are quite young. Sadie Stanley is Clancy, the leader while Maxwell Simkins plays Kevin her somewhat roly-poly younger brother who is mischievous, extroverted, a dancer and a performer. Along for the adventure is Clancy’s friend, Mim (Cree Cicchino) who can be quite assertive but finds some of the adventures rather overwhelming. And then there is little Lewis (Lucas Jaye), Kevin’s friend, but who has a protective mother, ultra-protective in her rules which she has inculcated in Lewis.

Then comes the twist which is key to the whole film. Margot (Malin Akerman), Clancy and Kevin’s mother, is revealed as being in witness protection, something which shocks her baker husband, Ron (Ken Marino). And this all happens because Margot’s partners from the past, and she has been a successful thief. running with a pack of thieves, want her to participate in a robbery in Boston. Ron is amazed when they meet Leo (Joe Manganiello) who was in love with well not Margot, as it turns out, but with Matilda.

Long story short - because those who would enjoy this kind of romp need actually to see it rather than hear about it. The kids become involved in all kinds of hijinks to discover the clues as to where their mother is, what the robbery consists of. And, of course, in the meantime, there is the robbery itself, at a very fashionable reception, Ron making a fool of himself with false accent accompanying Margot and Leo as a Belgian count and his wife.

The writers must have enjoyed themselves working out all kinds of impossible situations – even to Kevin and the others gatecrashing the reception, his directing a cacophony as the kids played instruments but Clancy saving the situation by a performance on the viola.

And, towards the end, there is, at last, a car chase but this time the goodies chasing the baddy!

Actually, if parents watch The Sleepover with their family, there is probably quite enough to keep the younger generation entertained and some bonus enjoyable bits for the adults.

1. Title? The plan? Not much sleep!

2. The action taking place over one night? Establishing the characters, the situations, the switch? The drama, the activity, the children’s quest? Confrontations? Solution?

3. The town, the home, school, classes, the transition to Boston, sailing on the harbour, swimming ashore, the buildings, the concert hall, exteriors and interiors? The musical score? The range of songs? Cello performance?

4. Introduction to Kevin, in class, the teacher, the discussions, the mirror, his dancing, the video? His friend, Lewis? The introduction to Clancy, shyness with Travis, the invitation to the party, her friendship with Mim, Mim urging her on? Their father picking them up, the interactions in the car? At home, Kevin and Clancy and their clashes, her mother forbidding her the phone, her reaction, grounded, going to her room, complaining with Mim? The plan to go to the party, the pillows in the bed?

5. Lewis, his mother, all the strict regulations and rules? His quoting them? His staying overnight, the sleepover? Their watching computer games? Ron and his getting them outside, the tent? Clancy in the tent? Lewis going to the toilet?

6. Margot, her work at school, tough stances? At home? Strict with Clancy? Ron, the baker, picking up from school, genial, the touch of the clown? The pizza man?

7. The return of the pizza man, getting into the house, his criminal associate? Clancy not in her bed? The confrontation, the revelation of the truth, Margot, Matilda, witness protection, not telling Ron her story? Filling in the background, when young, with the gang, stealing, the range of robberies? The French controller? Margot and her getting out?

8. Harry, watching the video of Kevin, the millions watching, realising the witness protection was broken, hurrying to the house, the children suspicious, overcoming him, tying him up, the Christmas tree lights, the songs? And the dog present?

9. The criminals taking Margot and Ron? Going to see Leo, his sympathy, the past, Ron and his jealousy, Leo calling Ron the wrong names? The plan for the evening? To steal the crown? To pose as a Belgian count and wife? The dress? Going to the event?

10. The adventure for the children? Each with their own personality? Fears, boldness? Their being overcome by the truth? The quest?

11. The going to the party, talking to Travis, getting the boat, getting to Boston, having to swim? The old clothes? The historical costumes for the boys?

12. Clues, the writing in the powder on the table, the emblem? Each using their brains to work out what the next step should be? Getting to the hall? The address, the closed up shop, the encounter with Jay? Her explaining the story, especially about their mother? The trick with handcuffs?

13. Getting into the reception, the disaster at the reception, the plan for the poison for the Countess, Ron, his accent, the security guards, his panic, holding Margot’s hand, absorbing the poison, his collapse, his vomiting? Their being held by the guards? Leo and his taunts to Ron? And the revelation of the truth, his not being in witness protection, his
masterminding the taking of Margot, the plan?

14. The children getting inside, Kevin taking charge, the entertainment, conducting, the bad music, Clancy and her nervousness, playing the cello, the audience applauding? The
parents hearing her?

15. The escape, the chases, on the roof, Clancy saving the crown? Ron and Leo fighting? The escape?

16. The car, the car chase, Ron’s driving, the goodies pursuing the baddy, the buildup to the fight, Leo defeated? Harry and his arrival?

17. The various phases, Mim and her being in charge and advising, then her fears? Lewis, his pad, the rules, his getting through the bars and opening the door? Defying his
mother? Kevin and his ingenuity?

18. Going home, the happy reconciliation? Further adventures?

FATIMA


US/Portugal, 2020, 113 minutes, Colour.
Stephanie Gil, Aleandra Howard, Jorge Lamelas, Joaquim De Almeida, Goran Visnjic, Lucia Moniz, Marco D' Almeida, Harvey Keitel, Sonia Braga.
Directed by Marco Pontecorvo.

Who would have anticipated a version of the apparitions at Fathima, 1917, in 2020? There had been a Hollywood version in the early 1950s and the British The 13th Day in 2009. But, here is a well-mounted account, filmed in Portugal, an international cast, and a reverential portrayal of the three children, their experience of the apparition of Mary, opposition, devoted pilgrims, the miracle of the sun (including some photographs of the event in October, 1917, and the glimpse of someone filming the event).

Older Catholics were brought up in the period of the popularity of Our Lady of Fatima, especially in the 1940s and the early 1950s, with the touring statue, devotions and processions. By this time, Catholics took our Lady of Lourdes and the apparitions to Bernadette for granted (and the popularity of the film, The Song of Bernadette in 1943). But, Fatima was nearer to our own times, just before our own times, the post-World War II years. And, of course, Fatima has become one of the major shrines, Marian shrines, in the world.

Lourdes had its sceptics and critics. Fathima has had its sceptics and critics. While there has been a recent increase in popularity of faith-films, audiences who don’t respond to faith-films will not be impressed by miracle stories like this. Interestingly, while the Internet Movie Database has many responses, some of them ridiculing the story as superstitious, many of those responding are older Catholics who are complaining about quite a number of details, you’d favourites for them, the three secrets, the conversion of Russia, the consecration of the world to Mary… which have not been explicitly included.

The value of this version of Fatima, for Catholics of a later generation not so familiar with apparitions (except, perhaps, with Medjugorje), is that the story is well situated in the political climate of Portugal in 1917, Republic, secular-minded, oppressive of religion and the Church. It is also well situated in the climate of World War I, the deaths of Portuguese soldiers and those missing in action (including Lucia’s brother). Memory suggests that back in the 1940s and 1950s, we were not so conscious of these real/actual settings.

The other aspect, important for many contemporary audiences, for younger Catholics, are the questions about Mary appearing to 3 small children, in the context of devotions of the time, the responses of the time. The screenplay provides a 1989 framework, a professor (Harvey Keitel) visiting sister Lucia at the Carmelite convent of Coimbra, Lucia in her 80s played by Sonia Braga. The Professor asks the expected questions which might be rising in the minds of questioning audiences: the reality of the apparitions in the language and iconography of the visionaries, of the period, the image of Mary and statuary, the language of rosary and prayer. There is also the issue of the penitential aspects of devotion at the time, self-inflicted penances in reparation for sinful offence or for emphasising prayers of petition. The professor also raises the issue of the effect of little children being the instrument of preaching peace and prayer rather than an adult appeal.

Stephanie Gil is very convincing as Lucia. And the two actors for the smaller children are also very effective, Jacinta and her spontaneous talk, Francesco and his not hearing the words of Mary. This is shown in the context of their village, poor and hard-working, and of the deaths and injuries during the war, the family support, Lucia to 3’s mother harsh, her farmer father supportive. The local priest does the expected questioning, fearing that they are making everything up, but eventually believing them. It is much harder for the Mayor, with orders from Lisbon, with his anti-religious and anti-clerical stances (despite the challenges from his wife), trying to suppress the pilgrimage mentality. People from the village are at times sceptical, hostile, believers. They are desperate for miracles. And, even then, there was commercialism, children with their trays of rosary beads for sale to the pilgrims!

There is an odd evocative, nightmare sequence where Lucia dreams of a Pope and bishops walking through the devastation of the battlefield with guns firing at the Pope.

The 21st-century seems to be an age more sceptical about this kind of religious experience, so hallowed in the past. Here is an opportunity to give some consideration to the credibility, the question that there are more events and experiences than matter-of-fact realism believes in.

A number of photos appear during the final credits, a reminder that Jacinta and Francesco died during the Spanish flu epidemic, that Lucia spent many decades as a Carmelite nun, that the Popes have been enthusiasts of Fatima with their visits, that Pope Francis canonised Jacinta and Francesco and that Lucia’s cause is under consideration.

1. Audience knowledge of Fatima, 1917, the apparitions of the Virgin Mary, the three children and their experience of the apparitions? World War I, the Portuguese Republic, anti-church stances? The devotion to Our Lady of Fatima in the first part of the 20th century?

2. The film and the Portuguese settings, Portuguese locations? The fields and the countryside? The village, streets, buildings, marketplace? Homes? The mayor’s office? The musical score?

3. A re-telling of the story for the 21st-century? A faith film? The response of Catholics, those familiar with Fatima, those not? The response of sceptics? The condemnation of superstitions? The screenplay taking up these issues?

4. The professor, 1989, the visit to the Carmelite convent at Coimbra? The interview with Sister Lucia? His book, his range of questions, the interview, her responses, the talk at the grille, the walking in the garden? Raising the issues of the iconography of the culture, the children perceiving Mary in the dress, language of the times? The issue of the choice of children to convey a spiritual message?

5. The opening, World War I, Portuguese involvement, Portuguese politics, moving towards a republic? The images of men at war? The mayor, his book, the meetings in the marketplace, his reading the list of deceased missing in action, the grief of the people?

6. The introduction to the children, very young age? Piety? Jacinta and Francesco as very young, their parents? Lucia, a little older, her brother at war, her farmer father and his support, the edginess of her mother?

7. The introduction of the angel? Presence to Lucia? Encouraging her? And the later appearance and encouragement?

8. May 1917, the children in the fields, seeing the lady, Francesco not hearing her, the experience? The friendliness of the lady, the talk of prayer, the rosary? The secrecy?

9. Jacinta blurting out the truth, the parents’ reaction, the severity of Lucia’s mother? The assumption that they were making it all up? The children in their defence? Word going round the village? Those in favour, those not?

10. The parish priest, his role in the village, sympathetic, his interrogating the children, his assumption that they were making stories up? His interaction with the parents, especially Lucia’s mother? The later visit of the Bishop, his stern attitude, interrogation?

11. The months passing, the crowds gathering, the ready belief in apparitions, images, requests for miracles? The parents and their being present?

12. Lucia’s brother, the reading of the list, his death? His mother’s grief, her physical decline, sick? His surviving – seen as an answer to prayer?

13. The character of the mayor, leadership, orders from Lisbon, the ethos of the time, suspicion, interrogations, thinking the children were lying? The discussions with his wife, her being seen with the children, her belief, the tension between husband and wife? His explaining his responsibilities, her going with the missionaries?

14. Lucia, the episode of her nightmare, the war and the bodies, the Pope and the Cardinals and clergy walking through the battlefield? The snipers, the attack on the Pope, his death? An evocative nightmare – and its suggestions about the visions and mission?

15. The spirituality of the time in terms of prayer, faith, simple devotion, praying the rosary? Prayer and petition? Prayer for conversions? Against insults to God? The spirituality of penitential practices, Lucia and her prayer on her knees, the lady and her urging to penance? A former spirituality – a response from the 21st-century?

16. The attempts to stop the children going to the field? Going each month? The lady’s presence? Jacinta conveying messages to the pilgrims? (And the irony of boys with trays selling rosaries, commercialism!)

17. 1917, expectations, the crowds growing over the months, the presence of the mayor, the Bishop, parish priest? The appearance, the lady saying she was the lady of the rosary? The heavy rain? The experience of the sun, its effect, the later insertion of photos, the glimpse of the event being photographed and filmed?

18. The final information: Jacinta and Francesco dying in the Spanish Flu epidemic, Lucia entering Carmel, a very long life? Her wisdom in old age? The beatification of the two children, Pope Francis and their canonisation? Lucia and her cause for canonisation?

19. The popularity of Our Lady of Fatima, of the shrine, of pilgrims, the glimpses of Popes present?

20. How well did the film communicate the message of Fatima?

BECKY

US, 2020, 93 minutes, Colour.
Lulu Wilson, Kevin James, Joel Mc Hale, Robert Maillet, Amanda Brugel, Isaiah Rockcliffe, Ryan Mc Donald, James Mc Dougall.
Directed by Jonathan Millot, Cary Murnion.

Becky sounds rather a folksy title. But, her film is not folksy at all. It is a variation on the not unfamiliar theme of home invasion, brutal criminals menacing a family, the family resisting.

On that level, the film works. We are introduced to Becky being interviewed by police and a social worker – only to find that the action of the film is a flashback from that interview. Becky is 13, is upset, looks on her phone at images of her mother dying in hospital and Becky’s complete devotion to her. She is upset with her father, thinking he is not grieving enough, especially when he brings home a fiancee who has a little boy. Becky acts up, walks out from the meal with her two dogs, going to a hut in the bush.

The film has a parallel as it opens, a group of convicts bullying and brutalising a man in prison, intercut with the bullying of Becky at school. It certainly raises an atmosphere – making a theme of the underdog rebelling against the bullies. The prisoners escaped from a van, put on police uniforms, commandeer a car (glimpses of bloodshed) and drive to the house where Becky lives. Becky will overcome.

The action of the home invasion is, at first, what we would expect, confrontation with the father, tying up the mother and son, brutal towards some of the dogs, assuming at first that Becky was a dog but then finding who she really was.

And, then, the confrontations.

For audiences who might be in for a home invasion thriller, it needs to be said that the confrontations, some close-ups of torture of the father, the pursuit of Becky, becomes more and more vivid – and prolonged. The eventual sequences where Becky uses her wits, turning the tables on the criminals, become more and more brutal, some brutally shocking moments, and Becky on a rampage.

One of the puzzles of the film is the casting of Kevin James as the neo-Nazi brotherhood chief criminal. In some ways he is his comic pudgy self. On the other hand, shaved head, swastika tattooed on top, big beard, ruthless, this is not the comedian, Kevin James, that we are used to.

The question is how much do the writers and the two directors want the the audience to identify with Becky and to share, not just her courage and wit, but the vindictive brutality that she displays to defend herself and her family.

PRISON BREAK

US, 1938, 72 minutes, Black-and-white.
Barton Mac Lane, Glenda Farrell, Paul Hurst, Constance Moore, Edward Pawley, Edmund Mac Donald, Ward Bond, Guy Usher, John Russell, Thomas Loudon.
Directed by Arthur Lubin.

As the title suggests, this is a prison film and the buildup to a breakout. However, there is more to it, quite some humanity in a small budget supporting feature.

The star is Barton Mac Lane, college football player, burly, who played a number of heroes and, especially, villains in his career. Here he is Joaquin, a tuna fisherman with his boat off California, intending to marry Jean, a sympathetic Glenda Farrell, who has a young son (a not very persuasive John Russell). His sister is about to marry one of his crew. Not all is well, however, because Jean’s father is quite hostile to the wedding and persuades his son to attack Joaquin.

The group are celebrating and all is festive, looking forward to the wedding. However, a sinister character in hat and overcoat, Big Red Kincaid, played by a tough and sinister Ward Bond, steals money and is attacked by the drunken prospective of groom. He kills Jean’s brother. Joaquin wanders out, thinks that his brother-in-law has killed the man, nobly takes his place, is arrested, taken to court, condemned to prison for manslaughter.

Joaquin has a tough time in jail, trying to get parole and get out to be married. However, Kincaid is back in jail, Lord it over everyone, keeps Joaquin in the gun. There are some fights, Joaquin getting a bad report, his sentence extended. However, when Kincaid organises an escape, he is thwarted by Joaquin who then is allowed out of jail on parole.

But, no immediate happy ending. Joaquin gets jobs, but is targeted by Jean’s father and loses jobs, is refused work because of his prison record. There is a possibility of his commanding a tuna boat but this is turned down because he would leave California waters. Eventually, he breaks parole, trying to find jobs, but meeting an ex-con from prison who offers him the captaincy of a boat to sail to South America. He meets Jean to tell her. However, the ex-con is working for is Kincaid – which leads to a final confrontation and fight on the boat, Kincaid being taken and life possible for Joaquin when it is revealed that Kincaid had done the initial murder and that Joaquin was innocent.

Of religious interest, there is a character of a priest, Irish, friendly and sharing in celebrations, ceremonies, and, especially, in working with Jean in helping to bring up her son well, especially when he is challenged by fellow students about Joaquin being a prisoner.

ENEMY OF WOMEN

US, 1944, 72 minutes, Black-and-white.
Claudia Drake, Paul Andor, Donald Woods, H.B.Warner, Sigrid Gurie, Ralph Morgan, Gloria Stuart, Robert Barrat.
Directed by Alfred Zeisler.


An unexpected title for a 1944 American war propaganda film, targeting the Nazi regime but, especially, Joseph Goebbels, the portrait of him part actual, part fiction. His played by the American actor Paul Andor – and, in many sequences, there is an uncanny resemblance.

The American film industry produced a number of propaganda films during the early 1940s, targeting Hitler, criticism of the Master Race, films critical of Heydrich. This one is of interest because it was produced and released before the Battle of the Bulge, 1944 – 1945.

The film introduces Goebbels in the 1920s, something of a loner, trying to write plays, coaching the daughter of the landlord in Romeo and Juliet and making an advance on her which she not only rejects but laughs at him. The next sequence is of him going to listen to a speech by Hitler, hearing the Hitler tones but the focus on his face, becoming ever more devoted and fanatic in his loyalty to Hitler, inaugurating the Heil Hitler. The film then shows him becoming more powerful as Hitler rises in power, becomes Chancellor, the burning of the Reichstag… He also assumes responsibility for propaganda and the arts, especially films, and invites the young woman from the past to do a screen test and become a film star. While she achieves some fame and status, she still resists him and he cuts her off.

The actress is played by Claudia Drake. She encounters a pleasant doctor, played by Donald Woods, and, eventually, marries him and, as the war breaks out, they live in Vienna. Her father is played by H.B.Warner, a veteran from World War I. He is assassinated.

There are quite some complications as the war proceeds, the young woman getting a visa to return to Berlin from Vienna, her wanting a visa for her husband. Once again, she is in the power of Goebbels who continues to be more ruthless, making a bargain with her that her husband can escape into Switzerland, thinking that she will accompany him but she is to be detained at the border and returned to Berlin.

Rather a sad ending, but this is 1944. However, at the end, there are defiant claims that the thousand year Reich will not last many years at all and that Nazis and Goebbels will be defeated. In fact, Goebbels was dead within a year of the release of the film.

A curiosity item worth looking at to gauge some of the mentality of 1944 – and then looking at it in the hindsight of the Nazi regime and World War II.