HANGMAN

US, 2017, 98 minutes, Colour.
Al Pacino, Karl Urban, Brittany Snow, Joe Anderson, Sarah Shahi.
Directed by Johnny Martin.

Hangman is in the vein of police detection and serial killers. However, it was heavily criticised on release, the plot holes in the story of the serial killer, on the work of the police and their roles, as well is the introduction of a journalist who accompanies the detectives in their pursuit of the killer. There was also criticism of the dialogue, and there are some very arch pieces in the film, and a criticism of the acting, even including Al Pacino.

The supporting cast includes Brittany Snow as the Germans, Karl Urban as the intense fellow detective and Joe Anderson as the killer.

There are car chases, hangings and rescues, including the journalist and the captain, an interesting visit to a church where a reverent has surpassed prison record, has discovered ministry and works for rehabilitation.

At the end, with the revelation of the killer, there is some link from the past with an investigation by.

Dir, Johnny Martin, is better known for many decades of supervising stunt work for films.

1. Police in detection thriller? Serial killer?

2. The American city, police precincts, the streets, warehouses, rail lines, schools? Authentic feel? Musical score?

3. The poor reviews of the film, despite the cast? Dialogue, performances?

4. The focus on the detectives, Ray archer and the car chase? His ears of action? Retired? The touch of the cynical? The contrast with Will Ruiney?

5. Ruiney and his discussion with Christie Davies, her journalistic background, return to the city, the interview, filming it, wanting to accompany him in his work? The police allowing it? Except for the criticisms of the captain?

6. The hanging, the children at the desk, the numbers of archer and Ruiney, the challenge? The drawings, the Hangman game? Clues? Archer and his crossword puzzles, Latin?

7. Serial killings, the hangings, hanging on the train line, Ruiney and his wanting to rescue the victim? The growing puzzles, following the clues, Christie and her accompaniment?

8. The address, the visit to the church, the Rev and his past imprisonment, working in rehabilitation? Information?

9. The cumulative effect? Ruiney and his growing desperation and reckless action? Archer and his perseverance?

10. The interviews with the captain, being in a wheelchair, her stern attitudes? The attack on her, her being rescued? The attack on Christie and her being rescued?

11. Confronting the Hangman? The link with archer, the past, his father, the Hangman’s resentment?

12. Confrontation, archer being shot, Ruiney and his reaction?

13. The familiarity with the serial killer thrillers and detection? Similarities? Differences?

THE BALLAD OF BUSTER SCRUGGS

US, 2018, 133 minutes, Colour.
Tim Blake Nelson, James Franco, Stephen Root, Liam Neeson, Harry Melling, Tom Waits, Zoe Kazan, Granger Hines, Bill Heck, Jon Jo O’ Neill, Brendan Gleeson, Saul Rubinek, Tyne Daly, Chelcie Ross.
Directed by Ethan Coen, Joel.Coen.

After 20 years and more of writing and directing films, the Coen Brothers have won many awards, been present at festivals, have built up a great number of admirers around the world. This film was originally a series of six stories about the West. They decided they would put them together as a feature film and were taken on by Netflix.

The range of stories is quite vast, familiar stories from the west but given some twists, often with some wry comments. The tone is set with the first story which has the title of the whole film, enhanced by the presence of Tim Blake Nelson (reminding audiences of O Brother, Where Art Thou), riding through a vast canyon, singing ‘Water, cool clear, water’. He is ingratiating, cheerful, talking to camera – going into a remote bar to play cards, refused whiskey, finishing up killing everyone with speed and skills, gauging how to shoot, using a mirror. His luck runs out in the next town as he is hunted down by a bounty hunter, fails, but is seen cheerfully literally winging his way to heaven!

James Franco is the focus of Near Algodones, a bank robber in the desert, confronting a teller, Stephen Root, who turns the tables on him with concealed rifles. However, the robber is taken by a posse, judged, roped to a branch only for Indians to attack the posse and kill them. While he is rescued by a rustler, another posse takes him and he is sentenced to death by hanging – with a wry joke when he asks the blubbering victim next to him whether this is his first time!

The next story, Meal Ticket is rather sombre, Liam Neeson as a travelling impresario providing entertainment for remote communities, in the dead of winter, using his wagon as a stage and his artist, Harry Melling, a man with no legs and no arms, reciting everything from Shelley to Lincoln.

And the story after that is fairly straightforward with Tom Waits as a gold prospector, landscapes this time lush and green. This seems a happy story until the prospector is betrayed by a companion after his gold, but, ironically, the tables reversed.

The Gal who Got Rattled is a rather longer story, opening in one of those boarding houses of the 19th century with some of those present about to go on a wagon train journey to the west. The focus is on Zoe Kazan, a rather prim young woman, expecting to go west to be married, but her plans being radically changed. Bill Heck is sympathetic as one of the hands for the wagon train. He is attracted to the young woman, awkwardly but politely proposes, she accepting. A story which seems to be moving towards a happy ending but has, perhaps, the saddest ending of all.

And what to make of the last story? The Mortal Remains? A stagecoach with an odd selection of passengers, English, Irish, French, a trapper and a rather haughty lady discuss life in their lives, finally arriving at a mysterious hotel. A death story? A ghost story?

A mixed bag of stories but also with the Coen Brothers touch!

1. The title, the first story, the film is a collection of six stories of the West, the range of themes and topics, familiar and unfamiliar?

2. The work of the Coen brothers, the range of genres, their take on the west, the focus on violence, characters, situations? A ride view?

3. The settings, the beautiful photography, the landscapes, the high canyons and passes, the valleys, towns and streets, the seasons, travelling in the snow, the wagon train, the stagecoach and the rides? The musical score? The range of songs?

4. The Ballad of Buster Scruggs, the performance by Tim Blake Nelson, singing, Water, the horse, his instrument, cheerful and addressing the camera, the high mountains, the path? Confiding about the gambling, the house, going in, the hostilities, small stature, bright personality, the bearded ruffians, the refusal of the whiskey, his skill in shooting, speed, the mirror? His travelling to the town, making himself known, the challenge from the young rider, high noon in the street, his self-confidence, shot? The commentary, his getting wings, flying to Heaven?

5. Near Algodones, James Franco is the robber, the desert area, the isolated bank, is surveillance, his horse, entering the bank, the teller, the comic touches, the discussions about the money and investors, robbing the bank, the teller going down, the rifles and the shooting, the robber fleeing and hiding, the teller emerging with his armour, repelling the shots? The robber, his being apprehended by the group, the kangaroo trial, the rope, the attack of the Indians, the fight and the massacre, the robber balancing on his horse, the cattle rustling, shooting the rope, getting the robber to help with the cattle, the posse arriving, the rustler fleeing, the robber arrested, the others condemned, the joke about the hanging being the first time on not? The robber noticing the beautiful girl – hanged?

6. Meal Ticket: the winter, travelling through the snow, the caravan, the entrepreneur? The isolated communities? The wagon, the stage? The shock that the performer had no arms or legs? His accent? The performance, Shelley is Ozymandias, Shakespeare, Lincoln speech, the small audience is, the applause, the collecting of money? The impresario making the meal, feeding the artist? Their travels, the difficulties, the smaller audiences? The man with the performance with the chicken and the bets, the crowds? The impresario buying the chicken, the temptation at the bridge, for the artist in the water, they continuing on?

7. All Gold Canyon, the story of the prospectus, Tom Waits and his singing, riding, the lush valley end to rain, panning for gold, failures, specs, holes in the ground? Persevering, the discovery of the lode, the excitement, his being shot, the betrayal by his partner, his partner contemplating the dead man and the gold, the irony of the prospect of not being dead, the fight, turning the tables, shooting him, marrying him?

8. The Gal who Got Rattled, the story of pioneers, the wagon trains, the difficulties? At the boarding house, the old ladies and their talk, sharing the food? Gilbert long bow and his ambitions, moving, Alice, timid, finding a husband? The going on the track, the vistas of the wagon’s, the countryside? Gilbert, becoming ill, his death? Mr Arthur and his long experience with the wagon trains? Willie Knapp, the years of working, his skills, care for the travellers? The discussions with Alice, her being proper, the effect of the death of her brother, having to pay his debt to the boy helping, and not having the means, explaining to Knapp, the vagueness about her prospects for marriage? His change of heart, giving up travel, thinking to propose, the conversations between the two, tentative, her favourable response, the bonds between them, sharing? Is the dog and the complaints? Going out over the hill, the animals in the puzzle of the dog? Mr Arthur coming to get her back? The appearance of the Indian, the Indians, Arthur and his skill in warding off the Indians, the return in greater numbers? Mr Arthur and his warning to Alice, the gun, his being shot, yet his ruse to kill the Indian, then discovering that Alice had thought he was dead and it followed his advice and killed herself?

9. The Mortal Remains, eerie, the artificial fog and light, the coach? The ghost story? The Englishman, his singing, cheerful? The Irishman and his collaboration? The prim and proper lady with her story of her husband and his lectures, her going to meet him, puritanical, demanding the attention and courtesy for a lady? The Frenchman, his comments, sense of humour, critical? The trapper, not sleeping, his incessant talking, explaining himself and his work, his hopes? The anonymous driver? Their arrival at the hotel, a new driver taking the coach away, the entry, the visuals of the hotel? The talk of life and death – and the aftermath of life?

THE OLD MAN & THE GUN

US, 2018, 92 minutes, Colour.
Robert Redford, Sissy Spacek, Casey Affleck, Tika Sumpter, Danny Glover, Tom Waits, Keith Carradine, Elisabeth Moss., Isiah Whitlock Jr, John David Washington.
Directed by David Lowery.

This film was billed as Robert Redford’s last film appearance. In many ways, it is a pleasant swansong (but, one hopes, not necessarily his last film).

Redford is in his early 80s, his face lined, but his basic handsome presence is strong, a genial smile. In fact, this is very much part of his character. Almost immediately we see him, hat and suit, moustache, briefcase, going into a bank and the audience observing at a little distance, an encounter which leads to him walking out of the bank, his briefcase full of money, his driving away. Added to that, he sees a woman trying to fix her truck on the side of the road, stops to help, admits to having little expertise, but he certainly evades any pursuit and gives the woman a lift.

She is Jewel, played with great charm and empathy by Sissy Spacek, a widow, owning some property and tending a stable of horses.

Redford, claiming that his name is Bob, tells Jewel the truth but then backtracks. However, agreeably, they share phone numbers – and, as the audience would hope, they keep in touch, visits, going to diners, his sketching her horses, visiting her home and the stable.

So, who is this Bob? We soon see that he has two associates, played by Danny Glover and Tom Waits, who sometimes act as diversions and lookouts for robbing banks. And rob banks he does, names and dates coming up on screen, all in the latter months of 1981 as he travels across southern states from Missouri back to California. He and his friends are called the Over the Hill group. Unfortunately, we don’t see as much as we would like of Danny Glover and Tom Waits.

And the police? We are introduced to a rather frazzled detective, John Hunt, played by Casey Affleck, on his 40th birthday, his friends giving him a one candle’s cupcake, his wife and children offering him a cake breakfast after his night shift. Thinking of retiring, he is given the case of the gentleman bank robber as people are prone to call him, praising his presence, his charm, his having a gun but not using it, nice threats… And reassuring an upset teller on her first day at the bank.

John Hunt collects boxes of documents, interviews a range of people, builds up something of a picture. He also appears on television discussing the case – and is seen by Bob. There is an amusing sequence where John goes out to celebrate with his wife and Bob and Jewel are also at this restaurant, Bob going into the restrooms to have an ironic and challenging conversation with John.

The police get a name and an identity. His real name is Forrest Tucker. He has been in and out of jail since he was 13 – and has escaped 16 times (and there is an entertaining visual collage of these escapes, even using some footage of Robert Redford in the 1966 thriller, The Chase, and his finally building a small boat to escape from Alcatraz!).

Will he be caught? Will Jewel find out the truth? If he goes to jail will he try a 17th escape attempt?

What we do know is that Forrest is actually incorrigible, not wanting to harm anyone, even willing to pay Jewels mortgage unbeknownst to her, but finding the robberies exhilarating, the driving escapes adrenaline-pumping – and that while robbing banks and escaping he knows that he is alive, is living.

But, strange to say, a film about a bank robber is generally very nice.

1. An engaging film? Despite an incorrigible robber? A film of charm, but…?

2. Robert Redford, his career, screen presence, in his 80s? Allegedly his last appearance?

3. The locations, the range of states, all over the south, to California? The range of banks? Homes, the stud with the horses? Police precincts, on the road? The musical score?

4. The opening, the start with the robbery, the elderly gentleman, moustache, hat, suit, the gun but never using it? Chatty style? Nice, even in threats? Collecting the money, leaving, driving away? His work alone? The collaboration with the Over the Hill friends?

5. Forrest, driving away from the robbery, seeing Jewel, helping with the truck, driving her, the attraction, at the diner, his telling of the truth, then denying it, being charming? Her response? Exchanging numbers? Ringing later, her picking up? The range of meetings, discussions, the bonds, going to her home, the sketch of the horses, with the stables, his decision to pay her mortgage, the visit to the bank manager? A future?

6. Jewel, a widow, the truck, the drive, at the diner, her paying, phone numbers, the meetings, sharing, at home, the horses?

7. The Over The Hill group, their personalities, their work, age, the roles in the robberies? At the end – and the betrayal?

8. John Hunt, celebrating his 40th birthday, the cake, on the job, return home, wife and children, the cake for breakfast, the family bonds? Wondering whether he should resign? Not? The range of fellow officers, their talk, the work of the detectives?

9. John’s quest, getting the boxes of documents, examining, getting the descriptions, the sketches, understanding Forrest’s charm? The range of interviews with the managers and tellers, their experiences visualised, being charmed by Forrest, the girl and her first day?

10. The dates, 1981, the range of travel over all the states?

11. The revelation about his life, the records, the photos, in juvenile detention from 13, the catalogue of his escapes, 16, the variety of escapes, ingenuity, driving the car, arrested? The scene from Robert Redford as young from The Chase? Escape from Alcatraz, the boat, building it, success?

12. John Hunt, on television, talking about the case, his visit to San Francisco, meeting Forrest’s daughter, her explaining the family situation? Not wanting to see him?

13. The irony of the diner, Forrest seeing Hunt and his wife, the chat in the restroom? Cat and mouse?

14. The final robbery, the chase, in jail, dual visiting him, the collage of the 16 escape attempts, number 17, his staying?

15. Getting out, Jewel receiving him, at home, his going out to the shops, the four banks on the one day, incorrigible, the exhilaration of robbery, living?

16. An entertaining portrait of a charming rogue?

THE IDEAL PALACE/ L’INCROYABLE HISTOIRE DU FACTEUR CHEVAL.

France, 2018, 105 minutes, Colour.
Jacques Gamblin, Laetitia Custer, Lilly Rose Debos, Florence Thomassin, Bernard Le Coq, Natacha Lindinger, Louka Petir Taborelli.
Directed by Nils Tavernier.

While the English title focuses on the Palace that the postman, Cheval, built over a period of 30 years or more, the French title focuses on the postman himself and the fact that his story was rather incredible. Jacques Gamblin gives an impressive performance as the postman, from his middle aged to his old age,

The postman was a solitary man, walking his postal route every day around the countryside. He married, had a child. But, later married a devoted woman who bore him children. Sadly, his daughter, Alice, died young and he conceived the idea of building a memorial for her. On his daily trek, he picked up a variety of stones, putting them in his pocket, carrying them by hand, eventually in a wheelbarrow, and day by day, night by night, he built an extraordinary edifice, a mixture of all kinds of styles and influences, although he lived a simple life and was not well educated.

This is the story of his continued building, his devotion to his family, the death of his wife, his grief at the death of his daughter, the continued quest. And, he outlived his family, dying in 1924.

For many audiences, especially those from outside France, this story has to be seen to be believed, quite incredible in Cheval’s literally monumental achievement.

1. A film based on a true story and characters? The credibility of the plot, the postman, is decades of building his palace?

2. A warm film of humanity, the isolated personality of the postman, his mellowing and relationships, yet reserve, his building and its motivation? Philomena and her love for her husband? Their daughter? His building the palace for her? The response of the village, suspicions turning into pride?

3. The French countryside, the village, the homes, the streets, offices? The postman and his route, so many kilometres into the countryside and mountains? The changing seasons? The musical score?

4. The indications of the period, from 1873, into the 1880s, into the 20th century, the time of World War I, the aftermath, the death of cheval?

5. Jacques Gamblin and his performance, younger, ageing, old man? His reserve, going on his rounds, the official at the post office? His reticence? Philomena and her talking to him, the water, the sudden development in the screenplay, then marriage, her pregnancy, the birth of Alice?

6. Philomena and her personality, bright, widow, friendly with cheval, the marriage, her pregnancy enjoy, her relationship with her husband? Her love for him? The birth of their daughter, the happy years with the family? His touches of mellowing?

7. Philomena and her friends, the dressmaker, confidant? Felicity and her criticisms? The funeral, the parish in 1870s, the role of the priest? Cheval and his not exhibiting his grief? The reaction of the townspeople?

8. Cheval and the magazines, looking at the temples in Mexico, in Cambodia? The decision to build his palace? At night after his rounds? Collecting the stones, using his own inventiveness, metal frames to secure the stones in heights? The design, seeming haphazard, the models from the photos?

9. 33 years on building the palace? Alice and her delight in hiding in the grotto, playing with her father? His devotion to her? Philomena and her watching? The gradual development?

10. Alice, her joy, meeting the journalist and the guided tour? Her illness, collapse, her death, the funeral? Her father’s despair, falling into the water and thrashing? Philomena is supporting him?

11. The continued building of the palace, people coming to see it, his being awarded the medal for 30 years of Postal Service, the return of his son, the reticence between them? His son going to Paris, his course in tailoring, his return with his wife and daughters, the younger daughter called after Alice? The children’s delight in the palace?

12. His son, bringing a photographer, Cheval’s reticence, Philomena encouraging him, entering into the photos, the wide range of poses, the postcards? His reputation growing, his son keeping the box of articles and scrapbook?

13. His continuing his rounds, keeping fit, surviving? Philomena and her illness, his Frank telling her that she would die?

14. Intimations of the passing of time, the reference to the Dreyfus case in the end of the 19th century? The outbreak of World War I? The aftermath?

15. His granddaughter coming, wanting the wedding at the palace, the invitation? His sitting at the table, the dancing and joy, the lights on the palace?

16. His quiet death, aged 88? A simple man but his achievement?

17. The credits information about the building, its preservation, national heritage, tourists and visitors? An achievement?

LYKKA-PER/ A FORTUNATE LIFE

Denmark, 2018, 162 minutes, Colour.
Esben Smed, Katrine Greis- Rosenthal, Benjamin Kitter, Julie Christiansen, Tommy Kanter, Tammy Ost, Rasmus Berg.
Directed by Bille August.

For decades, writer-director, Bile August, has made a number of epic films including an Oscar for Pelle the Conqueror, House of the Spirits, and in 1998 version of Les Miserables.

This is a Danish story, the focus on a young man who comes from a Lutheran family, reacts against his upbringing, goes to Copenhagen, studies engineering, ingratiates himself into a Jewish family, marrying into it.

It is not a story of unlimited success. The young man succeeds, has ambitions to change the world, travels abroad to fulfil his dreams, has difficulties with his marriage.

The focus is on the transition from the 19th to the 20th century, changes in society, changes in business, challenges as well as failures.

1. The title? Per/Pete as lucky? His life, fortunes and misfortunes? Ironies?

2. The work of the director, his skill at period epics?

3. Denmark, the 19th century, the Danish countryside in Jutland, the city of Copenhagen, the University, government offices, apartments, cafes, the streets? Wealthy restaurants, the mansion, holiday houses? The comparison with Austria, the engineering locations? Life in Denmark in the 19th century? The musical score?

4. Per’s story? His age, getting the scholarship, the prospect at University, his anger at home, the meal, the severity of his father, no financial support, the offer of the gift of the watch and his continually rejecting it? His mother’s care for him? His brother in Copenhagen? His despising of his family background? The aim in going to Copenhagen, going to the University, listening to the lectures, building his projects? Getting the apartment, his landlady, payments? Wanting work, hungry? Going to the restaurant, the night’s work, the liaison with the waitress, her care for him, borrowing money from her, the sexual relationship? His snobbery towards her in the restaurant, his discarding of her after using her?

5. The introduction to Jacoby, at the synagogue, with her friend, the women upstairs, Eibert and his looking up at her? The family, their wealth? The younger sister and her enthusiasm? Ivan, genial, the encounter with Per, the discussions, the invitation home, the family influence, the younger sister’s attraction, the parents, business possibilities, the consortium?

6. Per, getting the new clothes, not paying? His pretence and pretentiousness? At the restaurants, ignoring the waitress? His visit to the Chief Engineer, the harshness, his military stances, Ivan’s support, the family support? His walking out?

7. The development of his ideas, for Denmark and prosperity, the business associates? The credibility of his work, the emphasis on energy, finance, islands and draining, natural energy? A new port? Meeting the consortium, there asking for his apology, his harsh stands, refusal, withdrawing, promising to pay the loan?

8. The visit by his brother, his father’s illness, his despising of his father, refusing to go to the funeral? His mother’s visit to the city, the gift of the watch? The discussion, neglecting her? Her death? The decision to go to the funeral? Its effect on him, the Minister, his daughter, time to reflect?

9. Meeting Jacoby, her character, the attraction, wealth, his ignoring the younger sister, setting his eyes on Jacoby, double values? His going to Austria, Ivan’s friend, the older adviser, his understanding Per? Learning in Austria?

10. Jacoby, her hopes, the discussions with her parents, the sexual relationship with Per, her pregnancy, going to the doctor, not telling Per, his absence, the discussions with her mother, going to her friend? The abortion?

11. His return, meeting with Jacoby, the break with her, his harsh manner, the effect?

12. His mother’s funeral, the Minister, the wise advice and listening to him, the attraction to the daughter, pondering the meaning of his life? Remaining?

13. The years passing, having a family, the treatment of his son, breaking the model, demanding an apology, becoming the image of his father? Local work? His son’s apology?

14. Jacoby, her disappointment, helping with the school, the prejudice against Jews? Her philanthropy, meeting with Eibert, not able to marry him? Her setting up the school? Some fulfilment in her life?

15. Per, the cancer, living as a hermit, leaving his family, the meeting with Jacoby, the affection between them, his donating everything to her school?

16. The irony of fortunate and unfortunate lives, and personal responsibilities, mistakes, possibility for redemption?

THE HIPPOPOTAMUS

UK, 2017, 89 minutes, Colour.
Roger Allam, Matthew Modine, Fiona Shaw, Tommy Knight, John standing, Benedict Taylor, Russell Tovey, Tim Mc Inerney, Richard Glover, Emily Barrington.
Directed by John Jenks.

The Hippopotamus is, to say the least, offbeat. It is based on a novel by Stephen Fry from the 1990s.

The central character is a failed poet reduced to reviewing theatre, and drinking. He is invited to a country estate by the American owner, played by Matthew Modine, to investigate some claims of miracles.

There is a motley range of characters including the owner’s family, with a strong cast of supporting British character actors, concentrating on his 16-year-old son. The poet discovers claims of miracles and healings, and sets out to investigate, with a touch of the Agatha Christie mystery.

The investigation focuses on the 16-year-old, his claims of healing power in his semen, his behaviour and healing results.

Stephen Fry has always been interested in religion and issues of the existence of God. This means that the poet represents the novelist’s search, scepticism, dealing with claims, exploring realities rather than fantasies. And, for good measure, the poet is strongly influenced by his experience and returns to his craft.

1. Based on a novel by Stephen Fry? Expectations from Stephen Fry’s perspective? British, satiric, expose? Issues of religion, falsehood religion, for miracles and belief?

2. The London settings, the poet in the theatre, the media, critiques?

3. The country estate, Lord and Lady Logan, their son, relatives coming to stay, friends? Life in the manner? A kind of Agatha Christie set up?

4. The estate, the mansion, the grounds, the interiors? The musical score?

5. Roger Allam as Teddy, his age, reputation as a poet, his drinking, writer’s block, theatre critic, drunkenness, creating scenes, his being fired?

6. The invitation by the Logan’s, going to their home? The British background, Lord Logan. American? Wealth? Their hosting the guests, the style, hospitality, the rooms, dinners…?

7. David, their son, aged 16, spoilt, the issue of miracles, the claims, his self-belief, the power in his sperm, his contact with various ill people, Teddy finding the encounter with Clara, his later encounter with Oliver? The tours?

8. The household, beliefs, status of miracles, the responses, credibility?

9. Teddy, like an Agatha Christie Detective, his investigations, clues, illnesses, leukaemia, the plainness of Clara and her mother’s concern, Oliver? The interrogations? His discovering the truth about David, David’s disappearance, Teddy rescuing him?

10. The gathering of people, the explanation of the situation? The range of reactions? Pro and con, the truth and explanations?

11. Friendships with Teddy, Rebecca and her attack on him, the past with Oliver, the French lady and her daughter…?

12. The effect of the investigation on Teddy, his rehabilitation, writing poetry again?

THE INCREDIBLE THEFT

UK, 1989, 50 minutes, Colour.
David Suchet, Hugh Fraser, Philip Jackson, Pauline Moran, John Stride, Carmen Du Sautey, Ciaran Madden, John Carson, Phyllida Law, Guy Scantlebury, Albert Welling.
Directed by Edward Bennett.

This is an Agatha Christie exercise in the world of espionage.

Poirot, played by David Suchet, is asked to be present at a dinner in the countryside where a Cabinet Minister will be present, the home of the developer of modern aircraft. He had been previously implicated in a scandal with the Japanese at the time of the invasion of Manchuria but had escaped blame. He wants to be in favour again with the government – and concocts a plan involving a glamorous spy who is to steal his documents and give them to the German Embassy.

His wife is concerned and has consulted Poirot. Chief Inspector Japp has been invited to the village to investigate. There is a car chase, Hastings at the wheel.

For those familiar with spy stories they may well have worked out that the situation is a set up, that the woman will steal the documents, but that they are false and will take a lot of time for the Germans to decipher.

1. The popularity of Agatha Christie mysteries? The television series with David Suchet as Poirot?

2. The contemporary setting, England in the mid-30s, the Japanese invasion of Manchuria, deals with aircraft manufacturers, the rise of Nazism and deals with Germany? The role of the British government? Spies?

3. The airfield, the demonstration of the plane? Poirot and his London office, Hastings and his mooning over the girlfriend, Miss Lemmon and anonymous callers?

4. Poirot meeting Lady Mayfield, her plea? His going to the countryside? The range of guests, Sir George Carrington representing the government, his intolerant wife and the bridge game, the reckless son? Mrs Vanderlyn and her reputation? Carlile and his work for Lord Mayfield?

5. Mayfield, the past connection with Japan, out of favour with the government, his plan to be reconciled with the government? Inviting Mrs Vanderlyn? The possibility of her stealing documents?

6. The gathering, cards, the meal? The news that Chief Inspector Japp had been invited to the village? And sharing a room with Hastings? Hastings complaint about the Chief Inspector and his dramatic talking in his sleep?

7. Carlile, the documents, on the table? His diligence? Lord Mayfield and his concern? The disappearance of the documents? Telling Sir George? Poirot offering to investigate? Mrs Vanderlyn and her coming downstairs?

8. Japp arriving, the interrogations, with Mrs Vanderlyn, her huff, Carlile giving her the case? Her driving away? Poirot and Hastings following in the police car? Seeing her deliver the case to the German Embassy?

9. Lady Mayfield, her concern about her husband? Sir George and his concern?

10. Poirot, the solution? Mrs Vandalyn and her letter? Lady Mayfield reading it? The blackmailing of Lord Mayfield about the Japanese issue?

11. The fact that the papers were false, that this would delay the Germans in their investigation of the plans, Carlile and his conniving with Lord Mayfield?

12. The satisfactory ending? Scandal resolved? Reconciliation of husband and wife? The government satisfied?

THE LIFE AND DEATH OF COLONEL BLIMP

UK, 1943, 163 minutes, Colour.
Roger LIvesy, Deborah Kerr, Anton Walbrook, David Hutcheson, Roland Culver, Ursula Jeans, John Laurie, A.E.Matthews, Muriel Aked, Felix Aylmer.
Directed by Michael Powell, Emmerich Pressburger.

Winston Churchill wanted, sight unseen, to have the film banned in 1943, considering that it would be undermining British morale and patriotism during the war. That was a kind of Blimpish thing to do. Churchill had misunderstood or had been misinformed.

Audiences critical of the UK could have some, perhaps mean-minded, enjoyment of the satirical look at superior British self-confidence, with the cartoons of David Low, his barbs at pretentiousness, and military smugness with his Colonel Blimp, but it certainly seemed that writers-directors, Michael Powell and Emmerich Pressburger, had been spurred on to a different kind of cinema war effort than might have been expected. It was not that they were not patriotic, we think of 49th Parallel, One of Our Aircraft is Missing as well as A Canterbury Tale. They were taking on a fuddy-duddy military establishment that believed in a blend of a real and make-believe past, that could be detrimental to Britain’s involvement in World War II, especially considering the impact of the Blitz and the Battle of Britain.

In the 1970s, audiences were ready for anti-establishment of criticism. Audiences had seen Kubrick’s critique of the French in World War I in Paths of Glory. But, in the 1960s, it was accepted, even the done thing, to enter into post Dr Strangelove satire on things military. Joan Littlewood upped the pace with Oh What a Lovely War. There was John Lennon in How I Won the War. Then, after M*A*S*H, open slather.

Roger Livesy brought the pomposity of Clive Candy immediately alive when he is astounded at the presumption of a raid on the Turkish baths when “the war begins at midnight�, relying on past and gentlemanly codes of engaging in battle. But, the screenplay shows he was not always like that, taking us back to the period post-the Boer War, his challenging the Germans in the Kaiser years, his participation in World War I, searching out his old German friend, Theo, in the British POW camp, he and his friends offering support to the defeated enemy, an appeacement.

But, with his bafflement by the 1930s, by the rise of Hitler, his bellicose assumptions about war and his being banned to lecture like so on the BBC, we appreciate that, living in the past, he had become outmoded. Actually, he is saved by more down-to-earth war participation, The Home Guard (with John Laurie playing his aide, Murdoch, eventually marching into 80 episodes of televisions Dad’s Army).

We are treated to changing attitudes and stances over a 40 year period, 1903-1943. But each of the three eras looks like history to us but the opening and closing, 1943, was contemporary, modern, up-to-date, how Britain was fighting World War II. Audiences on your first release were seeing themselves as they were, clothes, band music, slang, cheeky attitudes… For the audiences of those days, the period of Colonel Blimp was over.

This change was powerfully dramatised by the three characters played by Deborah Kerr, the continuity of the English woman but, some extraordinary changes from 1903 to 1943. At first we saw her as a strong-minded governess in Berlin, conscious of explicit anti-English antagonisms, a suffragette, something which Clive Candy could not understand or approve of. By 1918, she has gone on active service as a nurse, becomes a wife who could stand side-by-side with her husband, not dominated by him. And, by 1943, there she is a military driver, eagerly participating in the war games, down-to-earth, a modern woman.

While it is difficult to put oneself in the place of the 1943 British audience, Colonel Blimp is still a sometimes sly, sometimes cheekily ribbing, classic of British cinema, fine to look at with striking colour photography, re-creating those different periods, Roger Livesy giving a tour-de-force performance as Clive Candy living through the different eras. Britannia used to rule – but, Britannia’s time came and went.


1. Classic status? Impact during the war, afterwards, enduring?

2. The work of the writers, directors? British themes? The 1940s, World War II, propaganda and morale? (Later career, entertainments, the controversy of Peeping Tom, the Australian films?)

3. David Low, his cartoons, British pomposity, Colonel Blimp? Blimp and war, the first 40 years of the 20th century?

4. The impact in 1943, opening and closing as contemporary, the look, the big band music, audiences identifying? The flashbacks within this framework? Churchill wanting to ban the film?

5. The situation of World War II, England and involvement, the range of flashbacks, returning to the contemporary situation at the end? The spirit of Britain during the war, after the Battle of Britain, War games, the squad, the message, the war starting ar midnight? Old style agreements, the squad and the decision, the pursuit of Mata Hari? The headquarters, reception, Angela under the table, the phone calls, the going to the Turkish Baths, the old men, the military establishment, Clive in the baths, his bluster, rules of war and gentlemanly codes, taking them in as a hostages, wargames and war tactics, the reprise at the end, Angela and her driving, wanting to warn her boyfriend?

6. The device for transitions of time, Clive emerging from the baths to 1902? The atmosphere of the Boer War, the contact, agreements, prison camps (and the sole record played over again)? Clive and Hoppy, their experiences, the aftermath, military conduct, going to the theatre? The experience of Kaunitz and his spying for both sides? Poor relationships between England and Germany, the politics, Betteridge and old school style, forbidding Clive to act, preferring diplomacy? The military issues? The emergence of codes for the conduct of duels?

7. Clive, Roger Livesy and his performance and the various ages? Hoppy giving him the letter, the connections, Edith and her concern, poor opinions of the British, the spy? Clive going despite being forbidden? Meeting Edith, her being strong minded, dignified, suffragette, Clive and his old style manners? The place of women? Going to the restaurant, the orchestra, playing the prison melody, Kaunitz and his reaction, the beers, the punching, the setting up of the duel?

8. German rules, codes, authoritarian? Clive arriving, Theo, sight unseen, his reputation? The sabres, the setting up of the duel, not showing the fight? Each of the men in hospital, the wounds and bandages? Edith and her visits? Meeting with Theo, his limited English, “very much�? The cards, playing bridge, the growing friendship? Theo Germanic, but Edith falling in love with him, explaining to Clive? Clive going back to England, the outing with Edith’s sister? His realisation that he loved Edith?

9. The devices for the passing of time, the den, dates and places, hunting, trophies?

10. 1918, the experience of the war, the ending of the war? The American presence? Clive, age, promotions? Stranded, hungry, going to the convent? Seeing Barbara among the nurses? From Yorkshire? The talk, Clive’s driver? The return home, the charity event, the Bishop present, Clive explaining his search for Barbara? The wedding, going to London, the house, his den? Searching for information about Theo, the camp, the men listening to the music, Theo refusing to meet Clive? The phone call, Theo at the station, his change of heart, the dinner, the men present, a more friendly policy towards Germany?

11. The transition to the 1930s? Hunting, trophies, dates? Barbara’s death? Her portrait in the den?

12. The attitude towards Germany in 1938, Neville Chamberlain, possibilities for war? Clive, old, eager, very much old school?

13. Theo, apprehended, in England, the relation of his story, Edith’s death, his boys becoming Nazis and not coming to her funeral, his being interrogated, his work, Clive and his testimony? Angela driving him home?

14. Angela, her nickname of Johnnie, Deborah Kerr and her three roles, the decades of British women, suffragettes and getting the vote, involved in the military, modern? Her relationship with her boyfriend?

15. Clive, old hat, back 40 years, different wars, his stubbornness, his being captured, defiance? The significance of the broadcast, his being stopped? The reaction of Theo and Angela?

16. The issue of the home guard, the old men and their defence, “Dad’s Army�? Giving Clive a new lease of life?

17. The impact of the storytelling, the insertion of morale boosting speeches by the three central characters?

18. The film and its time? Seen in retrospect?

LA VILLA/ THE HOUSE BY THE SEA

France, 2017, 107 minutes, Colour.
Ariane Ascaride, Jean- Pierre Darrousin, Gerard Meylan, Jacques Boudet, Anais Demoustier, Robinson Stevenin, Yann Tregouet, Genevieve Mnich, Fred Ulysses.
Directed by Robert Guediguian.

Over the decades, Marseilles based director, Robert Guedigian, has made quite a number of fine humane dramas, generally contemporary, but sometimes going back into the experience of World War II.

And, over the decades, he has worked with his wife, Ariane Ascaride, and actors Jean- Pierre Darrousin and Gerard Meylan. They are central here as well.

The film focuses on an elderly man, living in a villa, about to die. His three children come to visit him, some living nearby and continuing his work, his daughter not having been in contact for years. This is a drama of past relationships, animosity, misunderstandings, possibilities for reconciliation.

There is also with his sympathetic woman and a young man with his parents, neighbours to the Villa. There is a great deal of sadness in this aspect of the film.

The film creates quite an atmosphere, has striking performances – and it once again, a fine Guedigian film exploring human nature and relationships.

1. The work of the director? His humane themes over several decades? His working with his wife and the familiar cast?

2. Marseilles and its environs, the settings for his films? Life, characters, interactions?

3. The title, the visualising of the Villa, exteriors, the interiors, by the sea? The musical score?

4. The old man, father, at the Villa, his relaxing, his turn, illness, need for care?

5. His relationship with his children, their coming to the house? The character of Armand, his age, with his father, working the restaurant? Joseph, his labour work, memories? His bringing Berangere? His relationship with her? Angele, not home for 20 years, her husband, the death of her daughter? Her acting career, her bitterness? Coming only for the legal matters?

6. The details of the reunion, each of the siblings, their characters, age, qualities, flaws, interactions? With their father? The effect on him, the subsequent plans? The impact of his death?

7. The neighbour, the young man and his work, busy, visiting his parents, bonds with them? Their age, genial characters, the discussions, financial difficulties? Their suicides, leaving the note? Berangere and her bond with the young man? Her help?

8. Berangere, presence, situation, with Joseph, with the young man, leaving, her decisions?

9. The fisherman, Benjamin, his place in the town, his infatuation with Angele, memories of her performances, the Brecht play? In love with her, imposing himself, her going to visit, her reaction, the sexual encounter?

10. The soldier, the concern about refugees? Discovering the children in the woods? Bringing them back to the house, caring for them? The soldier and his return, the concealing the children, fostering them? The director and his continued emphasis on social concern?

11. The death and its impact? The three and their bonds, the final discussions – and their future?

DON VERDEAN

US, 2015, 90 minutes, Colour.
Sam Rockwell, Amy Ryan, Will Forte, Danny Mc Bride, Jemaine Clement, Steve Park, Leslie Bibb.
Directed by Jared Hess.

Filmgoers who like small-budget films with the touch of, more than a touch of, eccentricity will recognise the name of writer-director, Jared Hess. With his wife, Jerusha, he has made Napoleon Dynamite, Nacho Libre, Gentlemen Broncos. The earlier films tended to focus on younger characters.

This time the scope is broader. Sam Rockwell plays the title character, an archaeologist, interested in biblical themes. He has a devoted assistant played by Amy Ryan. Don Verdean also gives lectures, producing artefacts to authenticate biblical stories.

He encounters a con man, Danny Mc Bride, who has experienced a conversion, who is interested in building up his congregation and his church, hiring Verdean to go to Israel and find artefacts, including the Holy Grail. There are scenes in Israel, especially with a local investigator played by Jemaine Clement.

Back in the United States, there are criticisms that the material is inauthentic, a challenge from a former Satanist (Will Forte) with his rival church).

Eventually, Verdean stoops to fraud and fabrication – leading to exposure and arrest.

On the one hand, there is satirical humour. On the other, there is a critique of false religiosity and religious fraud

1. The filmmakers, husband and wife team, their films, comedy, satire, wry humour

2. The opening, the video promotion, Don and his work, publicity? The biblical background? Biblical archaeology and Israel? The use of the media for promotion?

3. Israel, the range of locations, for archaeology? The United States, middle America, the town, homes, the church, offices, congregation meetings? The musical score?

4. The title, Sam Rockwell in the role? His creating an eccentric character? The promotion, his work in Israel, his relationship with Carol, the offer from Lazarus, his wife, the promotion, the meetings, ambitions? Carol, devoted, her background, working for Don, naive, some suspicions, meeting Boaz, his gross manner, the dinner, his approach, her reaction? Becoming more disillusioned with Don? Testimony against him?

5. Lazarus, in himself, his wife and the glamour, his church, reputation, religion, beliefs? His plan, donned and his discoveries, sessions and manifestations? The congregation? Great success, acclaim?

6. Fontaine and his assistant, the jealousy, Fontaine is a Satanist, turning to God, his church, rivalry with Lazarus? The assistant and his probing Don? Fontaine and his plans? Sabotage an expose?

7. The plan, the credibility of the findings, donned returning to Israel, the American backing? Wanting to find a sensational relic? The head of Goliath? Going to the site, the plains, the detail, the failure? Carol and her support?

8. Boaz, in himself, Israeli, the satire, his acting as an agent, plans, the finds with Don, Goliath’s head, the fake head? His wanting to go to the US and success?

9. The searching for an alternate head, fake, large? The deal with Boaz? The return, the buildup to the session for Lazarus and his wife? Fontaine and his presence, the denunciation?

10. Boaz, in the United States, mercenary, searching for deals, his hold over Don, the crass approach to Carol and her rejection?

11. Don, in himself, his aims, genuine, religious, initial success, the issue of grants, Lazarus and the church, the fake, his failure and downfall?

12. The comment on religion, historicity, archaeology, beliefs, fundamentalists, disillusionment?