THE PHOTOGRAPH

US, 2020, 106 minutes, Colour.
Isas Rae, La Keith Stanfield, V'lan Noel, Rob Morgan, Lil Rel Lowery, Kelvin Harrison Jr, Courtney B.Vance, Jasmine Cephas Jones.
Directed by Stella Meghie.


This is a romantic drama, especially for those who like their romance tinged with sadness and regrets.

It is set in two timeframes, many flashbacks to the 1980s and life in Louisiana, the other timeframe New York in the present. It is the story of a romance in the 1980s which led to great disappointments. And, it is also the story of a happy romance in the present.

It is also a strongly American story, African- American.

La Keith Stanfield plays Michael, a top journalist who is interviewing an older man, Isaac, about the effects of Hurricane Katrina on Louisiana. Amongst his possessions, the journalist finds a photo which intrigues him. He sets out to discover the story of the woman in the photo – and is introduced by fellow journalist to her daughter, Mae (Issa Rae). They meet, they discuss, the daughter organising an exhibition of her mother’s work, her mother being a photographer who has lately died of cancer. Her mother has left her a box with a letter reviewing her life.

While the romance develops in the present, the narrative goes back to the portrait of the mother, Christina, who clashes with her own mother, is something of a wild child, becoming involved with an upright local man, Isaac. It is the older Isaac who has been interviewed by the journalist.

On the one hand, this is a story of a young woman, with a talent for photography, who feels stifled in her home town, resentful that her mother disapproves of Isaac. Driven by her ambitions and hopes, she leaves Isaac behind, goes by bus to New York, persuades a photographer to take her on as an apprentice and, over the years, achieves a significant reputation as a photographer.

Now, of course, is the time for resolution and both Michael and Mae travel to Louisiana to find the truth.

And, again of course, history repeats itself in many ways, Michael getting a job opportunity in London, Mae having to make decisions about her own life, come to terms with the story of her mother, the reuniting with Isaac, and whether she loves Michael enough…

Romantic drama, love and regrets.


1. A romantic drama? The sadness of the romance in the 1980s? The tensions in the romance of the 21st-century story?

2. The Louisiana settings, poverty, homes, fishing, the sea? The dark room for the photographs? The contrast with New York City in the 21st-century, press rooms, photo exhibitions, homes and apartments? London settings, the office, the Apollo at Hammersmith?

3. The musical score, the taste of the different characters, inserted during the action?

4. The Louisiana story, the 1980s, Christina, her age, the attraction towards Isaac, going out together, friendship with Denise? Her interactions with her mother, her mother’s criticisms? Her wanting more in life, taking the photographs and developing them, the decision to go to New York? Not telling Isaac despite the bond? Coming to New York, the interview with the photographer, asserting herself, getting the job? The years passing, her success? The birth of Mae? The visit to Isaac, her mother’s death? Not telling Isaac about Mae? His saying he didn’t dare to ask? Her returning to New York?

5. Christina’s death, the letter to Mae, to Isaac to be delivered by Mae? The photos arousing Mae’s interest and curiosity? The curating of the exhibition?

6. The encounter with Michael, taping the interviews with Isaac, the connection? Their meeting, the discussions about the exhibition and the story?

7. Michael and his brother and his family, the brother and the continued humour and criticism? His breaking up with his girlfriend, Tessa? The attraction towards Mae? At the
movie, the meeting, Mae sending her friend off with Andy? (And the developing relationship between the friend and Andy, her change of attitude, his being promoted in the office at the suggestion of Michael?). The date, discussion, the bond, going to her apartment, the sexual encounter? The storm, going to Michael’s brother’s family, little girls and the revelation about Tessa?

8. Mae, going to Louisiana, meeting Isaac, giving him the letter, the revelation, his appreciation, his invitation for her to stay, the bonding?

9. Michael, not answering Mae’s phone calls, going south to interview Isaac?

10. Their visiting Christina’s dark room, the further bonding, the news about his going to London, Mae not knowing what to say or to declare her love?

11. Michael, his talent, writing the article, the boss in the office, the farewell, and his promotion?

12. Michael going to London, his work? Mae sending the ticket for the concert?

13. Their meeting outside the theatre, declarations, love, the future?

MILITARY WIVES

UK, 2020, 113 minutes, Colour.
Kristin Scott Thomas, Sharon Horgan, Jason Fleming, Greg Wise, Lara Rossi.
Directed by Peter Cattaneo.

MILITARY WIVES site

UK, 2020, 113 minutes, Colour.
Kristin Scott Thomas, Sharon Horgan, Jason Fleming, Greg Wise, Lara Rossi.
Directed by Peter Cattaneo.

British film makers have a flair for creating enjoyable films which rely on special groups, sometimes rather oppressed groups, relying on music and dance to create an enthusiastic spirit. In the 90s there was the band in Brassed Off as well as the performance of The Full Monty. In more recent times there has been Finding Your Feet and, more specifically with choral singing, the men with their shanties in Fishermen’s Friend and now the wives of men overseas on active service and their choir, Military Wives.

Interesting to note that the director of Military Wives is Peter Cattneo who, back in the 90s, was responsible for The Full Monty.

This is a fictional variation on what happened in fact, military wives forming choirs and performing, initially a way of the women coping with the absence of their husbands and the dangers of active service.

The range of wives is quite wide, British, different racial backgrounds, orientations… And, as you might expect, it is not always easy to get a group going, working together, becoming cohesive. It depends on who is in charge, who has the responsibility.

In this case, it is Lisa (Sharon Horgan), a down-to-earth type, with a problem daughter at home. However, the more aristocratic wife of an officer, Katie (who is played, as you might expect, by Kristin Scott Thomas) assumes that she is in charge. Needless to say, there are emotional prickles, some verbal jousts, leadership rivalry.

But, it doesn’t need the gift of prophecy or premonitions to know that, ultimately, there will be reconciliation and there will be success. Quite some demands on Katie.

The women are not initially the greatest of singers. However, some talent emerges, Katie organising the rehearsals by the book, over literally, Lisa more instinctive. And there are the complexities of one of the wives receiving the news of her husband’s death, its impact, the funeral, the women coming together to sing at the funeral.

There is a pleasing climax with the women singing in the Albert Hall which means that while it acknowledges ups and downs, joy and grief, apprehensions and relief, this is a feelgood film in the staunch British tradition.


1. The title? The background of the military service and wars in Afghanistan? The wives and families at home? Warfare, deaths and injuries? The women waiting at home, anxieties?

2. Based on actual events? The formation of a military wives’ choir? Morale boosting, rehearsals, composing songs, the presentation in the Albert Hall? The formation of many similar choirs?

3. Introduction to the situation, the military compound, Katie and her shopping, the guards at the gate? The brigadier’s wife? The number of wives? The focus on the men, the farewells, moving out after packing, the trucks at night?

4. The importance of music, the background school, the range of songs, Time after Time, the composition by the women? Rehearsals? Performance?

5. Katie, snobbish, not liked by the women? Her relationship with Richard, his many tours? The revelation of her son’s death in action? Her volunteering to help with the women, her agenda, Lisa as having the commission, her continued taking over from Lisa? The list of suggestions for clubs, the failure of the knitting club? The suggestion about singing? Katie taking it seriously, reading the books, conducting the choir, very traditional, Morning Has Broken? The increasing clashes with Lisa, putting her down?

6. Lisa, her husband, problems with Frankie at home, at the post office? Attitude towards Katie, and vice versa? With the group, Katie taking over, the various suggestions? Lisa’s musical background, getting out her piano, encouraging women to sing songs that they knew, the failure of the knitting club?

7. Frankie, relationship with her father, going out, abrupt attitude towards her mother? Some breakthroughs? Watching Rocky together? Her drinking, collapse, Katie caring for her, her response to Katie? Looking after the children during rehearsals? On the bus? Clash with her mother, reconciliation?

8. The other women, the sadness of the young wife whose husband is killed, the messages coming to the house, her grief, Katie and her support, the other women coming to support her, her urging them not to give up the performance? Asking them to sing Ave Maria at the service, the sadness of the service, the gun salute at the funeral? The continuing with the choir? The young mother with her son, Skype with her husband? Discovering her capacity for singing, solo? Her embarrassment, covering her eyes, the contemplation and hiding behind the curtain? The tall thin exuberant singer? Ruby and her deep voice, her wife at the front?

9. The ups and downs of the work together, classifying the voices, rough and ready, yet good with the songs they knew, the improvement with Time after Time? Crooke and the brigadier, the earphones at first, taking them off, the brigadier listening, the invitation to sing at the Albert Hall?

10. The continuing tensions, almost reconciliation between Lisa and Katie? The conversation about her dead son? Some of his final words – and Lisa incorporating them into the song? Katie upset, private conversation, her harsh outburst against Lisa, Lisa and her criticisms of Katie? Katie walking out?

11. Richard, wounded, returning, hospital, at home, commenting on Katie’s compulsive buying, seeing her sitting in her son’s car, going out, comforting her, Katie’s confession of her harshness, the decision to go to the Albert Hall?

12. Lisa and Katie apologies, joining the group, the rehearsals, the performance, the emotional impact of the song, audience response?

13. Back home, happy group, the range of photos of all the military wives choirs throughout the UK?

DARK WATERS

US, 2019, 126 minutes, Colour.
Mark Ruffalo, Anne Hathaway, Tim Robbins, Bill Pullman, Bill Camp, Victor Garber, Mare Winningham.
Directed by Todd Haynes.


This is a social and political drama well worth seeing. Since the 1980s there have been many films both for cinema and for television that have explored industrial contamination of the environment. It is almost 40 years since Silkwood, 20 years since Erin Brockovich. During the following decades, there were many films with American settings as well as international settings highlighting the poisoning of waters. Dark Waters is based on a true story and was released in 2019. In 2020, there was a parallel story with the Japanese setting, Minimata, with Johnny Depp as a World War II photographer invited to go to Japan to photograph people suffering desperate illnesses for Life Magazine. One might say that it was much more explicitly preachy than Dark Waters which relies on its dramatic impact.

The screenplay is based on a New York Times magazine article by Nathanial Rich, The Lawyer who became Du Pont’s Worst Nightmare. The lawyer is Rob Billot who pursued the issues for almost 20 years, and is still working. He is played with determination and intensity by Mark Ruffalo who is one of the producers of this film. Direction is by Todd Haynes, not his usual kind of film (such as Velvet Goldmine, Far from Heaven, I’m Not There, Carol).

Rob Billot came from West Virginia and, though less well trained and qualified then other partners, was accepted into the managing directors of the prestigious law firm Taft, in Cincinnati. Some contacts from his home town, Parkersburg, alert him to the pollution from Du Pont’s factory and works from the 1960s and 1970s.

The film, chronicling Billot’s campaign, year by year, illustrates his research, communication, not without hostility, from Parkersburg locals, his thorough investigation of petrochemicals, the challenge to Du Pont, the massive documentation that he has to store and examine.

He does have the support of the head of the firm, played by Tim Robbins, but has to encounter critiques and delaying tactics from Du Pont. It takes a toll on his health leading to a collapse. It puts a strain on his family, his wife, played by Anne Hathaway, and his three sons. (He has a Catholic background with a church scene and the singing of a St Louis Jesuit hymn – and a Protestant church scene where they also seen singing Here I am, Lord.)

We see Billot’s devotion, his offer of getting testing for Parkersburg residents to ascertain the levels of harm, working with a key family, but the years of waiting for the results of the investigation. And, then to his dismay, and the audience’s dismay, the further double dealings and reneging by Du Pont.

Though it takes almost 2 decades, and does not have the immediate compensation results that had been hoped for, there is some ultimate redress. (One of the issues from the Du Pont plant was the production of Teflon, its harmful effects in its widespread use, and its being prohibited from 2005.)

A commentator noted that in its portrayal of disastrous realities, it is more terrifying than a horror film.

1. A true story? But applicable to so many corporations, legal issues, protests?

2. The Cincinnati setting, homes, law offices, socials? The scenes in West Virginia, the town, the farms, the Du Pont factory? The musical score?

3. The title, the factory, the waste, the water, effect on the environment, the inhabitants and their illnesses? The elements of horror?

4. Rob Billot, Mark Ruffalo’s presence, an actual character, his still continuing his campaigns? The article about him and its impact? His heroism and self-sacrifice? His career? His wife, children, interactions with the members of the law firm, with Tom, his backing? The conflict with the Du Pont company?

5. Rob as a character, his age, marriage, the baby, the children, working in the law, his promotions, working Cincinnati? His returns to his original town in West Virginia? His grandmother, her home? His employment by Taft, his rising? Wilbur and his approach, demanding, leaving the videos? Rob’s initial reaction?

6. Rob returning to his home, the discussions with his grandmother, visiting Wilbur, the farm, Wilbur’s wife? The information? The Du Pont factory? The effect on the farm, the death of the cows? Wilbur’s brother, Du Pont taking his land? His brother’s death?

7. Tom, his role in the company, listening, the issues over the years, his giving his support, his attitude towards the board?

8. The indication of the years passing, from 1997 to 2015? The reports from the 1970s, the stance of the law, BPA, government? The protests? Legal issues, wanting to sue DuPont? The power of the corporation? Effects on the individuals or groups? The long period of Rob’s involvement, the various steps?

9. The meeting with Phil Donnelly, his representing Du Pont, the discussions, reaction, change of attitude with the issue of suing? Hostility, the documents? The huge number of boxes, in the room, Rob’s beginning to sort them, the years of sorting?

10. West Virginia, Wilbur and his wife, so many cows dead, burying them, the dramatic scene of the cow and its illness, shot? Wilbur, determined, pressuring Rob?

11. The meetings, the various investigations, the intricacy of the details of law, the nature of the chemicals and understanding them? Rob and his process of learning over the years? Getting advice from experts? Trying to formulate the issues in law?

12. Du Pont, its power, its influence, chemicals, the executives, the stances? The revelation of the abuses of the past?

13. The Taft board, the meetings, the differences of opinion, Tom’s intervention?

14. The portrait of Sara, her relationship with Rob, the children, her concerns about him and his health, his work? The Catholic background, Catholic schools? Their not having enough money for the schools? Tom and his support? The sequence of the going to Mass? The hymn?

15. The town, the growing support, the various cases, Du Pont and the decisions? Du Pont forced to agreements – the later reneging?

16. The case, decisions, the tests, 69,000? The importance of the Kiger family, in the town, the husband and wife, their collaboration?

17. The years passing, the waiting, people becoming impatient? Rob and his health, the stroke experience and his collapse? Advice about his health?

18. The years passing, the doctor and the enquiry eventually ringing, the support, the scientific evidence?

19. Immediately after, the ring from the Du Pont executives and their reneging?

20. The decision to go case by case, the number of wins, the increasing payouts? By 2015?

21. The issue of ‘forever chemicals’, Teflon, its effect? The companies and their deceit, the documents, the information about chemicals and covering them? Contamination of the water, the waste?

22. The list of so many other environmental disasters? The influence of the Du Pont case in the United States?

MOTHERLESS BROOKLYN

US, 2019, 144 minutes, Colour.
Edward Norton, Gugu Mbatha- Raw, Alec Baldwin, Bobby Cannavale, Willem Dafoe, Bruce Willis, Ethan Suplee, Cherry Jones, Dallas Roberts, Josh Pais, Fisher Stevens, Robert Wisdom, Michael Kenneth Williams.
Directed by Edward Norton.

Motherless Brooklyn is a story of political and financial corruption in New York City (with memory references to 19 century corruption and wheeler dealing, and memories of Gangs of New York). It is a story of violence and deception.

The original novel was published in 1999 by Jonathan Letham (further films based on his novels, Tonight at Noon and You Don’t Love Me Yet). The film is a labour of love for Edward Norton who worked on the screenplay, produced and directed and plays the central role of a young man, working as a private eye, afflicted, often unexpectedly, with a variation of Tourette’s Syndrome. Running time is long – and some critics and audiences found it too long.

The setting of the novel has been changed from the more recent past, going back to the 1950s, the experience of the city in the aftermath of World War II, veterans returning, jobs, elections, promises, the pulling down of harsh and poor neighbourhoods, possibilities for gentrification in the city at the expense of those turned out of the old areas, principally black neighbourhoods.

The initial focus is on Bruce Willis as a detective, Frank, with Lionel as his protégé. Lionel hears Frank negotiating on the phone and then hears him being shot. At the hospital, Frank whispers in his ear. Lionel is not sure but devotes himself to investigating, at times pretending to be a newspaper journalist, ingratiating himself into some people’s confidence.

When the new mayor is elected, giving an earnest public speech then gathering with cronies behind-the-scenes, the major developer, Moses Randolph, enters and demands different lucrative portfolios. He is played with relentless cynicism by Alec Baldwin.

There are further complications for Lionel leading him to a nightclub, the address on a box of matches belonging to Frank. This introduces him to a jazz world and jazz players as well as the young woman, Laura, Gugu Mbatha Raw, who is involved in social protests and social research under the guidance of a rather formidable campaigner played by Cherry Jones.

Enter also a mysterious character played by Willem Dafoe who has dreams of what New York City might be like. Through him Lionel is led to quite a tangle of unanticipated relationships between the central characters as well as a relationship with Laura.

There are also a number of betrayals, especially concerning Frank’s widow and the boss of Lionel’s small group of detectives, Tony (Bobby Cannavale).

When Lionel suddenly discovers some key evidence (in the brim of Frank’s hat), there are even more dangerous complications, verbal confrontation with Moses, physical confrontation with thugs.

On the one hand, the film is full of regret about this kind of corruption in New York City. On the other hand, it is a picture of a one-man crusade and its dangerous consequences.

1. The title? The nickname for Lionel? The background story, in the orphanage with his friends? The friendship of Frank, freeing them? The career and situations?

2. New York City, Brooklyn, the setting of the 1950s, the memories of the war, Frank and others returning, tribute to their service, finding a different New York, crime and exploitation, violence?

3. The streets of Brooklyn, the buildings, the apartments? Clubs? Political socials? Business offices? The atmosphere? The musical score?

4. The introduction to Frank, Bruce Willis’s presence, his detective work, patron of Lionel and his friends? The case, his investigations, the business exploitation, the confrontations, Lionel listening on the phone? His being shot? Hospital, Lionel going to see him, the final whispers? Lionel taking his hat – and the later discovery of the ticket in the lining of the hat? The matches on the jazz club? His reappearances in Lionel’s imagination? And the discovery that he was a flawed character in his dealings?

5. Lionel, his group, Tony taking charge of the enterprise, the role of the other two friends? Accompanying Lionel? Julia and her relationship with Tony? Attitude towards Frank? The later revelations about Tony, the relationship with Julia, his connections, issues of greed, Capitalism and greed?

6. The political situation? The mayor, his speech and declaration, sceptical audiences? Dividing up his departments and heads, the club and the sinister plans? Moses, intervening, tough stances and his demands? Their permitting? The issues of plans, the development of the city, the destruction of neighbourhoods? Public acclaim, yet the impact on the poor? Lieberman and his place in the group, supporting Moses Randolph, yet the betrayal, his death? And Lionel using this to get to Moses?

7. Gabby Horowitz, strong-minded, the voice of the poor, the speeches, presence, attitude towards Moses Randolph? Laura, working with her, the research?

8. Lionel, the Tourette Syndrome, the effect on him, his manner, people put off, accepting it? His explanations? Yet his sharp mind and memory?

9. Lionel his work, following in Frank’s footsteps, investigating Frank’s death? The journalist card, his pretending, interviewing various people? The attraction to Laura? The dates, the dancing?

10. Laura, the story of her father, mother? The mystery? Frank and the jazz club connection? Lionel going, the encounters, Billy having him bashed? Saved by the trumpeter?

11. Paul Randolph, in himself, his eccentricities, communicating with Lionel, his ideals, plans for the city, the discussions? The revelation that he was Moses’ brother? The clash between the two? The revelations about Laura and paternity, Billy acting as her father, her thinking that Paul was her father, the reality of Moses Randolph raping her mother? Paul and his reluctance to go into action, using people to get to his brother?

12. Moses and Lionel, the discussions, the brothers and their origins, characters, plans, Moses ruthless, the revelation about the paternity of Laura? His promise about Paul’s plans – and then reneging?

13. The range of hired toughs, the threats?

14. Frank’s hat, tab, Lionel going to the pen station, discovery of the documents, hiding them, his use of them?

15. The buildup to the confrontation, Laura in danger, Lionel intervening, the violence and brutality? The trumpeter and his help? The future?

16. The New York story, the history of government and manipulation in New York in the 19th century, continuing over into the 20th century?

BLOODSHOT

US, 2020, 109 minutes, Colour.
Vin Diesel, Guy Pearce, Eliza Gonzalez, Sam Heughan, Toby Kebbell, Lamorne Morris, Tallulah Riley, Siddarth Dhananjay, Johannes Hauker Johannesson.
Directed by Dave Wilson.

When audiences think of Superheroes, they tend to think of the world of DC comics or, perhaps more especially, of the Marvel Universe. Bloodshot comes from neither, but rather another comic book world, Valiant.

If you like Vin Diesel, no problem here. It is definitely a Vin Diesel vehicle, a Vin diesel entertainment. In the opening action sequences in Mombasa, Kenya, there is tough action. But, Ray, Diesel’s tough soldier, comes under suspicion, is taken with his wife, interrogation, death.

So, where can the action go?

Guy Pearce is the head of an organisation which specialises in resuscitating dead heroes. He is smoothly spoken, sounds very intelligent, very reasonable – and, of course, is a 21st-century version of Dr Frankenstein bringing to life a creature whom he wants to control. There have been other experiments and some of the henchman in the institution are the products of resuscitation. There is also K.T., Katie (Eliza Gonzalez) who assists the doctor and who is dependent on him.

But, what can be done with this kind of resuscitated soldier? Obviously, he has to go on mission, stronger, more resilient than before. It is the missions which lead to the drama, especially when the doctor is able to play on Ray’s memories, insert different memories, always centring on the violent killing of his wife which he witnessed.

In fact, there are several missions, rivals to be eliminated, all in the name of security and order.

Katie, of course, is attracted towards Ray and is becoming more disillusioned with the doctor, leading to some complications in the missions, Ray discovering that his memories are not all true. There has to be some kind of confrontation.

At the institution, there is a whiz kid with all the technology developments in the resuscitation, memories development, control. But, Katie knows another whiz kid with even more technical ability, Wigan (Lamorne Morris in an entertaining comic and serious performance).

Audiences will be looking forward to the final confrontations between Ray the doctor – and may even be looking forward to Katie, Wigan and Ray going towards the future, and sequels.

This is a superhero action show which fulfils anticipation.



1. The world of super heroes? From comic books?

2. The International atmosphere, opening in Mombasa, shifts to the United States, Hungary, London… The musical score and atmosphere?

3. The introduction to Ray, the action in Mombasa? His role as a soldier? Skills, determination?

4. He and Gina being arrested? The interrogations? The execution?

5. Ray and his coming to consciousness? Dr Harting? His skills, ambitions? Ray has a successful experiment? Resuscitated? The effect on Ray? Bewilderment? Memories?

6. Dr Harting and his associates, his previous experiments? Katie and her presence? The men and their role of working with the doctor? Sinister aspects? Eric, his character, skills, collaboration?

7. The implementation of memories? Ray and his being used, to eliminate rivals? Avenging the death of his wife? The approach to the targets, his eliminating them?

8. The return, Katie’s reaction, his response to her? The doctor and his smooth talk? The next experiment? New memories? Baris and his being the target, Ray going to him, seeing him killing his wife? Eliminating him?

9. Katie, her response to the doctor, collaborating with him, wariness about his methods? Decision to help Ray?

10. The encounter with Wigan? His skills and expertise? Links with Katie? Being dominated by the opposition to the doctor? His skills, personality, working with Ray, outwitting the doctor?

11. The confrontation, Wigan and his cheerfulness, his skills, the timing ? Katie and her collaboration? The dangers to Wigan?

12. The doctor, his henchmen, their attacking Ray, their deaths? And the death of the doctor?

13. Ray and his proper memories, the effect of his going to London and to visit Jean and discover five years had passed and she had married?

14. The future, Ray, Katie and Wigan – further adventures?

THE ART OF RACING IN THE RAIN

US, 2019, 109 Minutes, Colour.
Milo Ventimiglia, Amanda Seyfried, Kathy Baker, Martin Donovan, Gary Cole, Kevin Costner as the voice of Enzo.
Directed by Simon Curtis.

The title certainly catches the attention. What kind of racing? What kind of art? And the rain?

The quick answers are: speed car racing; skills plus the innate gift for driving; and the challenge of rain, going into a deliberate skid before being forced to skid. And, according to the central character of this film, that is a skill for getting through the difficulties of life.

Readers of Garth Stein’s novel will know that the central character is, in fact, a dog. He is Enzo, bought as a puppy by his owner, racing car driver, Denny (Milo Ventimiglia). And they bond.

Not only is Enzo the central character but he provides the narration for the film, describing events, analysing characters, commenting on situations, a complete anthropomorphic dog character – except that Enzo is speaking to the audience and not to the other characters in the film. They perceive his body language – and seem to interpret him quite accurately. And the appeal of Enzo and his narration is that it is all done by Kevin Costner.

These comments will indicate whether the audience wants to see this film. It has a huge appeal to dog lovers. It is highly emotional, some might say sentimental, a film of empathy with Enzo. But, it may have little appeal to non-dog lovers who may not be caught up at all in Enzo’s view of life and his role in Danny’s life and his career.

Enzo also tells us that there is a Mongolian book which indicates that in reincarnation, dogs can become human. That is certainly his main aim in life, and with his psychological insights and commentary, he is a long way on this road. And, of course, there is the suggestion at the end…

So, Enzo observes Denny, his work in the garage, his training as a driver, some opportunities, but not an outstanding career. More successful is his encounter with Eve (Amanda Seyfried), courtship, marriage, birth of their daughter, Zoe, family life together.

But, there are several dramatic difficulties. Eve’s wealthy parents do not approve of Denny, especially her father, Maxwell (Martin Donovan being particularly arrogant), Trish, Kathy Baker, more sympathetic. There is also the drama of Eve’s illness and questions about custody for Zoe, Maxwell taking legal advantage of an outburst by Denny in desperation.

There is also a step forward in Denny’s career, as an instructor and trainer, an invitation to Italy from Ferrari.

Americans must be strong dog-lovers, judging from the very favourable and numerous comments on the Internet Movie Database.

British director, Simon Curtis, worked extensively on television including the film on assisted suicide, A Short Stay in Switzerland, moving to feature films, My Life with Marilyn, Woman in Gold, Goodbye Christopher Robin.

1. The popularity of the novel? Of the adaptation? For dog lovers? (Non-appeal for non-dog lovers?) Emotions and sentiment? Sentimentality?

2. The period, 1980s, costumes, decor, towns, homes, ordinary life? The contrast with the mansion? The musical score?

3. The title, racing, American race centres? Daytona? And the extension to Italy with Ferrari?

4. The novelty of the novel/ film? Enzo at the centre? As voiced by Kevin Costner? The range of the narration? The tone of voice, the anthropomorphic experience, the dog as human? The story of the books from Mongolia and reincarnation, dogs becoming human? Enzo wanting to be ready? His background story, Denny going to the pound, choosing him? His growing, the bond between Denny and the dog, true friendship? Audience response to the voice and narrative? Denny having to rely on expressions and body language?

5. Denny in himself, background of his life, his friends at the garage, caring for the cars, driving, his ambitions and hopes, his mentor?

6. Enzo, the title, the reflection on the rain, Denny explaining driving in the rain, skidding purposefully before any accident? And this as a metaphor for facing life?

7. Eve, the encounter with Denny, the attraction, discussions, courting and outings, marrying? The character, strong, vitality, teacher? The pregnancy, the birth of Zoe? The happy years with her husband and daughter?

8. Her father, the wealthy background, snobbery, hostility, intrusions into her life, into the marriage? Her mother supporting her husband get loving?

9. Danny, going to Daytona, the issue of not being present at the birth, Eve’s insisting he go? The reaction of her parents?

10. Denny, his continuing career, his pals at the garage, his teaching?

11. Enzo and his participation in the family life, initial suspicions of Eve, growing acceptance, his love for Zoe?

12. Eve, her illness, and his recognising it, her collapse in the woods, hospital, her being resigned?

13. Sally, strong character, love for her father, care for her mother? Love for her grandparents, going to their care, issues of custody?

14. Eve’s death, grief, the aftermath?

15. The arguments between Denny and his in-laws? Custody issues? His continuing mark his career? The confrontation with Maxwell, hitting him, Maxwell deciding to sue, Denny’s arrest, in prison? The meeting with the lawyer?

16. Audience sympathy with Denny, with Enzo, antipathy towards Maxwell? Enzo’s strong views?

17. Enzo, the accident with the car, going to the vet, recovering, money difficulties for Denny?

18. The meeting with the lawyer, advice, the different scenarios, the possibility for compromise? The document, and Enzo tearing it up?

19. The visit from Italy, the offer from Ferrari? Acknowledgement of Denny’s skills?

20. The court case, the attitude of the judge, the interrogations, Catherine and her testimony for her husband, her being compelled to tell the truth, Maxwell’s reaction? Custody for Denny?

21. The birthday party, the in-laws coming, the challenge to Denny, forgiveness?

22. Enzo, age, his death? The issue of reincarnation?

23. The scenes in Italy, the young boy and his interest – Enzo reincarnated?

24. A film for those who love racing driving – more for those who love dogs?

WAVES

US, 2019, 135 minutes, Colour.
Kelvin Harrison Jr, Lucas Hedges, Taylor Russell, Alexa Demie, Sterling K.Brown, Renee Elyse Goldsberry, Clifton Collins Jr.
Directed by Trey Edward Shultz.

Waves received a great deal of critical acclaim on its release in the United States. It is a particularly American story – and may not have the same kind of appeal for audiences outside America. There was some criticism, however, that it was very long, many of the sequences over-prolonged, some audiences losing interest in the characters and the situations.

The setting is Florida and the focus on an African-American? family. Particular attention is given to the older teenage son of the family, Tyler, a strong performance from Kelvin Harrison Jr (Luce, The Photograph). He is involved in school sports, especially wrestling, a number of scenes of training and performance, encouraged by his father, Ronald (Sterling K. Brown, also a strong performance) sharing the training with his son. Outside school hours and outside home, Tyler moves with what might be called the fast crowd, having a relationship with his girlfriend, Alexis (Alexa Demie). Also at home is his loving stepmother (Renee Elyse Goldsberry) and his younger sister, Emily (Taylor Russell).

Emotional complications arise when Tyler is discovered to have physical difficulties, injuries, but preferring to continue to please his father and wrestle until his final collapse during a bout. There are emotional complications at home, his rebelling against his stern father, harsh criticisms of his stepmother. This is completely aggravated when his girlfriend reveals that she is pregnant. His reaction is almost completely self-centred, taking her to an abortion clinic, in a rage when she decides to keep the baby.

The action becomes particularly melodramatic and tragic with Tyler confronting his girlfriend.

Tyler is arrested, sentenced to prison – and the film then veers into its second part, the story of Emily, her encounter with one of her fellow students who had trained in wrestling with Tyler. Initially awkward, Luke (Lucas Hedges) bonds with Emily. In the meantime, her parents have become alienated because of Tyler’s imprisonment.

The most dramatic part of this drama is Luke and Emily visiting Luke’s estranged father, dying in hospital.

On the one hand, Luke and Emily have the possibility of a happy ending in future – and there is some resolution for the parents and a glimpse of Tyler serving his time in prison.


1. A piece of 21st-century Americana? Critical acclaim?

2. The title, the range of American experiences?

3. The Florida settings, homes, school, ordinary life? The musical score?

4. Tyler and his story, the initial focus, the latter focus on Emily and Luke? Tyler, black, his age, at school, excelling in sport, the focus on wrestling, his exercise and training, at home, his relationship with his sister, their clashes? His stepmother and her love and concern? His father, dominance and dominating, sharing the exercises and training, the wrestling? Going to the gym? The bond between Catharine and Ronald? The children?

5. Tyler and his health, the accident, his shoulder, discussions with the doctor, keeping his condition secret? Forcing himself?

6. His friends, the group, carefree, his relationship with Alexis, the ups and downs? The revelation of her pregnancy?

7. Tyler, his reaction about the pregnancy, concerned about himself, insisting on the abortion, going to the clinic, the demonstrators, Alexis’ decision, considering the consequences, deciding to have the child?

8. Tyler’s rage, his reactions, the effect, the consequences? His reaction against his sister? Hostility towards his parents, declared hatred for his stepmother and her protests of love? His hating his father, storming out of the house?

9. His drinking, drugs, his condition? Going to the party, his sister seeing him? The buildup to the confrontation of Alexis, his anger at her seeming boyfriend, she telling him the boy was gay? Her slapping him? His slapping her, her fall, the injuries, death? Emily and the reactions of the others at the party? Tyler storming out, the car, the arrest, the consequences?

10. His arrest, in court, pleading guilty, his sentence?

11. The shift in the narrative in the second part of the film, the focus on Emily? This section being less intensely dramatic than the first part?

12. Emily, in herself, her place in the family, with her parents, her reaction to Tyler? Her blaming herself about not intervening in so saving Alexis?

13. Luke, his background, seen wrestling practice with Tyler? Meeting with Emily, the conversations, his following her? Her reaction? Their talking, dating? The buildup of the
relationship?

14. Ronald, his reaction to his son’s imprisonment? Catharine, her change of moods, alienation from Ronald?

15. Emily and Luke, sharing their experiences, joy? Luke explaining his family background? The revelation about his father? Going to see his father? Overcoming resentment? The response of his father, forgiveness, his death?

16. Ronald and Catharine, the buildup to a reconciliation and understanding?

17. Emily, going to visit her brother in prison?

18. The style of the film, its length, the different emphases and the narrative, long sequences (which many say could have well been cut, shortened), the characterisations and interactions?

KILLING PATIENT ZERO

US, 2019, 100 minutes, Colour.
Directed by Laurie Lynd.


In the 1980s, Canadian flight attendant, Gaetan Dugas, was named as Patient Zero, and held responsible for the spread of HIV AIDS.

This documentary is a 21st-century look back at the origins of AIDS, initial reactions, medical investigations, journalistic exposes, Randy Shilts and the writing of And The Band Played On.

There is a great deal of film and video footage from the past, highlighting the rather carefree hedonism of the 1970s, the initial aspects of AIDS, medical investigations, the late response of the Reagan government, homophobic attacks. It opens with an American television show of the 1960s expressing these homophobic aspects.

However, there is quite a number of talking heads, a number of flight attendants from Air Canada for which Gaetan Dugas worked, filling in his biography including photos and clips from Dugas himself. It is an opportunity for those speaking to review what happened in the 70s and 80s and the consequences for their lives.

It is made clear in the documentary that a mistake was made in interpreting medical data and statistics during the 1980s and Gaetan Dugas was referred to as patient O in reference to the spread of AIDS rather than Patient 0. Dugas himself did not believe in the epidemic but contributed data and consultations with the investigations and research.

1. The title and expectations? An AIDS film?

2. The film as a resume of the history of the AIDS epidemic? 21st-century perspective?

3. The inclusion of footage, the perspectives of the 1970s and sexual freedom, the oncoming of AIDS, the visual impact?

4. The range of talking heads, the stewards from Air Canada? Journalists? Members from the arts and theatre? Their own experience, gay orientation, the 1970s and change, the 1980s?

5. The 1980s, the naming of Patient Zero, portrait of Gaetan Dugas, his life and background, the range of photos, video clips? The media blaming him for being patient zero? The condemnation? His life, family, work, travel, sexual partners, the diagrams indicating the spread of AIDS? His not believing in the epidemic? But his willingness to help and give information?

6. The health experts, the medical background, the personal background, the interviews with those with AIDS, Gaetan and his collaboration? The graphs? The O being interpreted as 0? The consequences of this misinterpretation?

7. The background of the 1970s, hedonistic lifestyles and the consequences?

8. The early years of the 1980s, medication, investigations, research?

9. Randy Shiltz, his reporting, critique of Patient 0? And The Band Played On and its impact?

10. Authorities, the Reagan administration, initial denial? Celebrities like Rock Hudson?

11. The explanation of the symptoms, the spread during the 1980s? The many deaths in grief?

12. The role of the media and public consciousness in the 1980s? 1990s?

13. The background of the opening of the film, American television programs of the 60s, homophobic? The role of the law? Changes?

14. A contributing blueprint to understanding epidemics?

 

 

 

 

 

LAST DAYS IN THE DESERT

US, 2015, 95 minutes, Colour.
Ewan Mc Gregor, Ciaran Hinds, Tye Sheridan,
Directed by Rodrigo Garcia.

This is an imaginative recreation of Jesus last week, the period of his temptations, just before his return to Nazareth and the beginning of his ministry.

Most of us, when we listen to the narratives of the temptations in the desert or ponder Jesus' forty days and nights, we think of him alone, except for the encounter with the Satan. This time, while he is alone and wandering the desert, he actually encounters a family and spends time with them, listening to their hopes and aspirations, helping them with building a stone home on a peak in the desert.

This is a very human Jesus although, in his conversation, in his prayer, he is obviously one with the Father.

However, the tempter comes and, again in imaginative play, Jesus and the Satan are both played by Ewan McGregor, scenes of testing, scenes of temptation, taunting Satan, sometimes ingenuous Jesus as he discovers more about himself, a credible and creditable performance. The film recreates the atmosphere of the desert with very striking scenery.

Irish actor Ciaran Hinds (who was King Herod in The Nativity Story) is the father who has hopes with his son but finds it very difficult to communicate with him. Tye Sheridan is the son, with aspirations of his own, wanting to visit the city, to travel, but very conscious of the dominance of his father. He finds he can confide in Jesus who encourages his hopes. The father also is able to confide and share his concerns. In the meantime, the mother is very ill and needs tending. And Jesus is tender with her.

The screenplay makes much of the parallel between God the Father and Jesus as son, and the father and son in the desert and the relationship, the dominating father, the submissive son who still wants to rebel.

There are scenes of finding rocks, carrying rocks, the stream in the desert, many details of ordinary life. There is a climax when the father wants to get some metal to be able to sell at the markets and hopes his son will be lowered down to get the metal and then drawn up again. The son baulks at this and the father goes down himself, slips, needs to be hauled up, but dies. The impact of the death has a strong effect on the son and he is encouraged to go off by Jesus.

The dialogue is contemporary but respectful. It will stimulate the viewer to reflect on Jesus, his humanity and divinity, the experience of testing and temptation, his preparation for ministry, some rehearsal moments as he works with the family.

The screenplay was written by Rodrigo Garcia, the son of novelist Gabriel Garcia Marquez. He has worked extensively in American cinema and television, films such as Nine Lives, Mother and Child, Albert Nobbs.

 

1. The title, the focus on Yeshua in the desert, the 40 days of fasting?

2. The tradition of Yeshua films? This film in that tradition? Basis in the Gospels? Imagination, speculation, invention? This imagining and its relationship with the Gospels, authentic? Hostile criticisms of blasphemy?

3. Audience familiarity with this Gospel story, with Yeshua, the fast and the desert, the temptations, the presence of Satan? The idea that Yeshua was not solitary in the desert?

4. The desert settings, the mountains, the cliffs, the vast plains, the running stream? The film immersing the audience in the desert? Building the home, living in the tent? The harshness of the desert? The beauty of the desert? The musical score?

5. Ewan Mc Gregor as Yeshua? Strong character? Appearance? Clothes, the pilgrim, a holy man? The fact of Scottish actor playing Yeshua? Accent?

6. The device of having Ewan Mc Gregor play the Satan, the same look, accent? The theme of the Satan within the self? The temptations, the taunts, the reappearances? Taking the shape of the wife, seductively?

7. Yeshua in the desert, the 40 days, fasting, finding water? His wandering, sitting in contemplation? Finding his inner self? The preparation for his ministry?

8. The humanity of Yeshua, tired, hungry, keeping his balance? The encounter with the family, his presence, the conversations, the father confiding about his son, the son confiding about his ambitions, the illness of the mother? Yeshua and his staying, listening, wise advice, yet ordinary? His helping with breaking of the slate, the slabs for the building? Sleeping in the tent (and his nightmares, drowning, being pursued)? Listening to the ill wife, Satan taking her form? Going to collect the water with the boy, carrying the water back? His not eating, but taking one mouthful during the meal? The family seeing him as a holy man?

9. The father, his own father and discipline, discipline for his son, confiding that he did not understand his son? The issue of the riddle, his offering the riddle to his son? The father concerned about his wife, his previous wife, his memories? Seeing the precious stone, discussing with Yeshua, the plan, the boy with the rope, his fear of heights, unwilling to go down, Yeshua offering? The father going down, the two with the rope, his slipping, their pulling him up, holding his hands, unable to hold him, his fall, dying with Yeshua attending, the boy at a distance? Yeshua carrying him back, the preparation for burial, wrapping him? The boy and his reverence for his father? The wife coming out and looking at her husband's face?

10. The boy, his age, his not relating well to his father? His confiding in Yeshua? Ambitions to go to Jerusalem, to learn, to go on the boat, pretending to fly and wanting to be free? His hard work, building the dwelling, carrying the water? The riddle for Yeshua? His father's riddle? Fear of heights, refusing to go down, holding the ropes, with the knife, a temptation, having to let go of his father? Preparing his body for funeral? His devotion to his mother, visiting her, giving her the water, listening to her? His friendship with Yeshua, ability to talk with him, listen to advice, express his dreams? His wanting to leave, Yeshua giving him a blessing, like a father?

11. The underlying theme of fathers and sons? Yeshua and his mission, his relationship with the father, the reality of incarnation, having to live the human experience, not knowing the future, working out the future (and the discussion with the Satan about the future of the boy, the evil scenario of his killing his father and the consequences; the final vision the dish and Yeshua begin to smile)? Yeshua and his relationship with his father, the mission, trust? Sometimes bewildered, wanting it to pass?

12. The Satan, the taunts, ridiculing the father, memories of paradise and his being expelled? The challenge to Yeshua, to give up? The Satan promising to come at the last and for Yeshua to give the word and come down from the cross?

13. The screenplay exploring the relationship between the working father and his son and the parallels with God and Yeshua?

14. The film not finishing with Yeshua going back to be in his ministry? The crucifixion sequence and the echoes of The Passion of the Christ? The piercing of the side? The enigma of the hummingbird? Carrying Yeshua into the tomb? The stone? The vigil outside the tomb? The day dawning and intimations of resurrection?

15. Satan telling Yeshua about not being remembered in 1000 years and the brief coda to the film with the modern couple in the desert, taking the photo…? A still relevant story?

16. Non-Christians? watching the film and observing the themes? Fundamentalist Christians and their not appreciating this kind of imagination? Mainstream Christians and the possibilities of understanding and appreciating Yeshua more?

 

VANITY FAIR

UK, 2018, 300 minutes, Colour.
Olivia Cooke, Tom Bateman, Johnny Flynn, Claudia Jessie, Robert Pugh, Simon Russell Beale, Ellie Kendrick, Charlie Rowe, Martin Clunes, Sian Clifford, David Flynn, Michael Pallin, Felicity Montagu, Peter Wight, Patrick Fitz Symons, Monica Dolan, Claire Skinner, Frances de la Tour, Anthony Head, Elizabeth Berrington, Sally Phillips.
Directed by James Strong.


This is a six-part BBC television version of William Thackeray’s novel. It was wide in scope in his presentation of England at the time of the Regency, the battle against Napoleon, the experience of Waterloo, the aftermath.

At the centre is one of literature’s characters, Becky Sharpe. Here she is played by Olivia Wilde. There had been a 1930s brief version with Miriam Hopkins, one of the first of the technicolour films, Becky Sharpe. There was a lavish cinema version in 2004 starring Reese Witherspoon.

This version is able to present at some length the various episodes of the novel, the origins of Becky Sharpe, her friendships, her ambitions, her betrayals, the consequences.

There is a very strong supporting cast of character British actors. And is the commentary by Michael Palin and as Thackeray himself, making comments on the morality of the story and vanity fair.



1. The impact of the film? BBC production? Screened as a miniseries, the amount of time available, the scope?

2. The status of the novel, of Thackeray as an author, his perspectives on character, on British history, the Napoleonic era, Waterloo, the era of George III?

3. Michael Palin appearing as Thackeray himself, addressing the audience, the fair and the background, his comments on characters, on Becky Sharpe, on people striving for something not worth having?

4. The period, costumes and decor, domestic sequences, pageantry? School, homes, London in the streets, mansions, the countryside and farms? Brussels? The battle of Waterloo? Spies and casinos? The musical score?

5. The film divided into chapters, descriptions, moral perspective?

6. Becky Sharpe, her place in literary characters? A 19th century character, a young and ambitious woman, her wiles, success, failure?

7. The opening with the school, Becky and Amelia, the headmistress, Becky and her insolence, the headmistress, the plan for her to be a governess? The bond between the two girls? Leaving, the going to stay with the Sedley family? The father and his business success? Joseph and his return from India, large, pompous? Becky with her eye on Joseph? Meals, discussions? Amelia and her relationship with George? The night at Vauxhall, the experience of Becky, the effect on each character? Dobbin?

8. Becky having to leave, to go to the Crawley mansion, her being unwilling? The arrival, Pitt and his collecting her himself? His character, manner, bluster? The house, the farm? Pitt and the staff? Becky and her tutoring? The girls and their response, her charm with them? The encounter with Rawdon, the attraction? His military career? The touch of the ne’er-do-well? Becky and her advice to PItt, financial matters, becoming the secretary, her dominance in the house, the covert relationship Rawdon, Pitt and his proposal, her being married, the reaction?

9. Pitt’s oldest son, the moral stances, his acidic wife, their children? To inherit? The enmity towards Becky and wanting to oust her? The later encounters, the brother having to help broaden, financial difficulties – and Becky getting some revenge?

10. The aunt, her manner, snobbery, a companion? The visit, attracted to Becky, promoting her, her favouring Rawdon, her dislike of his brother and her wife and his wife? Taking
on Becky, in the household, relying on her – but change in her attitude when discovering Becky’s marriage? Her death? The bequests – and Becky’s disappointment?

11. The Osborne’s, the father and his business sense, making money, the clash with Sedley? George and his army career? His relationship with Amelia, the father and his antipathy towards the Sedleys? Towards the engagement? The sister and her quiet presence in the household? The father, cutting off George? George’s reaction? George and his interest in Becky?

12. The character of Dobbin, the good man, army, friend with George, devoted to Amelia, protecting her at Vauxhall?

13. Napoleon, the escape from Elba, the British Army, the call-up, the barracks, the ships, going to the continent? George and his going, his father cutting off?

14. Everybody gathering in Brussels, society, the Army, the wives? The social and the ball? George and his note to Becky? Dobbin and his intervention? Rawdon and the relationship with Becky – and her pregnancy? People wanting to leave Brussels, the snobs, eager for horses, Becky and her shrewdness, the selling of the horses? Hoping for recognition in London society – and later her being snubbed?

15. The vivid sequences of the battle, warfare, George’s death?

16. The return to London? Amelia and her baby? Wanting to bring up the baby? Her father, the poverty, selling everything up, the vengeful Osborne? Dobbin and his buying the piano, Amelia thinking it was a present from George? And not recognising Dobbin’s devotion and love?

17. Becky, the birth of her son? Setting up the gambling house, the rent and not paying, the deaths? Rawdon and his gambling? Becky and her affair with the Lord, able to meet the king and some fulfilment of her ambitions? Her being snubbed by the other women? The Lord’s wife, inviting Becky to play the piano?

18. Rawdon, the tensions, Becky betraying him, the confrontation with the Lord, her jewellery? The boy being sent away, Becky having no motherly love? Rawdon devoted? The governorship, the four years, eventually getting malaria, his dying?

19. The son, being cared for by the aunt’s companion? Becky abandoning him?

20. Dobbin, going to India, disappointed? The friendship with the Irish couple from the Army, to India? Joseph and his work in India? The return to London?

21. Dobbin, meeting Amelia, her boy, her change of heart, Dobbin in his companionship, Mr Sedley? The going on a holiday, the spa?

22. Dobbin, the visit to Osborne? His death? Dobbin wanting him to share the bringing-up of the boy with Amelia rather than taking him away, supporting him?

23. The boy discovering Becky at the spa, Joseph and renewed infatuation? Becky and the clash with Amelia?

24. Eventual resolution, reconciliation, Dobbin and his being accepted by Amelia, the marriage, their child? The striving in vanity fair – and final achievement?