THE COMBINATION: REDEMPTION

Australia, 2019, 104 minutes, Colour.
George Basha, Neveen Hannah, Maha Wilson, Andre de Vanny, Rahel Ramon, Abbey Aziz, Troy Honeysett, Taylor Wiese, Simon Elrahi, Tony Ryan, Brendan Donoghue.
Directed by David Field.

An original film, written by George Basher, The Combination, was released in 2009. It was directed by actor David Field. While this film was released in 2019, it is set six years after the original film. Many of the characters are much the same, and the themes are very much the same.

Both films are set in the western suburbs of Sydney, multiracial, Asians as well as migrant families from the Middle East, especially Lebanon, a mixture of Muslims and Christians. And, there is a rabid group of white supremacists, loud in their slogans, bigoted in their attitudes, violent in their actions, but shown as cowardly at heart when challenged.

Once again, the central character is John, played by George Basha, released from prison, still disturbed by the death of his brother, a drug dealer in the earlier film. The scenes are suggested at the opening. He now spends a lot of his time at the local gym, coaching fighters in boxing, rather hard in his approach, advised by the managers of the gym, who come from different racial backgrounds, especially aboriginal.

John is advised to go and see a counsellor but is reluctant – but is attracted to her, dates her, wants to marry her, is invited to be interviewed by her Muslim father who does not believe in mixed religious marriages. They are held hostage by the drug dealers.

In the meantime, there are new drug runners trying to establish themselves, with a whole range of violent thugs. There is also a young drug dealer, the equivalent of the brother in the previous film, who deals with the kingpin but owes him money. His parents are threatened, eventually killed – and the film ends with him getting his revenge shooting the dealer and his men.

Which means then that the film shows a great deal of life in the western suburbs of Sydney, the racial tensions, the religious tensions, the issue of drugs and young people, the inherent violence, the hope for some kind of peace in families, the gym as a place where young people can channel their energies.

A Sydney slice of life.

1. The title? What redemption? John and his need for redemption?

2. Sydney, the western suburbs, the streets, homes, the gym, drug dealing, white supremacists? A realistic feel?

3. John’s story, his past, his brother, his need for redemption, prison, going to the gym, his friends at the gym, multiracial? Advised to go to the counsellor, the sessions, her questions? His leaving, returning, apology? The attraction, going out, the dating, the possibility for marriage? His going to meet her parents, the discussions, the father and his not believing in mixed marriages? The violence, the disappointment, the reconciliation?

4. The friends at the gym, the different races, the young men and their boxing? John as severe?

5. The drug chief, his manner, the range of thugs, the young man in debt to him, the threats, going to the young man’s home, shooting the father, eventually returning and killing the parents?

6. The young man, self-centred, his money, defying his parents, hitting his mother, walking out? John and his trying to help? The buildup to the confrontation, John setting him up to confront the dealer and the thugs? His shooting the dealers? His shooting John? Driving off?

7. The white supremacists, the ranting, the slogans, oblivious of history, their land, no consideration of the aborigines? The violence, shooting and stalking? The young brother, part of the group, yet rebellious, fighting John, telling him to keep down? His separation from the group, going to the gym, John training him? The confrontation with the older brother, the political leader, rebuking him for his behaviour? John, the fight with the older brother, his cowardly fear?

8. Social issues in Sydney? A way of understanding them?

9. And the happiness of the final credits and the wedding sequence?

BIRDS OF PREY: AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN

US, 2020, 109 minutes, Colour.
Margot Robbie, Rosie Pérez, Mary Elizabeth Winstead, Junee Smollett Bell, Ella, Jay Basco, Ewan Mc Gregor, Chris Messina.
Directed by Cathy Yan.

Not a fan of The Suicide Squad. Not a fan of Birds of Prey. Becoming less of a fan of film versions of DC Comics. And Harley Quinn is definitely an oddball, to say the least.

While everybody will refer to the title as Birds of Prey, there is also the addition of the subtitle, especially with its emphasis on fantabulous – and this is a reasonable word to describe some of the bizarre adventures – as well as the emphasis on emancipation, implying that Harley Quinn was subjugated in some way and is now free. And, that is true. Audiences need (if they must) go back to Suicide Squad and see Harley Quinn’s relationship with Joker.

There is an animation prologue to this story, a pop and humorous account of Harley Quinn’s origins, her parents, her schooling, becoming a psychologist, working in a mental institution, a co-dependence on one of the inmates, in fact, Joker, leaving with him and falling in love with him. Since 2019 had a far different story about Joker, he is absent from this account except for his influence, his criminality, his madness, and this being absorbed by Harley. She wants to embark on a criminal career, looking like a young adult schoolgirl, with her short overalls, with her plaits, with her bright colours, with her tendency to giggle. She also supplies the voice-over with some explanations/rationale of who she is, what she is doing.

Actually, there is not all that much plot in her story. She establishes herself as a bad girl. She encounters the local Gotham City kingpin (looking rather shoddy) in his club. This is a Roman, the local sociopath/psychopath/narcissist villain of the piece, ultimately putting on a Black Mask which relates him to the DC comics. His played, surprisingly, with a mixture of the effete and the violent, erratic moods, conscienceless, by Ewan Mc Gregor. Chris Messina is his dislikeable offsider, always kowtowing to him.

In one sense, these men are superfluous. This is a women’s film, produced, written and directed by women, heroics by women, men fairly negligible except as adversaries (and there is an army of brute-looking types to fulfil these roles).

The main story concerns a young girl on the street, Cassandra (Ella Jay Basco), a fairly expert pickpocket who steals Roman’s diamond from his assistant’s pocket. Needless to say, Roman is not happy and posts a half million dollar reward for the recovery of the diamond. However, he has encountered Harley who has befriended Cassandra (and takes her to extensive supermarket shopping, no, not shopping, but shoplifting) to buy all kinds of laxatives because Cassandra has swallowed the diamond.

The other leading women in this story are Rosie Perez as Detective Montoya, obsessed with getting Roman and finding herself fired. There is the young woman, Black Canary (Junee Smollett Bell) who is hired by Roman as his chauffeur. Then, suddenly, there is an extensive back story about a little girl surviving a Mafia massacring of her family, going into training, emerging as a crossbow expert, Huntress (Mary Elizabeth Winstead).

It is not really giving away anything to say that there is a huge confrontation between the group of women and Roman and his thugs and indicating that the women win. Lots of fights, slow motion, choreographed moves, quite a lot of rough and tumble in a violent kind of way.

Rather oddball, but a tribute to Margot Robbie who, in 2019, played such diverse roles as an unglamorous Queen Elizabeth in Mary, Queen of Scots, Sharon Tate in Tarantino’s Once Upon a Time…, the fictitious target of Fox News boss in Bombshell as well as Harley Quinn. She is certainly a screen presence as well as a capable producer behind the scenes. So, fan of Margot Robbie. Not fan of Harley Quinn.

1. The title? Expectations? Harley Quinn and the other women, DC Comics? Sequel to The Suicide Squad? Further adventures of Harley Quinn?

2. The elaborate title? The back story? The animation sequences? Harley, her birth, her parents, education, psychology, the institution, the encounter with Joker, escaping with him, the relationship, her absorbing his perspective, the buildup to the separation?

3. Gotham City, the ugly side, the touches of chaos? The club, the apartments, the streets, the Chinese restaurant and Harley’s apartment? Going to the warehouse? The gangs? The musical score?

4. A film for the fans? The impact for non-fans?

5. The focus on the women, the perceptions of men? The heroics of the women? The villains all men? The women involved in production, Margot Robbie, the writer, the director, the cast?

6. Margot Robbie as Harley Quinn? Her appearance, the school girl look, the plaits, the make up, the clothes? The manner of speaking, the blend of the smart and the frivolous? The eccentric personality? The relationship with Joker, her admiration for him, his influence on her manner, life, perspectives?

7. Harley seeing herself as a criminal? The visit to the club? The encounters with Roman, with his assistant? The animosity? The explosion at the Energy Centre and the consequences?

8. Detective Montoya, after Roman? With her colleagues? Her intensity? The clashes with Harley, with Black Canary? Her falling foul of authorities, the detection, the information, her being fired? On her own, her determination?

9. The Superheroes, introduced in a rather low-key way, Black Canary and her breath, finally used in the confrontation? Huntress, the details of her back story, the elimination of her family, her training, her return inventions, destroying the killers? The end of her mission? Becoming more involved with Cassandra and Harley? A rather strong personality

10. Black Canary, the encounter with Roman, the destruction of his chauffeur – Harley’s intervention? Her being employed as chauffeur, the driving? The encounters with Cassandra, the stealing of the diamond? Her pursuit?

11. Cassandra, her background, on the streets, pickpocket, the encounters with Harley, Black Canary, the issue of the Diamond, Roman and the Diamond, her swallowing it, the police, Montoya? The encounter with Harley, the truth, going to the supermarket, their stealing and rushing away, the attempts to deal with the Diamond, failure?

12. Roman, psychopath, sociopath, narcissist? Being effete and violent? His assistant, kowtowing to him? His behaviour in the club, towards Harley, towards Black Canary? His moods, vengeance? The search for Cassandra, the diamond? His getting the Army? The Black Mask? The confrontation – and the suddenness of his death in the river?

13. Roman’s assistant, his manner, with Roman, with the women, violence, a sadistic, attacking Cassandra? His defeat?

14. The buildup to the confrontation, the huge squad of men? The women? Their trusting each other, working together?

15. The visuals of the battles, the stunt work, martial arts, camera work? The skills of each of the women?

16. The Diamond, Harley retrieving it? The decision for the women to work together as a team?

THE GRUDGE

US, 2020, 94 minutes, Colour.
Andrea Riseborough, Demian Bechir, John Cho, Betty Gilpin, Lin Shaye, Frankie Faison, William Sadler, Jackie Weaver, Tara Westwood, Zoe Fish, David Lawrence Brown.
Directed by Nicholas Pesce.

It is surprising to discover how many versions of The Grudge that have been over the last 20 years. The first film was made in Japan, at the end of the 1990s, a period when there was a great popularity of mysterious stories, ghost stories, mysteries beyond the natural. This is also the period of The Ring which led to a series both in Japan and in the United States.

When The Grudge was remade in the US, it led to a number of sequels. This particular version harks back to the original story, mysterious events in a house in Japan, and then brings a mystery to the US.

It is made clear at the beginning of the film that there is rage and anger involved in the experience of the grudge, that the anger enters into the house and to people within the house. It can be described as a curse. So, this film opens with an American woman leaving a Japanese house, a great sense of unease, movement in garbage bags outside the house… She then returns home to a loving husband and daughter. The setting is 2004.

The plot then moves to 2006 with a recently widowed detective, Muldoon, played by Andrea Riseborough, moving to a Pennsylvania town with her young son who was about to go to school. Her first job in the town is to accompany one of the detectives, Goodman, Demian Bichir, to the scene of a crash in the forest, a skeleton concealed off a service road that was closed during the winter. Detective Muldoon is puzzled by the situation and finds connections with the house described in various police reports which she studies. Goodman warns her against becoming involved.

The story then veers back into 2005 and even back into 2004, two seemingly different stories but involving the same house, the house where the woman returning from Japan reunited with her family.

One story involves an elderly couple, the Mathesons, Lin Shaye and Frankie Faison, she with terminal cancer, he concerned about her health, bringing in an expert in assisting the dying, Lorna Moody, played by Jackie Weaver. It seems that Mrs Matheson has an imaginary friend, the little girl of the original family. Obviously, ghosts in the house, Mrs Matheson’s mind deteriorating, danger to Mr Matheson – and fear to Lorna Moody who rushes, highly agitated, from the house in fear and crashes in the forest.

Another story involves a real estate agent, Peter Spencer, John Cho and his pregnant wife, Betty Gilpin. They are concerned about the health of their unborn child, experience tension, but ultimately, before the ghostly disaster falls on them, to cherish the child. Peter is in the house of the original couple, sees the daughter – which leads to mysterious deaths.

The cast in these stories is quite strong and so they bring some impact, building up the sinister atmosphere. This is compounded by the strange behaviour of a detective previously involved in the case, Detective Wilson, William Sadler, who was so ineffective that he wants to kill himself and finishes in a mental institution, visited by detective Muldoon. Detective Goodman, has a strong religious sense, and avoids visiting the house in question.

So, where else can the screenplay go but to a final confrontation between detective Muldoon and the mysterious presence in in the house and her determination to destroy it and to protect her child.

As with all this kind of ghost story telling, while it seems to move to a satisfying and happy ending, there is always alarm before the final credits that all is not well.

It is worth putting out of mind and the experiences of the previous versions of The Grudge, and accept this one on its own terms.

1. A remake of the original Japanese film? The Japanese series? The American series? The relationship of this version to the original?

2. The title? The explanation of rage, anger, inhabiting a place and people? The curse?

3. The Japanese opening, Fiona Landers, leaving the house, the movement in the garbage bags, a sense of dread? Return home? Reunited with husband and daughter?

4. The 2004 settings, the movement to Detective Muldoon in 2006, the return to the previous years for the developments in the house?

5. The Pennsylvania town, the homes, the streets, the police precincts? The mental institution? The musical score?

6. Detective Muldoon, her husband dying of cancer, Burke, then moving, his going to school, her going to work? The use of the fear and count to five – and revealing the false Burke later in the story?

7. The introduction to Goodman, their going to the scene of the crash, the crashed car? The mystery? Leading to the house, number 44? Muldoon and her examining the documents, the mystery, Goodman warning her to stay away, his never going to the house? Muldoon and her meeting Mrs Matheson, her wanting to be fed, sinister, the skeleton of Mr Matheson in the chair? The effect on Muldoon?

8. The different time settings? The Landers family? The eventual picturing of what it happened, the death of the husband, the drowning of the daughter, the mother with the knife, killing herself? Her having brought the grudge to the United States? The curse for the family? The curse for anyone in the house, who visited, connected? The reappearance of the members of the family?

9. The Matheson story? Mrs Matheson and her illness, the long marriage, her husband’s care? The house? Mrs Matheson and the presence of Melinda? Her friend? The visit of Lorna Moody, her work and skills, assisting the dying? Her reaction to Mrs Matheson, the imaginary friend? Being called in under false pretences? The anxiety of Mr Matheson? Lorna deciding to stay, to help, doing the shopping, the eerie presence in the supermarket, the flies on the meat? The buildup to Mrs Matheson, her stabbing her husband, saying that he wanted to kill her? Lorna, getting into the car, her fears, crash and her death?

10. The Spencer’s story? Real estate agents? Going to the doctor, the prognosis for the unborn child? The dilemma as to what would happen? Peter, going to the house, wanting to sign the deeds? His return, encountering Melinda, her nosebleed, vomiting blood? His staying with her? The phone calls to his wife? His wife at home, her love for the baby after not wanting it? The peace between the two on the phone? Peter going upstairs, the bath, his death? The visuals of the gruesome death of his wife?

11. Detective Muldoon, investigating the Spencer case? Learning more about the Landers family? Visiting Mrs Matheson? The ambulance, going to the institution, her ascending the stairs, throwing herself down?

12. The discussions with Goodman, his religious emblems in his car, his mother’s house, watching the Jesus film on television, his warnings to Muldoon?

13. Muldoon, the house, the strange man watching, her phone call to Goodman, his taking him away, the explanation? Detective Wilson, his work on the case? His fears, in the car, the attempt to kill himself, disfiguring his face? Muldoon, her going to see him in the institution?

14. The threat to her son, reassurance, the decision to go to the house, his staying in the car, her seeing him in the house and Is Not knowing how to deal with the fear and count to five? Her decision to destroy the house, the petrol, setting it alight?

15. Everything seeming normal, Burke going to school, his mother with him, the real Burke in the background? And the ghostly attack on Muldoon?

16. The plausibility of such a grudge and curse? Of ghostly attacks?

THE COLDEST GAME

Poland, 2019, 96 minutes, Colour.
Bill Pullman, Lotte Verbeek, James Bloor, Robert Wieckeiwicz, Corey Johnson, Nicholas Farrell.
Directed by Lukasz Kosmicki.

After watching this film, the immediate action is to go to Wikipedia to see whether it is based on fact. The director has said that it is not, the commentators say he was remembering chess matches, Bobby Fischer versus Russians.

In fact, one commentator said that this was a fusion of fact and fiction. The facts concerning the 13 days in October 1962 (the subject of a strong film 13 Days with Kevin Costner), the period of the missiles of October, those steaming towards Cuba on the instructions of Nikita Khrushchev, the strategies employed by John F. Kennedy and the averting of nuclear war.

This is a film about espionage, trying to get information about the ships carrying the missiles, the recruiting of a former chess player, now an alcoholic professor, Joshua Lansky (an effective performance by Bill Pullman), to go to Warsaw to be in competition with the Russian, the Russians wanting some prestige. The Professor is reluctant, is drugged and abducted by the Americans, sent to Warsaw, where he continues to drink, experiences some drug and hypnotic experiences, forfeits matches, wins some, does not remember others distinctly.

This is a Polish film and shows Russian activity and espionage in Warsaw. There is a twist asking whether the American recruiter, Agent Scott (Lotte Verbeek) is authentic or a counterspy. There are some friendly Poles who helped the Professor, especially with alcohol, there is an urgent American agent who reveals some information but is poisoned.

The professor finds himself caught up in the espionage, challenged as how to he will act, making contact with the agent who will supply him with the information but there are experiences with double agents and a surprising intervention from a military man who saves the professor. Information is transmitted to Washington. President Kennedy makes a speech. The ships with the missiles turn back.

Not a major film but quite intriguing in its way.

1. History? Speculation? Intrigue?

2. October 1962, the Cold War, tension between the US and USSR, the Cuban missiles? The intentions of Kruschev? The response of Kennedy? Tension, nuclear war?

3. The American settings, Brooklyn, the card game, the professor? The Warsaw settings? The city, the buildings, interiors, the chess game? The American Embassy? The sealed room? Basements, rulings? The musical score?

4. The title, the cold war? The chess competition? Russian prestige? The setting up of the match? The death of the protagonist, poisoned? The use of the professor as substitute? His being used by the diplomats? To get information about the missiles and pass it on?

5. The opening, the game, the flashbacks, the succeeding days, intercut with the tensions about the missiles, the shipping, the plans, the diplomacy?

6. The professor, his character, the past, successor chests? Playing cards, his being set up for scamming money? Agent Scott and her intervention, his refusal, his being taken, drugged, taken to Poland? His mission? His reaction?

7. Agent Scott, in herself, her work, connections, guarding the professor? At the matches, the conversations? The setup, her coming into the toilets, the agent, the agent and her being killed? The military official? The two corks? The question of her being a double agent?

8. The staff of the embassy, the tension? Receiving the professor? The negotiations? Agent White? Young, connections, information, his cover? Warning the professor? His being poisoned?

9. The Polish celebrations, song and dance in the auditorium, the stage, the chess matches, the results, the reactions of the audience?

10. The professor, alcoholic, forfeiting the first game, his mind’s eye and the moods? Drinking, forgetting what happened? The further games, his adversary, wary, the moves, the success of days? Going missing? The socials, the Polish diplomats?

11. The professor, the Polish Communist, his friendliness, getting the alcohol, slipping out of the building, the red card, warding off the police? The professor later having the red card and giving it to the Polish officer and his escape?

12. The buildup of tension, the missiles, Kennedy, the professor and the cork, in the soundproof room, the discussions about which was the genuine message? Transmitting to the US? Kennedy’s broadcast?

13. The Russians and the reaction? The interrogation of the friendly official, the alcohol?

14. The professor, dressed in the uniform, the diplomatic protection against the military and guns? The return to the US? The officer and their meeting? His not wanting to be
looked after?

15. The film and its warning against nuclear confrontation and the final quotation from President Reagan?

THE LIGHTHOUSE

US, 2019, 109 minutes, Black and white.
Robert Pattinson, Willem Dafoe, Valeriia Karaman.
Directed by Robert Eggers.

Quite a lot of critical admiration for this grim film. For many of those who admire the film, it still could be something of an endurance to sit through, a hard film. Which means that the average audience may not have the patience or stamina to stay with it.

There have been a number of stories about isolation on lighthouses, especially a film which was not entirely different although it involved crimes and criminals, Keepers/The Vanishing, with Gerard Butler and Peter Mullan.

Audiences anticipated something different from writer-director, working with his brother, Robert Eggers, because of his striking horror film, The Witch. The director continues in this mysterious vein.

The choice was made to film in black and white and this was rewarded by an Oscar cinematography nomination.

To say that the film is bleak is an understatement. Two keepers arrive on an island, expecting to be relieved a month later. One is a young man, played effectively by Robert Pattinson (though with a varying accent) who is allotted the hard work, the menial tasks, continuous hard labour. The other is an older man, the regular light keeper, also played effectively by Willem Dafoe. He proves himself a hard taskmaster, who also restricts visit to the light at the top of the tower to himself where he behaves very strangely, glimpsed naked by the young man.

On the one hand, the narrative plays directly, the work on the island, the days passing, the interactions between the two men, sometimes friendly, sometimes severe, the young man wanting to go up to the light, the older man forbidding it, also writing in his log which he locks in his desk, tantalising for the younger man.

On the other hand, the narrative has a range of fantasy and imagination, the young man’s discovery of a carved mermaid statue in his bed, imagining seeing the mermaid, her becoming the object of his sexual fantasies and activity. There are quite a number of dreams, at one time his seeing the old man as a kind of sea beast, at another time hauling in a lobster container with a mysterious body…

Eventually, back stories are revealed, the older man not keen on the younger “spilling the beans�. There is a lot of fiction in the old man’s logbook which challenges the younger – but he has quite a back story himself, from working in timber in the North, witnessing an accidental death and its consequences.

And, of course, the relief boat does not come. There is a vast storm, extraordinarily high and swelling waves, cutting the lighthouse off from any venturing ship.

And, of course, there is quite a descent into madness, real, violent imagination, spilling over into vicious and violent action.

This review is to give indications why an audience might want to watch the film – as well as indications as to why they might not.

1. The impact? Admiration? Endurance?

2. The sources for the story, Herman Melville, diaries about lighthouse activity, isolation?

3. The black-and-white photography the use of light and darkness the ratio for the screen? The impact of old-style movies?

4. The visuals, the sea, the vast storms, the island, the house and rooms, the light and the tower, the light mesmerising?

5. The realism of the narrative, the insertion of the dreams? The range of fantasy, imagination? The mermaid? Descent into madness?

6. Arrival on the island? The two, the help? The boat? Settling in? The range of tasks?

7. Winslow, the presence of Robert Pattinson? His age, experience, the back story, working in timber, witnessing the death, Thomas Howard? Taking Winslow’s identity? Going to sea, drifter?

8. Thomas Wake, Willem Dafoe? Age, experience, the past, the assistant going mad, his log, locking it in the desk, his narrative, fiction, taking Winslow to task for his work? Severance without pay?

9. The detail of life, talking/not talking? Winslow not drinking? The meals? Wake as a taskmaster, Winslow lifting the barrel up the stairs, the wheelbarrow in the rain, slipping, painting the wall in the saddle, getting rid of the slops? The hard work, the passing of time?

10. The mermaid in the bed, his imagination, finding the body, sexual imagination, masturbation? Imagining the tentacles?

11. Wake, going to the light, naked, his forbidding Winslow to go, their arguments, the issue of the key?

12. The seagull, attacking Winslow, the issue of good and bad luck, the gull coming again, Winslow bashing it, the blood in the water? The flock? The ending and the vengeance of the gulls on Winslow?

13. The growing tensions, mental pressure, foreboding?

14. The storm, the drinking, digging up the cask, no food? The effect? The body, the mermaid, the former worker?

15. The bonding, talking, sleeping, the attempt to steel the key? Opening the log, reading the documents, the imagination of the lobster trap, the body?

16. Wake, telling Winslow about spilling the beans? Winslow and the dory, the axe, who destroyed it? Each accusing the other?

17. Turpentine, mixed with honey, the effect? Wake as the sea monster? Reality and imagination?

18. The attack, Wake in the grave? Burying Weick?

19. Going to the house, Wake attacking, Winslow killing him?

20. Winslow ascending, going to the light, the door opening, his falling down the spiral stairs? Seeing him on the rocks, the goals picking at him?

21. The blend of fantasy and horror?

MEDITATION PARK

Canada, 2017, 94 minutes, Colour.
Pei- Pei Cheng, Tzi Ma, Sandra Oh,, Don McKellar?, Zak Santiago, Jimmy Chen, Lillian Lim, Alannah Ong, Sharmaine Yeoh, Liane Balaban.
Directed by Mina Shum.

This is a rather small independent Canadian film. However, its themes are interesting, demanding of attention.

It is a story of migrants from China to Canada, a focus on the husband of the family, a maths teacher who found menial jobs in Canada, supported his family, but retained his patriarchal attitude towards his wife, her being a house maker and mother, not learning English. He is alienated from his son and his having an affair at the age of 65.

This is the story of his wife, her being the victim of her husband yet loving him, suspicious about his behaviour, following him, discovering the truth, seeing the woman, eventually confronting her – with the woman shamed and apologising.

Sandra Oh appears as their daughter, a strong woman, married with children, trying to break through to her father and urge her mother to go to the wedding of the son who has been alienated for 10 years.

The mother has a range of older Chinese women friends, going to a gym, going to a park – and even running a business confronting drivers with fees for local parking. Here they encounter Gabriel, Don McKellar?, his wife dying – and whom they befriend, much to the disgust of the patriarchal husband.

The film does not have a completely happy ending, rather showing the unmasking of the father, the happiness of the daughter with her family, the mother breaking free, on the ferry going to the wedding – and the close-up of her, leaving the audience to imagine what will happen.

The title is arresting but there is no reference to it throughout the film, although there are some parks where the women do their exercises and where the wife confronts the mistress.

1. The title? Not mentioned in the screenplay? The parks and what happened in the parks, especially for Maria and meeting the lover? The women and Gabriel and their exercises?

2. Canada, the city, homes, business, the parks and streets, outings? The musical score?

3. The opening, the family celebration, capping and his 65th birthday, the celebration, Maria and her hosting, Ava and her husband and children? Bing’s birthday wish?

4. The couple, their long marriage, coming to Canada? Bing and his jobs, former maths teacher, working for his family? Love for his daughter? The clash with their son, no communication for 10 years? His relationship with his wife? Patriarchal and dominant? His work, absences from home, his liaison with the young woman, the plan to go to Japan? Distance from his wife yet loving her? Late nights and absences? The effect on him?

5. The film’s focus on Maria, her age, dominated by her husband, in Canada, still learning English? Suspicions about her husband? The Dragnet television program? The private eye? The decision to follow her husband? Learning to ride the bike? Watching him, his excuses and explanations? The woman, seeing her in the park, following her? Going to speak to her, the reaction of the woman? The later meeting, the woman and her story, desperate for marriage, the liaison, her apology, being ashamed?

6. Maria and her relationship with her daughter, the daughter and her marriage, love for the children, some tensions? Inviting her mother to the wedding? Her husband’s refusal?

7. The women, the parking and making money? Maria joining them? The encounter with Gabriel, his breaking into get the clients? The women confronting him? Talking with Maria? The story of his sick wife, his desperation, friendship with Maria, organising the party, enjoying the dancing? Bing and his refusal to talk to Gabriel, forbidding his wife to touch him, his sense of public shame? The women and their enjoyment, supportive Maria, the gym and the exercises?

8. Gabriel, the parking, his sick wife, the news of her death? The effect on him, Maria’s support? His joining the women in their exercises and activities? Finding support in his tragedy?

9. Ava, the visit to her father, his reminiscing about the past, the news of the wedding, his looking at the photos, Ava looking at him, confronting him? The reconciliation with her husband and Bing watching out the window?

10. Maria, confronting her husband? His forbidding her to go to the wedding? In the street, pyjamas, pursuing her? Her packing, leaving, defying him?

11. The end of the film, no pat resolution? Seeing Maria on the ferry, her sense of freedom?

12. A strong feminist film, especially for the status and freedom along to women?

NIGHT FARE

France, 2015, 80 minutes, Colour.
Jonathan Howard, Jonathan Demurger, Fanny Velette, Jean- François Lenogue, Jess Llaudin.
Directed by Julien Seri.

Night Fare is a brief drama, not going in the direction that audiences might expect.

The setting is Paris, an English friend returning to the city after two years, meeting up with a local friend, encountering his former girlfriend whom he had abandoned. They party, decide to get a taxi, the Frenchman mischievously refusing to pay and rushing off. Which leads to the taxi driver stalking the two men, threatening them, threatening the girl friend, eventually taking them in his taxi. There is also an interlude with the police to stop the men, taking their money, one refusing to take the stolen money.

Then there is quite a turn in the film, moving into quite striking animations sequences. These tell a myth about criminals, their crimes, being pursued, their atonement, turning into vigilantes whose task it is to drive the taxi, stop crime, and repeat the process of pursuing perpetrators of crimes.

The latter part of the film is unexpected and quite interesting, the close-up of the taxi driver, the flashbacks to his own story and treatment, passing on a book with the animated story and recruiting new vigilantes – the film ending with huge fleets of taxis driving along the Paris streets.

1. A nightmare story? Ordinary characters, destructive behaviour, agility pursuit, the move into the mythical?

2. Paris, the city, vistas, at night, the taxi? The bus station, the streets? Parties? The pursuit and vengeance? The musical score?

3. The transition to the animated narrative? The style of animation? The touch of the sinister? The violent? Mythical?

4. Chris arriving from London, absent two years, Luke and his reaction, Ludovine and her distance? Going to the party, drinking? Chris talking with Ludovine, the phone contact? Leaving the party, the car, deciding to get the taxi? Cocaine, travel, Luc refusing to pay? Chris trapped, leaving his bag, the escape?

5. The taxi driver, seen in the darkness, not saying anything? The refusal to pay the fare, his continued pursuit, stalking the men? They going to the party, the criminal going out, the sword? His death on the footpath? The continued pursuit, the taxi driver taking Ludovine and tying her up, the freeing her? The police, taking the money, dividing it up, the officer who refused – and his later being freed by the driver after his killing the others, the police car, the two men fighting? The dead officer in the back of the car?

6. The finally being captured, getting into the car, Luc being imprisoned? In his cell, naked, tormented, the food? The book being handed over and he’s reading it? Engrossed?

7. The animated story, the mythology of crime and punishment? The involvement of the criminal, his being taken, imprisoned, reading the book, the parallel with Luke?

8. Luke, identifying with the story, the continuation of the vigilantes, each taking the place of the other? Luc and Chris, the flashback to the crime, harassing the homeless man, setting him alight? Chris, alone with his memories and regrets, the burning man?

9. Luc going out, vigilantes, stopping the fight? The visuals of the large fleet of cars of vigilantes?

10. The nightmare, the crime, conscience, crime and punishment, the moral tone?

WHY DID I GET MARRIED TOO?

US, 2010, 121 minutes, Colour.
Tyler Perry, Janet Jackson, Jill Scott, Sharon Leal, Malik Yoba, Richard T. Jones, Tasha Smith, Lamman Rucker, Michael Jai White, Louis Gossett Jr, Cicely Tyson.
Directed by Tyler Perry.

Tyler Perry is prolific film producer, writer, director and actor. He has his own studios. He is a self-professed filmmaker for ordinary audiences, especially the African- American ordinary audience. He has made a number of parody comedies with his character Madaea, a number of explorations of marriage and relationships, some strong dramas including Acrimony and Fall from Grace.

With his aim at reaching the wide audience, some of his dramas contain the elements of soap opera. This is especially the case with this film, a follow-on from his 2007 Why Did I Get Married?

The film introduces us to four couples, friends, their going to the Bahamas for holidays, the surfacing of problems, their meeting an elderly couple who have been married for many decades (Louis Gossett Jr and Cicely Tyson) and finishing their holiday with declarations about their love – leading to one couple talking about divorce.

The soap opera aspects and melodrama occur when the couples return home, difficulty surfacing in their relationships, some bitter confrontations, a sudden untimely death. The film has a strong cast though Tyler Perry’s character is rather laid-back. A lot of the dramatics left to Janet Jackson.

Most of the characters are not without interest, but Tasha Smith as a harridan of a wife makes continual loud impact.

1. The films of Tyler Perry, his contributions, writing, directing, acting?

2. The setting of the Bahamas, the tropical hotel, beaches, holiday setting? The return back home, city, homes, workplaces? The musical score?

3. The focus on four couples, the initial cheeriness, going to the Bahamas, settling in? The surfacing of problems? The finale on the beach, each couple talking about their love? Patricia and Gavin and the announcing of the divorce?

4. The image of happiness and fidelity? The old couple, on the beach, the ashes of their friend, their stories, initially not marrying, the marriage and the bonding?

5. Terry and Diane, ordinary couple, her work as a lawyer, advice for Patricia and her divorce? At home? Terry suspicious, the story of meeting the attractive man, breaking with him?

6. Sheila and Troy, her previous marriage to Mike, then moving from Colorado, Troy unable to get a job, the debts? Having a child? Troy wanting to be independent? Sheila and her interventions, asking Mike to get her husband a job, his anger on hearing this, going to Mike’s apartment, punching him, Sheila there because Mike was diagnosed with cancer? The apologies?

7. Patricia and Gavin, her work as a psychologist, writing the books and publishing? The tension between them? The announcing of the divorce? The session and the dividing of property, Patricia and income from the books, Gavin wanting it all, his years of listening to her? Patricia’s anger? The women meeting her and trying to help? Locking the doors, the men coming to help Gavin? Smashing the glass, Patricia and her tantrum and smashing? The confrontation in the office, the cake, the character emerging? The angers, his getting the car, the crash? Her shock? The grief at the beach?

8. Angela and Marcus, his ability on the television, her being loud, her tantrums? Continually criticising? His putting up with it? The reconciliations? Her continual criticisms? The code to his phone? The neighbour, telling her about the noises? Her tantrum at the television studio? Again with the gun, finding the ground keeper in bed with the woman? Ousting him? Reconciliation with Marcus? His patience with her?

9. Mike, the divorce and Sheila, his coming to the holiday, his continual attentions to Sheila? Her refusal? His agreement to ask for a job for Troy? His cancer? The confrontation? His being with the group, their support?

10. A film for African- American audiences? American audiences? Wider audiences?

EMMA

UK, 2020, 125 minutes, Colour.
Anya Taylor- Joy, Johnny Flynn, Mia Goth, Bill Nighy, Miranda Hart, Josh O' Connor, Tanya Reynolds, Gemma Whelan, Rupert Graves, Amber Anderson.
Directed by Autumn de Wilde.


With this entertaining revisit to England at the time of the Regency, just over 200 years ago, we become very conscious that life in that era was so very different in style and manners from our own. What does a young, contemporary audience make of this immersion in the world of Emma Woodhouse, her father, her friends, the contained society of the village she lived in?


With that said, Emma could be very helpful introduction to the world created by Jane Austen as well as to Jane Austen’s insights into human nature and the edge of her wit and humour.

Watching this film, a thought comes to mind: a subtitle for the story, An Expose of Self-Deception?. Perhaps expose is too much a 21st-century word, but that is what Jane Austen did in her 19th century writing, creating characters who are self-absorbed, deceiving themselves, assuming that they were better than others, interfering in others’ relationships. Of course, that’s what Emma has been famous for 200 years.


It is not so long ago since the previous version of Emma, with Gwyneth Paltrow and with Toni Collette wonderful as Harriet Smith. That was 1996. The year before, moviegoers may well remember how the basic plot and characters were taken from Jane Austen and incorporated into a contemporary American high school situation, Alicia Silverstone presuming to control everyone else’s lives. Rather 20th century condemnation of Emma’s behaviour: Clueless.

But, back to this 2020 version. As with any recreation of the Regency period, costumes and decor are generally exquisite. And the outside sequences, the hills and open green space, the facades of the mansions (with sheep grazing), the local church, the hall for the dance, the haberdashery shop, all create this particular world.

And everything happens in the village. There is no reference to what was happening in British politics. There is no reference to Napoleon and the wars that took place during Jane Austen’s writing career. This is a self-contained world.

Emma is played by Anya Taylor Joy, the opening quotation mentioning that nothing so far in her life had caused any vexation for her. While her mother has died, and her older sister has married, Emma stays at home with her reserved and eccentric father – and, since he is played by Bill Nighy, something most of us enjoy, with all his tics, jerks, facial mannerisms, he is quite eccentric.

The wealthy Emma decides to take on educating one of the young ladies at the local refined school. She is Harriet Smith, played with the right blend of innocence and shrewdness by Mia Goth. Emma thinks Harriet should marry the local parson played by Josh, (as if, seeing him in action, piety and pretension, anybody should marry him but he does get his comeuppance in a very hoity-toity dominating wife). More interesting is the local landowner, longtime friend of Emma Johnny Flynn’s Mr Knightly who continually corrects her, monitors her, which will eventually have to evaporate true love.

There is quite a collection of Jane Austen characters, wealthy, poor, farmers. Miss Bates is a Jane Austen ‘character’ character, impoverished, ungainly, something of a chatterbox, assuming everyone is nice and shattered when Emma, in a key sequence at a picnic, is unthinkingly rude to her. She is played by the excellent English comic, Miranda Hart.

So, Jane Austen’s world was one of the quirks of human nature, funny and irritating on the surface, but Jane Austen often slyly suggesting, even tongue in cheek, that we need to go deeper, that we can identify with the characters – and that this expose of self-deception also targets us, the audience.


1. Audience interest in the world of Jane Austen? A pleasure to meet her characters? To be immersed in this world?

2. The period, English society, the Regency years? (And the background, not mentioned, of British politics and the Napoleonic wars?)

3. The various versions of Emma, from the 1990s, to the adaptation for Clueless? 21st-century version?

4. The strength of the cast, young, old, capturing the atmosphere of Austen characters?

5. The settings, the South of England, the estate mansion, homes, costumes and decor? The range of the score, operatic, light, old shanties, English and Irish songs?

6. The portrait of Emma, at the centre of the story, her age, her family background, death of her mother, living with her father, his eccentricities, the married sister (and the visit with the baby and the exasperated husband)? Emma sure of herself, have experienced having experienced no vexations? Her life and prospects? Not interested in marriage? Intervening in and arranging people’s lives?

7. Mr Woodhouse, Bill Nighy and his eccentricities, diction and mannerisms, sad about the marriages, at home, love for his daughter, reading, experiencing the cold, his disgust at Mrs Weston’s wedding? Yet his shrewdness?

8. Emma, self-deception, her interventions, choosing Harriet, having her at home, influencing the life and manners, interested in her prospects, persuading her not to accept Robert Martin’s proposal, her eyeing the pastor, trying to set up a romance, the painting and the elaborate frame, Emma and the outings with Harriet?

9. Harriet, her age, in the school, the other young ladies, with Emma at home, the Reverend and the set up, her so easily influenced by Emma about Robert Martin, her regrets, her being in love with him? Her innocence and shrewdness? Delight in the experiences? The girls, cutting of the cake, eating the calling? At the dance, the pastor and his neglect of her, Mr Knightley to the rescue, her falling in love, the rescue from the gypsies by Frank Churchill and Emma’s misinterpretation? The effect of Emma on Harriet and her devoted admiration?

10. Knightley, alone in his house, walking to the Woodheads, his wealth, friendship with Emma, yet correcting and monitoring her? His observing situations? The issue of Frank Churchill and Jane Fairfax? Having the reception at his house with the pastor’s wife? The picnic, Emma’s behaviour with Miss Bates, his reprimanding her? His courtesy with offering the dance to Harriet? Emma’s blindness to his charm?

11. Miss Bates, with her mother, her disappointed life, chattering, the letters from Jane, reading them, the behaviour in the shops, reading the letters to Emma, Emma and her disdain but courtesy? Jane’s visit, the piano recital, Jane and the secret with Frank Churchill? Some rivalry with Emma?

12. The Westons, Miss Taylor and her getting married, Mr Woodhouse’s disapproval, the wedding, Mr Weston, his son taking a family name, Frank Churchill? Frank and his arrival, looking after his aunt? Helping Harriet? Charming with Emma? Her misinterpreting him? The secret of his relationship with Jane?

13. The parson, officiating at the weddings, the touches of satire and sardonic sending up of the parson? His manner, encountering Harriet, the issue of the portrait, the doors for the framing? His infatuation with Emma, her not even noticing? His leaving, getting a wife in six weeks, her return, her dominating and superior manner, Mr Weston at the dance? The parson and his rudeness to Harriet?

14. Robert Martin, the farmer, his family, the proposal, Harriet and her devotion, influenced by Emma? The refusal? The consequences? The second chance, Emma seeing the error of her ways, encouraging Harriet? The proposal, the happiness in the open fields?

15. The picnic incident, Miss Bates, chattering, the setting up of the game, Emma’s rudeness, insensitive? The group taken aback? Miss Bates being hurt, controlling herself, excusing Emma?

16. Emma, Knightley and his making her realise what it happened, the basket, visiting Miss Bates, Miss Bates and her excuses, happy with the apology?

17. Knightley, his visits, the discussions with Harriet, their realising that they loved each other? Mr Woodhead, the reading, getting the servants put up the screens?

18. Jane Austen, human nature, surface, deeper, eccentricities and quirks, dramatising them, sly satire? And expose of self-deception?

MIDWAY

US, 2019, 138 minutes, Colour.
Ed Skrein, Patrick Wilson, Woody Harrelson, Luke Evans, Mandy Moore, Luke Kleintank, Dennis Quaid, Aaron Eckhart, Keean Johnson, Nick Jonas, Etaushi Toyokawa.
Directed by Roland Emmerich.

2020 sees the 75th anniversary of the end of World War II, the collapse of the ambitions of the Nazis and the Third Reich, the dropping of atomic bombs on Hiroshima and Nagasaki, the surrender of the Japanese. It may be a year in which audiences will be seeing World War II films.

And this immediately the case with Midway.

At some moments during the action of this film, Oscar-winning film director, John Ford, is seen with his cameras filming an air clash, under fire – the result of which was his 18 minute documentary, Battle of Midway, Ford was billed as Lt Commodore John Ford U.S.N.R, and the footage was edited, narrated by his Grapes of Wrath stars, Henry Fonda and Jane Darwell. Interestingly, over 30 years later, Henry Fonda played Adml Nimitz in the 1976 Midway. Ford’s film won the Oscar for Best Documentary, 1943. The incident in this present film is a pleasing tribute to him.

This film has been directed by German director, Roland Emmerich, who has had a very successful career in the United States, especially with big budget spectacles from Godzilla to The Day After Tomorrow and two Independence Day films. He brings his skills to bear with the spectacle of both Pearl Harbour and Midway. And, he has vast resources for special effects to immerse his audience in the experience and the action, the air, on the sea, under the sea.

In fact, at the beginning of the film, he has a vivid re-creation of the Japanese attack on Pearl Harbor, the suddenness, the intensity, the incessant bombardment, the sinking of the fleet, the many deaths. This sets the tone for the rest of the film and American action against the Japanese in the first six months of 1942. (When one looks at Japanese attacks from India down to Australia across to the Philippines the first half of 1942, it is amazing to see how rapid was the Japanese action at this time.)

While there are some fictitious aspects to the story, and some rather ordinary and expected sequences and dialogue, it is the background and the war action that is important. The film uses real-life characters, intelligence agents, admirals, sailors and pilots. And, at the end, there are photos of each of the central characters and some information about their war activity and in the aftermath of the war.

Which means then that we see Admiral Chester Nimitz, in charge of operations in the Pacific, Admiral Halsey commander of ships in active service, James Doolittle and his mission of dropping bombs on Tokyo as early as 1942 and his crash landing in China, Edwin Layton, Naval attache in prewar Japan, warning about a possible attack at Pearl Harbor and this being bypassed, his skills in determining that there would be a confrontation at Midway. There is also his assistant, a decoding genius, Rochefort. These characters are played by, respectively, Woody Harrelson (disconcerting to see him with thick white hair but realising at the end this was exactly Admiral Nimitz), Dennis Quaid, Aaron Eckhart, Patrick Wilson, Brennan Brown.

There are also some portraits of lower ranks, especially Dick Best, over-cocky in his young days, having to take on responsibilities when he was put in command, the only pilot during World War II who sank two ships on the one day. His played by Ed Skrein. Luke Evans, Keean and Nick Jonas (heroically dragging a large bomb to prevent it exploding on the carrier) as well as Mandy Moore as Dick Best’s wife, round out the cast.

While the film gives great deal of attention to the Americans, there is also a great deal of attention given to the Japanese, quite a large Japanese acting cast, to Admiral Yamamoto, to the other Naval leaders, their skills, their mistakes, their kamikaze daring, their shock at losing at Midway.

It is no bad thing to revisit some of the key battles and encounters of World War II.

1. Audience knowledge of World War II, the Battle of Midway? America and Japan? Pearl Harbor? Midway?

2. The different versions of the battle, the homage here to John Ford and his documentary? The 1970s version? 21st-century retrospect?

3. Audience knowledge, the explanations in the screenplay, dates, times, strategies?

4. The visual impact of Pearl Harbor, the recreation, the special effects, deaths, the cost, disbelief, comrades dying, the sinking of the ships, the episode of the burnt hands on the rope? Roosevelt’s speech? Yamamoto listening to it, turning it off? The sleeping giant confronting Japan?

5. The introduction to Layton? In Japan, Naval Attache, knowing Yamamoto, their conversation, the impending war? Yamamoto, his American education, skills? His rule during the war? The motivations for Pearl Harbor and the attack? War?

6. The range of actual characters, their portraits, heroism, strategies, achievement? The final photos and the history information?

7. Intelligence, Layton, his role, his abilities, character? The family relationships? His warnings about Pearl Harbor, not believed? At work, his capability, his collaboration with Rochefort, the men from the band and the sunken ship? Decoding skills? The hidden clues? Rochefort and his analogy explanations of the wedding and the background information? The effect of the intelligence, prepared for Midway?

8. Admiral Nimitz, Woody Harrelson and his impersonation, the appointment, his discussions with Layton, going to Hawaii, the discussions with Rochefort? His decisions, their basis, consultations, his achievement?

9. Halsey, his nickname Bull? His command, personality, tough, with the pilots and their strikes? His shingles and his being in hospital?

10. The focus on Dick Best, his experience, cowboy attitudes, his angers, his grief at the deaths at Pearl Harbor, finding the corpse, the ring? His relationship with his wife, daughter? Her strong personality, asking questions about his promotions? The meal, with Mc Cluskey, the dancing? Skill as a pilot, his missions, his abilities, daredevil? Halsey promoting him? His various friends? His care for Murray, allowing for his fears, taking him as his wing? His exercise of authority? The finale, the caustic soda, his perseverance and success?

11. The individual sailors and pilots, Bruno, his heroism in stopping the bomb? His being taken, in the raft, the anchor and the torture, the cigarette? Mc Cluskey, the initial clashes with Best, flights, his being wounded?

12. The intelligence about Midway, the Japanese, the preparation, the range of ships? The armaments? The American strategy, repairing the York, its sailing to Midway? The range of planes, dive bombers? The battles, the strafing, the bombings, torpedoes, the destruction, the offices going down with their ship? Japanese loyalties?

13. Doolittle, the preparation for Tokyo, the bombs, the difficulties, taking off, detonation in Tokyo? The crash landing, being taken by the Chinese, the interpreter, the cigarette lighter, Japanese humiliated – and the final information about the thousands of Chinese killed because of the Doolittle raid?

14. Americans and Japanese under fire, planes, flights, dangers, flames? The submarines and the torpedoes?

15. America, the achievement, the trap of Midway? The Japanese and their being wounded in the war? The background of the Battle of the Coral Sea? The background of the taking of the Philippines?

16. The ordinariness of the dialogue, contrasting with the action and effects of the battles?