Q & A

US, 1990, 137 minutes, Colour.
Nick Nolte, Timothy Hutton, Armand Assante, Patrick O' Neal, Lee Richardson, Charles Dutton.
Directed by Sidney Lumet.

Q & A is a Sydney Lumet film about justice when law and order is in disarray. Ambition, corruption and violence prevail - especially in New York City. Lumet has adapted the screenplay himself from a novel by Judge Edwin Torres (who was a judge in New York City and Lumet's advisor for Prince of the City). It is in the vein of his 70s police films Serpico and Dog Day Afternoon as well as the 80s Prince of the City. It is very grim.

Nick Nolte is believable as the psychopathic and brutishly crooked cop. Timothy Hutton gives an excellent performance as the earnest, to-be-disillusioned lawyer. Armand Assante is also excellent as the local Hispanic hoodlum tycoon. In fact, the film is very well-made, small parts acted particularly well (for instance the Jewish lawyer, Hutton's advisor friend, Patrick O' Neal as the smooth political operator). The film takes us into a dark, selfish, exploitive, racist, crude, foul-mouthed world - and Torres and Lumet are pessimistic about the future.

1. The title, the processes of law, the role of the police, law and order?

2. The work of Sydney Lumet, his interest in justice, police, crime? A film of the 80s and 90s? Pessimism?

3. The authentic use of New York City locations: the police precincts, the various districts of New York, Times Square, nightclubs, the Hispanic sections? The use of Miami? Puerto Ricco? Musical Score? Song?

4. Mike Brennan and the opening, the killing, audience revulsion at the brutality? His setting up the witnesses? Pressurising them? Using his badge? Telling the various stories to the fellow police - and his crude tone? Al listening to him? His wanting to be pals with Al? Genial side? The Q & A process, the clarity of his answers, his lies? The bond with Quinn and Quinn's smiling? The enigma of the cover-up? Audience expectations for the conflict? Brennan in himself, personality, psychopathic? Motivation for being police? For jaw and order? The card dragged from the river and his pressure on Al? His plea with his friend Chapman - and the implicit racism in his relationship with the black officer? His threatening of Val at the video shop in front of his children? In Times Square and his brutality with the prostitutes, transvestites? The pursuit of Roger? Chapman tailing him? His link with the prostitutes, in the apartment, murdering the prostitute? His going to the Mafia bosses and wanting protection? Listening to the answering service, the information about Roberto Ricco, going by plane and following Al? The confrontation with Roger, the sexual invitation - leading to murder (but indicating Brennan's own sexuality and inhibitions)? Killing Roger, the explosion of the boat? The return to new York, confident? Going berserk in the office, shooting? His shooting his friend Chapman? The back ground of the Irish police, bigotry and racism, emphasis on (white)? The blue of the police? Belief in law and order? His relationship with Quinn, his being used for political purposes? Symbolic of corruption in the New York police force?

5. Quinn, his orders for AI, neat and tidy. sense of menace, ordering AI in his investigations? The link with Brennan? Expectations of procedures, being thwarted? Expressing disappoint with menace, inviting Al to dinner, the outline of his political campaign, emphasis on wealth, the Jews? His PR men? Threatening Al? Bobby Texador and his story about the young Quinn, his violence and brutality? The possibility of exposure? Bloomenfeld and the decision to let Quinn go (expecting him not to win office)? The portrait of office seekers in New York State?

6. Timothy Hutton as Al Reilly: waking up, being asked to take on the case, seeing the issues from his prospective, eager and innocent, going to Quinn, agreeable, listening and laughing at Brennan's stories, one of the boys? The Q & A process and its clarity, his self-satisfaction? His relationship with Chapman and Valentin? The banter, the process of inquiry? His friend ship with Bloomenfeld, idealist, giving him information? Learning from him? The hearings and the reaction of Preston Pearlstein? His winning out over the witnesses? The interrogation of the Mafia types, throwing the book at them? Attitudes towards Bobby Texador? Finding Nancy at the interrogations? Bobby and his threats? The effect? His own doubts? The memory of his father and his respect for him? Obeying Quinn? Learning from Chapman and Valentin? With Nancy and moving to a more serious approach? The story of his relationship with Nancy, his hurting her, her background and her-father? His discovery of his own racism? Seemingly irrevocable mistake? Brennan and his threats? Brennan's other threats and Al hiring them? Continuing to get advice from Bloomenfeld? Tracking down the witnesses, the information to go to Puerto Rico? Hearing Quinn's story from Bobby? The early hour sitting? The shootout in the office, his being hurt? The cover-up, Bloomenfeld's stance, his disillusionment? His own methods, going to Puerto Ricco, the confrontation with Nancy, wanting to be with her? The support of her mother and his interviews with her? A future?

7. Bloomenfeld, 30 yrs experience, attempts for justice, wise advice, finally playing things safe, helping Al not to be injured, his final-words - and the disillusionment?

8. Chapman, the black detective, friendship with Brennan, Brennan saving his life, blue being more important than black? His skills, friendship, his approach to the case? Following Brennan and knowing the truth? Giving the information to Al? Not wanting to hurt Brennan - and the irony of his being shot by him?

9. Valentin and the Hispanic style, manner, speech? Relationship with Bobby, the confrontations? Working undercover? Yet the family man? Going to Puerto Rico, his honesty to Al? The Hispanic police in New York City?

10. Bobby Texador and his background, success, the gangs, the story about Quin and the gangs, his relationship with the Italians, spurning them, using the homosexuals and the transvestites? At the nightclubs and the confrontation with the Mafia Love for Nancy, marrying her? His taking Roger to Puerto Rico? Money issues? The setup for his murder and his outwitting the Italians with his Cuban bodyguards? Roger's phone call at Brennan's behest, going to the boat, the explosion? The picture of the arrogant Hispanic gangster become tycoon?

11. The Italians, the tradition of the Mafia, their bigotry, anti-Hispanics? The witness questionnaire and Pearlstein and his clients? The Italians at the club and their despising of the Hispanics? The Mafia boss and his home, his hold over Brennan, drug deals and money? Sending the killer to Miami to set up Bobby Texador?

12. Nancy and her background, her Hispanic mother, black father? Love for Al? Her story about her disillusionment in seeing the look on his face? With Bobby, love, security? Silent at the interrogation? AI following her, the car ride and the discussion, the visit to her mother? Her stories about losing love? Supporting Bobby? At the end on the beach - the possibility of forgiving Al?

13. Nancy's mother, Al's visit, his going back to the mother, the discussions about the racism and Nancy's hurt, her supporting him?

14. Quinn's campaign, his PR men and strategists? The role of the police? The District Attorney's office and Bloomenfeld, protection for Al, the collection of information? The early morning sitting? Their decision not to prosecute? Wheels within wheels?

15. The glimpse of the New York City precincts, the police, the range of backgrounds, racial and religious tensions? Good humour? Brutality? Law and order?

16. A picture of New York at the end of the 80s, crime, drug-dealing, vice, violence, power? A pessimistic viewpoint?

VICTORIA & ABDUL

UK, 2017, 112 minutes, Colour.
Judi Dench, Ali Fazal, Tim Piggott- Smith, Olivia Williams, Michael Gambon, Simon Callow, Eddie Izzard, Fenella Woolgar, Adeel Akhtar, Julian Wadham.
Directed by Stephen Frears.

Lest anyone think or suspect that this picture of Queen Victoria is a throwback to 19th century ra-ra Empire days and glorification of the Victorian era, there is quite a lot of Britons satirising themselves and their past in the early part of this film.

Yes, it is a picture of Queen Victoria. One might say that it is something of a warts and all picture, highlighting how crusty she could be but also how lonely she could be in her record-breaking long reign. And, since she is played once again by Judi Dench, the impact on the audience is particularly strong. In searching for a word to describe Judi Dench’s performance, this reviewer would decide on the word “perfect�.

The title is something of a surprise except for those who are experts on the reign of Queen Victoria. The opening of the film says that it is based on real events and then adds “mostly�. A look at the rather long Wikipedia entry about Abdul Karim shows that the events in the film and the characterisation seem to be quite strongly true to life.

We know who Queen Victoria is from the many films about her reign. In 1997 we even saw Judi Dench, in an Oscar-nominated performance, as Queen Victoria in Mrs Brown and her strong friendship with the Scotsman, John Brown. In this film, John Brown has been dead for some time and there is an emotional hole in the heart of Queen Victoria. She has little satisfaction from her children, considering her rather profligate oldest son, Bertie (to be Edward VII) as an embarrassment. She has affection for some of the servants but the official members of her household seem to be career servants.

So, who is Abdul (very empathetic Indian actor, Ali Fazal)? He is a rather genial Moslem from Agra, a clerk in a prison, filing names and dates. He has given some opinions about a carpet sent to England for Queen Victoria’s Jubilee. He also has the advantage of being tall and so is chosen by British officials to go to London to present a special caulling to the Queen. He was to have the tall companion but this man had an accident with an elephant and so a rather shorter man goes, Mohammed (a very good comic role for Adeel Akhtar) who finds it very difficult going to England, being there, finding the food and manners barbaric, longing for home, but able to criticise England in a British terms, a bloody terrible place.

At this time, Victoria is nearing 70, describing herself as a crusty, greedy old lady, fat but an inordinate love for power. She has servants galore, to dress her, to wait at table for ambassadorial functions (and the banquet scene with all the servants and livery, the cooks in the kitchen, the little boy running up the corridor with announcements, is enough to stir aggressively socialist attitudes in the audience). And there are rituals, especially for the presentation of the medal with strict instructions not to look at the Queen.

Abdul does.

The Queen is interested in him, attracted to him, favours him, having him as an advisor, teaching her Urdo, appointing him her Munshie, religious mentor. And the friendship becomes closer over the years, allowing him to go back to India to bring his wife and mother-in-law, wearing burkhas, allowing him more access to her presence than many of her staff, taking him to Scotland and Balmoral and picnics in the Highlands, for a visit to Florence (and a meeting with Simon Callow as Puccini, truly hamming it up).

The film becomes more and more serious as it progresses, especially with the Royal household becoming more and more antipathetic to Abdul, insulting and racist in their comments and behaviour, conspiring to dishonour him in the Queen’s eyes, invoking Bertie (Eddie Izzard) who certainly does not approve of his mother and her seeming insanity.

This makes the drama all the more interesting, offering insights into the work of the Queen as head of state, her state duties and responsibilities, her decisions, the influence of the Prime Minister (Michael Gambon), the head of the household, Sir Henry Ponsonby (Tim Piggott- Smith).

The film moves to the death of Queen Victoria in 2001, the reaction of Edward VII to Abdul, Abdul and his return to India and his complete loyalty and devotion to the monarch who favoured him.

Given the Muslim ascendancy in today’s world as well as fears of and antagonism towards Muslim asylum seekers and refugees, this is a timely entertainment to alert audiences, especially Western audiences, to prejudices and intolerant behaviour.

The film was written by Lee Hall, who also wrote Billy Elliot, and directed by Stephen Frears who directed The Queen and directed Judi Dench as Philomena. It is quite sumptuous to look at. It is often very funny at the expense of upper-class 19th century aristocrats. It is serious in its reflections on the role of the British Empire, especially its presence in India, it is exploitation of Indians and the move towards independence.

In all aspects, it is very interesting and enjoyable.

1. The appeal of the film? Queen Victoria? The British Empire and later Commonwealth? India? Portrait and critique?

2. The cast, the writer, the director?

3. 1887-1901, the end of an era, the death of the Queen? The place of empire? Yet the movement towards India and independence?

4. Audience knowledge about Victoria, Albert, Mr Brown, the Prime Ministers, her children, Bertie to become Edward VII, the descendants, the Kaiser and other royalty in Europe? The introduction sequence of these children to Abdul?

5. Queen Victoria, Judi Dench’s performance, appearance, costumes, in the privacy of her room, sleeping and getting up and dressing, in public, the meals, diplomacy? The visit of the prime minister? The box, her household and the detail? Her being on the move, going to Scotland and Balmoral, the Isle of Wight, her manner? Her memories, her loneliness, her self-description of her faults, but not insane? A powerful woman – with a strong will?

6. 1887, the Queen’s Jubilee, the gift of the carpet from India, the presentation of the calling? Being the Empress of India, and not going there for fear of assassination? Abdul and his setting, a clerk, the names of the prisoners, his advice on the carpet, his being tall, chosen to go to England? The background in Agra? The trip, the cold, the food – and the character of Mohammed? His not wanting to be in England, short, not getting the cushion, on the outside, seeing the British as barbarians, their food, the arrival at the harbour and the beggars? His sardonic remarks, swearing about the English? Illness, supporting Abdul, his death, Abdul’s grief and being sorry?

7. India, the British occupation, calling people idiots, their business interests, the background of the mutiny? Hindus and Hindi, Muslims and Urdu? Muslim history and culture and beauty, the Taj Mahal? The role of women, the wife and mother-in-law, and wearing the burqa?

8. The ceremonial, Victoria dressing, the meal and her boredom, the vast number of servants, the kitchen and the preparation of the meals, the rehearsals, the rituals, the men in livery, the boy running with messages along the corridor? The ritual of the presentation of the gift? The injunction not to look at the Queen?

9. The household, the master of the household and the rehearsals? Fussiness and precision? Sir Henry Ponsonby, his character, his role? Dr Reid and his concern, the Queen and her health, her motions? The Queen’s concern about Abdul’s wife and fertility? The maid and the variety of women dressing the Queen? Mrs Churchill and her snobbery? Miss Phipps, her enjoying things, yet her being chosen to speak directly to the Queen, her humiliation? The detail of life reality, dress, formality and presence? The sequence of the tableau? The arrogance of the staff and their insults? Racism?

10. Abdul and the Queen, her interest in him, her enquiries, their talking, the discussions about the mango – and it finally arriving and being off? Abdul and the privacy of the Queen’s room, with her box of documents, ousting others, his becoming her confidante? In Scotland, the meal, the scratchy clothes? The rowing and the water? Her explaining herself to him? Her loneliness? The discussions about Urdu, her lessons, her delight in the language? The imagery of the beauty and the carpet? His explanation of the Munshi, and his not being a servant but a mentor?

11. Getting his wife, the mother-in-law, the burqa, the doctor, his only seeing the tongue? The doctor examining Abdul and discovering gonorrhoea? To be used as an argument against him? And the Queen saying the doctor should heal him?

12. Bertie, his age, heir to the throne, waiting for his mother to be ill and die, spending time at Monte Carlo, his life, expectations of him, profligate, an embarrassment to his mother, his agreement with the household, his death dislike of Abdul, trying to get rid of him?

13. Victoria, power, her willpower? The speech of Miss Phipps? Victoria defying the household, challenging them?

14. The visit of the prime minister, his advice to the queen, his bewilderment about what was happening with the household, with Abdul, wanting the Queen to get rid of him?

15. The Queen and the knighthood, the revolt, her stating that he would be made a Commander?

16. Abdul as companion, confidante, kissing her foot, absolute devotion, her illness, standing at the door, the household finally letting him in, the final talk and the eternal banquet?

17. Victoria dying, her achievements?

18. Bertie, becoming king, burning Abdul’s possessions, sending him back to India? Abdul in India, in Agra, his reverence for the Queen’s statue, his death?

19. Characters and interactions, profiles of characters, glimpses of history, insight recreation of the period?

MEMORY: THE ORIGINS OF ALIEN

US, 2019, 95 minutes, Colour.
Directed by Alexander O. Philippe.

This film was released on the 40th anniversary of Ridley Scott’s classic, written and imagined by Dan O’Bannon?, Alien. Alien made an extraordinary impact in 1979, a different kind of science-fiction film, not a close encounter in the benign sense, but the hostility of aliens and human coping.

The documentary is primarily for those who appreciated the film Alien as well as those interested in the developments of science-fiction in film, from the B-budget films prior to the 1970s, who the moving to A-listing from the 1970s.

However, it seems as if the diehard fans of Alien have not been pleased with this film. Some bloggers attack it for not saying anything new about their beloved film. Some are highly critical that Sigourney Weaver is not one of the interviewees (while Veronica Cartwright gets quite some attention, Tom Selleck offers comments and there is a brief comment from John Hurt). There is also quite some criticism of some of the talking heads, and there are many, the historians of film, the social historians who explore texts and subtexts in quite some detail, explorations of myths both past and present – some finding that there reflections are too esoteric. There are quite some discussions of patriarchy, women’s issues, praise of Ripley, explorations of sexual experience, pregnancy, giving birth, especially by a male character. There is also some discussion of the robot character, Ash, and his being programmed to evil.

With those opinions in mind, cinemagoers and those who have seen Alien over the years (as well as the several sequels and the renewed interest from original director, Ridley Scott, with Prometheus and Alien Covenant in more recent years) will probably find a great deal of detail and interest.

Introducing the film is the widow of writer Dan O’Bannon?, who wrote the original screenplay as well as quite a number of variations on the Alien theme. On the one hand, his interest goes back comics. On the other hand, the film goes back also to ancient Greece, Delphi and the Fates. Also of interest is the material on the Swiss inventive illustrator, H.R.Giger, especially concerning the emerging creature – and some discussion of painter, Francis Bacon, and his autobiographical imaginings and suggestions of monsters.

The film gives great attention to sequences from the film, especially the visuals, building it up with the explanations of how it was set up at length and filmed, of the creature emerging from John hurt’s chest.

One of the other advantages of the film is that Alien is placed in the context of some of the small-budget films of the 1960s (especially the Roger Corman-produced Queen of Blood which seems to have been a strong influence on O’Bannon). There are clips from of the films. And, a number of the cinema experts have quite a lot to say about the technical blocking of sequences, the photography and editing.

The director, Alexandre O..Philippe, has also made documentaries on other films including Hitchcock shower sequence from Psycho and on William Friedkin and The Exorcist..

THE GOLDFINCH

US, 2019, 149 minutes, Colour.
Ansel Elgort, Oakes Fegley, Nicole Kidman, Jeffrey Wright, Luke Wilson, Sarah Paulson, Denis O’ Hare, Aneurin Barnard, Finn Wolfhard, Willa Fitzgerald, Ashleigh Cummings, Robert Joy, Boyd Gaines.
Directed by John Crowley.

This is a cinema piece of contemporary Americana. It is an adaptation of the Pulitzer Prize-winning novel by Donna Tartt, a book of over 700 pages condensed to a film of 2 ½ hours. Perhaps response to The Goldfinch will be similar to responses to well-liked novels. Some will decry the treatment and the omissions. Some will praise the ability of bringing the characters and main themes to the screen. And these responses have been those of both critics and the audiences.

This review is based on the film itself, the reviewer not having read the novel or knowing much about it.

So, a 2 ½ hour American drama with some interesting and arresting characters, and a cast which offers strong performances and interpretations of their characters. In one sense, the story is small, focusing on a family and some friends. In another sense, each of them is symbolic of aspect of American life.

There are two time eras in the film. And they are intercut throughout. The Goldfinch is the story of a boy, Theo Decker, whose mother is killed in a terrorist explosion in a Museum. The early part of the film, while introducing the older Theo, is concerned about the boy and his story. The great advantage of this part of the film and its impact is the performance by the young actor, Oakes Fegley, suffering bewilderment and grief at the death of his mother, always blaming himself, a well-mannered boy who is taken in by the family of a school friend where he finds some consolation, friendship, love.

It comes as something of a shock when his absentee father, recovering alcoholic, turns up with a girlfriend and Theo has to go to live with them out west – but, he is able to survive the disruption and becomes very friendly with a young Ukrainian migrants from school, Boris, who leads him astray in terms of recklessness, drugs and drinking, rebellious behaviour…

So, with this background, we then get to know the older Theo, played by Ansel Elgort. Earlier we had seen Theo with a friendly furniture restorer whom Theo had got to know after the explosion and contact with an art dealer, wounded and dying who urges him to take a painting from the rubble to the furniture restorer, Theo making friends with the little girl who had accompanied the dealer.

So, after an immersion in the life of a rather affluent family in New York, an immersion in the desert suburbs in the Western states, we return to follow Theo’s adult life, of the prim and proper, bespectacled restored furniture salesman (drug-taking) and the complications of threats of exposure about the painting, which is The Goldfinch, from an insistent businessman, his rediscovering the family that cared for him in the past, the possibilities of marriage, visits from the young girl from the terrorist attack. And, the reappearance of Boris and some explanations of how The Goldfinch was at the centre of so many of Theo’s anxieties and troubles.

Oaks Fegley, as has been said, is persuasive as the young Theo. Ansel Elgort is somewhat enigmatic as the older Theo. And there are fine performances from Jeffrey Wright as the restorer, Luke Wilson as the unreliable father, Sarah Paulson as his rather slatternly girlfriend, and Nicole Kidman as the mother who took Theo in, looking immaculately presentable in her younger days and rather matronly in the latter part of the film. The director is the Irishman, John Crowley, who made another American saga, Brooklyn.

1. The title? Painting, the bird in close-up? The painting is history, Holland in the 17th century? The reputation of the artist, the artist’s death? The painting preserved, the terrorist attack in the Museum, the painting survival, then taken by Theo, the consequences?

2. A piece of Americana, the wide scope? Characters and interactions? The original novel, Pulitzer Prize, its size? The adaptation for the screen, the drama and melodrama, resolutions? The running time?

3. New York City, the museum, Hobie and his furniture restoration studio, apartments, streets? The contrast with the West, the encroaching desert, the suburban homes, the banks taking them back, schools, interiors? Amsterdam, the hotels and bars? The musical score and its range?

4. The structure of the film, the framework of the present, going back into the past, the two actors for Theo? Intercut, sense of continuity? Each period, costumes, decor, moods? Dreams?

5. The original situation, the Museum, Theo outside, his mother’s death, the terrorist, the consequences? The indication of the Goldfinch theme?

6. Theo, in himself, his poise, presentation and manners, grief, blaming himself? His friendship with Andy, the decision that he should go to Andi’s family? The mother, her poise, her care, the father, the meals, discipline, the rebellious son, the two siblings and their taunting Theo? Theo adapting to this life?

7. The arrival of his father, the separation from his wife, his drinking, Xandra as his new girlfriend, her vulgar touch? Theo’s reaction, living with them, packing, going to the house, the Western states, the desert, the isolation? With his father, his father and the betting, probabilities? Bonding? Xandra and her presence in the house, Theo not liking her, the local work?

8. School, the teachers, the meeting with Boris, their talking, the friendship, sharing, secrets? Boris and the Ukraine, his story, his brutal father, the father’s absence? Sharing, the issue of drugs, drinking, the bonds, the Thanksgiving celebration?

9. Theo and his father, his father wanting money, the business proposition, getting Theo to phone the executor, money not forthcoming? His anger, in the car, his death? Xandra’s reaction?

10. Theo, with Boris, his, coming home, getting the news, his reaction? His decision to leave? Wanting Boris to come with him, Boris’s hesitation? Packing The Goldfinch in the paper, his keeping it and treasuring it, the bus and his travel?

11. Hobie, sympathetic, furniture restoration, testing Theo and his recognition, the explanation of originals and reproductions? His staying with Hobie? The screenplay passing over his teenage years, college? His working with Hobie, salesman for the restored furniture? Yet his taking of the drugs?

12. The businessman, the puzzle about the painting, accused of selling the fake, the blackmail about the picture?

13. Hobie, his character, the link with the dealer and the terrorist attack? Theo going to him? The link with Pippa?

14. The chance meeting with and his older brother, meeting their mother, reunited with the family? The sad story of Andy, mental illness, his collapse? The mother’s grief, having become older after being a woman of great presence in poise?

15. Pippa, the past, the connection with Hobie, her going to England, her visit with her partner, the later return to New York, the sadness, Theo and his attraction?

16. Meeting Kitsey again, her change of heart, having taunted Theo in the past? In love, the buildup to the engagement, the social? Theo seeing her kiss his former friend? The confrontation at the party, her reaction, Theo and the news about the painting and his leaving?

17. Theo and his drugs, the phone call for supply, going to the bar, the encounter with Boris? Boris and his explanation, the drug deals in Miami, news of the painting, it is being used as collateral? Theo and his shock, grief at unwrapping and finding the painting gone?

18. Boris, the suggestion to go to Holland, meeting with the crooked dealers, the confrontation, money issues, the shooting? Giving the police the information about the headquarters, the recovery of other artworks, regaining The Goldfinch?

19. The returning home? The painting given to the Museum? His taking the mother and their touring the Museum, memories of his being with his mother, the memories of the dealer wounded in the explosion, rescuing The Goldfinch, urging to go to Hobie?

20. The finale, the two couples, the past and the future?

BUOYANCY

Australia, 2019, 93 minutes, Colour.
Sarm Heng, Thanawut Kasro.
Directed by Rodd Rathjen.

This is an issues film. And, it is a very strong issues film: contemporary slavery and exploitation in Southeast Asia. In fact, the audience watching experience some rather grim sequences which will need some buoyancy to keep watching and reflecting.

While the dialogue of the film is in the languages of Cambodia and Thailand, it is an Australian production, the director growing up in Victoria and making a number of short films, here making his feature debut. Buoyancy has won a number of awards, including the Ecumenical Award at the 2019 Berlin Film Festival.

While the film is a narrative, its attention to detail in the lives of families in Cambodia, the people smugglers, the harsh regime on the fishing trawlers off the Thai coast, it could also serve as something of a documentary expose of its situations.

The narrative becomes more personal as the audience is introduced to a 14-year-old Cambodian boy, Chakra (Sarm Heng in his only acting role so far) carrying a sack of fertiliser which he then throws out on to the rice fields. He works with his family in the fields, going to their meagre home, angry with his father for having so many children, unwilling to work for his brother, yet going out to play football with his friends. But, he decides to leave, expecting to get a better job and some pay working in a factory.

We know that this will not happen. There is an ugly picture of how the people smugglers work, lining up their customers, demanding money, cruel when the money is lacking, cramming people head to toe in trucks under tarpaulins, delivering them to the wharves in Thailand, their immediately having to empty the barrels of fish from the local trawlers. And, no factory. Slave labour incessantly on the trawler, sorting the fish, picking out a large one to offer to the captain, swirling the decks to clean them, cramped sleeping quarters, having to get the rice out of a container with a mug. Day after day, day after day.

So, we see Chakra and we see through his eyes, dismay, disappointment, some anger, some underlying rage, especially with the way that a friend he met on the way who is looking for money for his family is treated by the captain and his assistant, his mental state disturbed – leading to his death, although he had proclaimed a number of times that on the trawler, they were already dead.

The captain is often all smiles even as he is cruel, as is his assistant. The captain explains to Chakra that his young life was similar to his, though harder, and he takes a shine to Chakra, expecting him to follow in his footsteps.

There is quite some violence in what is to follow, Chakra both angry and shrewd.

So, the audience spends most of the film at sea, observing the workers, a feeling of dread were we to find ourselves in such circumstances – and, what would we do, how would we react, are there limits?

Information is given at the end of the film, statistics are offered, the reality of this kind of slavery and exploitation in Southeast Asia.


1. An issue film? Slavery in Asia?

2. The title, chakra and his experience?

3. The final information about slavery, people smugglers, exploitation, Southeast Asia?

4. The Cambodia settings, the roads, the fields, work in the paddies, fertilising? The family, the home, boys and play, the passing girls? Thailand, the wharfs? The ocean sequences, the sea, the islands? The musical score?

5. Audiences seeing the events with Chakra and through his eyes? Aged 14, the difficulty of his life, carrying the bag of fertiliser, working in the fields, the number of children at home, the poverty, his criticisms of his father, not wanting to work for his brother? Few prospects? Wanting to escape family slavery, his friend and the possibility of leaving, the friend not wanting to go? Issues of cost? His leaving home?

6. Travel, the pickup, the people smugglers, the issue of money, the friend with little money, his having no cash? Crammed into the vehicles? Arriving at the wharf, the promise of going to factories? The boats, falling of the fish, the number of barrels, the nets, the continued catches, sorting, the fish for the Capt, the rest in the whole the barrels? The sailors and the comment about the seas being over-fished?

7. Befriending the man at the stop, his story getting money for his family, the going together, working together, the man in his gift of the pillow for Chakra? The work, on deck, the cramped quarters, the meagre rice? Sleeping? The effect on the man, his being bullied, his mental condition, hitting the sailor, the rescue, his being tied to the ropes and pulled by each ship, sound but not visualised? His saying that he was already dead?

8. The other workers, anonymous, not communicating, the way of life? The newcomer taking Chakra spot?

9. The Capaint, his manner, personality, brutal? His explanation of his life, a hard life? The other member of the group? Cruelty, smiling, the fish, the gift of the hindered?

10. Chakra, his life, the hard work, watching everyone, his friend’s death and its cruelty, his going to the engine room, the lights going out, the attack? His having had the opportunity to steer? The assistant, hitting on the head, overboard? The attack of the Capt, his ousting him, the captains for and his bleeding? The reaction of the other crew?

11. His decision, finding the captain's money, steering the boat, getting off, getting the lift, the friendly people on the truck, the gift of the soft drink and his not, going back to his family, watching them working in the fields? His leaving? To what?

12. The violence of the film, the 14-year-old and his feelings, his rage, is killings? His shrewdness?

13. The ending and the social concern of the film?

HALSTON

US, 2019, 105 minutes, Colour.
Directed by Frederic Tcheng.

Initial response to this documentary would depend on whether the audience was aware of Halston, celebrated fashion designer, Roy Halston Frowick, his career, his life and achievement. He opted for the name Halston which became the title of his company and reputation.

It is a documentary well-made, a great number of photos, film and video clips, a wide range of talking heads, especially from many of the models who worked for Halston and from his close association with Liza Minnelli Marisa Berenson, Andy Warhol, designer and film director, Joel Schumaker. There are also a great number of interviews with Halston’s business associates, many of them very Frank in expressing likes and dislikes, approvals and disapprovals.

For those in the know and for those who follow the history of fashion in the 20th century, there is a great deal to interest, Halston’s origins in the midwest, born 1932, his emergence in the 1950s as a designer for Bergdorf Goodman in New York City. He became a celebrated name, determined to succeed, a man of talent, joining French fashion designers in Paris and overcoming suspicions and opposition. He joined Max Factor. The film traces his business associates, becoming part of Norton Simon, and his decision to become a designer for J.C.Penney stores for the average American customer, his expressed desire to clothe America.

Over the years he designed Jacqueline Kennedy’s inauguration pillbox hat, introduced hotpants, designed uniforms for Branniff Airways and Avis.

On the other hand, the film could serve as a documentary about American business, about American capitalism, Halston himself and his shrewd business moves, not without inviting considerable antagonism, long-standing resentments, moving to different companies, achieving success for them – but, many considering his moves to J.C.Penney disastrous. And, there are many interviews with those associated with these ventures, the bosses, the managers as well as considerable input from his secretaries.

In many ways, the film does not delve into his private life – his homosexuality (and some footage from the time about society’s antagonism towards homosexuals), his relationships, his homes and their artistic luxury, his New York office with its palatial atmosphere, his extravagance in spending money… And, ultimately, the HIV infection, AIDS, some final reconciliation with his family, his death in 1990.

So, this film is a portrait of rise and fall, of living the high life, an American success, American contribution to 20th century fashion.

Which means that the film is not only of interest to audiences who follow fashion but also to audiences who initially know nothing about Halston.

RIDE LIKE A GIRL

Australia, 2019, 98 minutes, Colour.
Teresa Palmer, Sam Neill, Stevie Payne, Sullivan Stapleton, Summer North, Magda Szubanski, Genevieve Morris, Aaron Glennane, Mick Molloy, Shane Bourne.
Directed by Rachel Griffiths.

On the first Tuesday in November 2015, Australians were astonished as they watched the Melbourne Cup perhaps cheering on the non-favourite, Prince of Penzance, being written by a young jockey, Michelle Payne. And they won. As a prominent Australian politician might say “how good is that!�.

So, this is the story of Michelle Payne and the Payne family. The screenplay is written by prominent writer, Andrew Knight, and actress and television writer and director, Elise Mc Credie. And, there is empathy with Michelle Payne and her story from the director, Rachel Griffiths.

The point is that most of the audience knows that Michelle Payne wins so there is no mystery to be solved – rather, the story is to show how Michelle Payne achieved her victory.

The Payne family came from near Ballarat in western Victoria, a family of 10 children, their mother dying and leaving the upbringing of the children to her husband, Patrick. And, they can be a rowdy, sometimes unruly lot, with scenes of mealtimes and some chaos, shared rooms, friendships and rivalries, especially as each of them moves to working in the racing industry, some as jockeys, others in training. The special trainer is one of the younger sons, Stevie, with Downs Syndrome. In fact, Stevie plays himself in the film, quite smart and with some witty remarks, having the opportunity to relive some of his life on screen.

Michelle is the youngest and her father refers to her for years as “little girl�. She accompanies her father in the care of the horses, listens to his wisdom about how to read the softness and hardness of a racecourse, how to manoeuvre when gaps open between horses during a race and to take advantage and move to the front. At first, Michelle is played quite effectively by Summer North, She is then played by Teresa Palmer, always an attractive, sometimes quite feisty, screen presence. And, it is always a pleasure to see Sam Neill on screen, although we are surprised to find how stubborn he becomes in his fixed ideas about his daughter’s life and career. She leaves, no longer wanting to be or to be called ‘little girl’.

The film shows us quite a number of the Victorian racecourses, sometimes with Michelle waiting outside the trainers’ (all men) box, asking for a job is with horses but being ignored. She had raced in some local events (always coming last) but is determined to be a successful jockey. As might be expected, we watch her get some opportunities, not merit the hostility from some of the jockeys, her being relegated to small rooms with “Female Jockey� on the door. She does get some chances but has a severe fall, spending time in coma, physiotherapy, and eventually getting on a horse again.

The last part of the film shows her bonding with a special horse, Prince of Penzance, a horse who also gains the affection of Stevie, and brother and sister worked together. Despite some wariness and opposition, especially after she is reported to the stewards for interference and is suspended, she does get their call for the Melbourne Cup and, as they say and as we see in the film, the rest is history. (And some scenes with the real Michelle, along with Stevie himself, at the end of the race and her famous comment about the men who had been hostile to her, that they could get stuffed.)

So, while celebrating the “Female Jockey�, her intense determination and ambition, her achievement, this is a very popular kind of entertainment for Australian audiences and, one hopes, racing enthusiasts beyond Australia.


1. A true story? Story of the family, Australian racing? And Stevie Payne playing himself?

2. The sports entertainment, the traditions of films about racing, the focus on horses, the focus on jockeys and trainers, family?

3. The Victorian countryside, the family home on the property, the paddocks, the horses? The variety of racecourses? The filming of the races – extreme close-up of cameras with the horses? The musical score?

4. Audiences and interest in racing? Issues of cruelty to horses/not?

5. The Payne family, Australian, from Ballarat, Victoria’s western districts? The large family, the Irish Catholic background, the scenes at Mass, at the schools, the parish priest, the nuns, the wedding, the wedding reception? The Catholic ethos?

6. The death of the mother, the photo, her memory? Patrick Payne and his bringing up the children by himself? His relationship with each of them? Patriarchal? Their jobs and chores? Their interest in racing, jockeys, training? Michelle as the youngest? Not knowing her mother? Her bonding with Stevie, Downs Syndrome? The sequences at home, the rooms and sharing, interactions, mucking around, the meals? Stevie and Michelle eating the pudding under the table? The children supporting each other? The father?

7. Stevie Payne, his playing himself, Downs Syndrome, his being intelligent and smart, his lines, portraying actions that he had taken part in? Growing up, the bond with Michelle? The horses? His work in the stables, his talent with horses?

8. The introduction to Michelle riding, the audience knowing the ending? The focus of interest on how she achieved her win?

9. Michelle as a child, relationship with the other siblings, her special relationship with Stevie? Her father calling her Little Girl, her accepting this, eventually reacting?

10. The other members of the family, their careers with horses, riding, training? Bridget, her death?

11. The Catholic tone, the priest, the homily at Mass, the jokes about racing? At Brigid�s funeral? At the wedding reception, cheerful, dancing?

12. Michelle at school, the nun worried about her health, talking with Patrick, catching Michelle in the toilets listening to the races?

13. The scenes of training, her father’s advice, the hardness and softness of the course, walking the course, waiting for the gap between the horses taking advantage? Her riding the local races, her always coming last?

14. The clash with Patrick, his love for his children, managing them, yet dogmatic and stubborn? Her leaving, going to Caulfield, waiting for rides, the men in the club, no jobs for her? Looking for opportunities? Joan, her place with the family, Patrick asking her to help, her phone calls not successful at managing, at the races, taking advantage of the opportunities, shopping for the wedding dress, Michelle accepting the races, changing her clothes, driving to the wedding? The father ignoring her? The reception and his announcement with pride about Stevie?

15. Racing, her fall, in a coma, the range of therapy, her father’s presence? Suggesting they have relevant questions to test her intelligence? At home, getting on the horse again and writing?

16. Darren Weir, his horse, support of Michelle, his team, their opposition? The training, her appreciating Prince of Penzance, Stevie support? On the beach?

17. Broken bones, falls, time passing, the important win, the criticism of the jockeys, the hearing, her being suspended, angry?

18. The prospects for the Melbourne Cup, the owners and their discussions, Michelle demanding? Getting the okay?

19. The drama of the ride, the win, the sisters presents, the nuns and their bet, her father watching?

20. The success, her achievement, going back home, with her father?

21. The final photos – and the famous “they can get stuffed�, expressing her experience with the men!

GEMINI MAN

US, 2019, 117 minutes, Colour.
Will Smith, Mary Elizabeth Winstead, Clive Owens, Benedict Wong, Linda Emond.
Directed by Ang Lee.

This Gemini Man is not a twin, rather two Will Smith’s for the price of one. Gemini is actually the name of the company specialising in military hardware, investigating the possibilities of cloning, drawing on the DNA of expert assassins, ultimately trying to edit out of their products any human emotions that would undermine deadly efficiency.

Which means that this thriller has some interesting philosophical and moral underpinnings. And, perhaps this is to be expected because it is a film directed by Ang Lee, two Best Director Oscars to his name, Brokeback Mountain and Life of Pi. With Ang Lee, each film is very different from the others, with his being unpredictable in what genre he will work on next. This thriller follows an anti-war film, Billy Lynn, and his next is announced as a dramatising the third fight between Mohammed Ali and Joe Frazier, in Manila.

For the action fans, there is plenty going on. It opens with an assassination, Henry Brogan (Will Smith) fires at target in a moving train 2 km away. And now, he intends to retire. However, as we anticipate, it will not be so easy, especially with the deceptive setup of this first assassination and the person killed.

While Henry tries to retire to the Georgia coast, he is almost immediately set on by assassins, encountering a young woman working on the piers, Mary Elizabeth Winstead in quite a strong role, able to take part in the ensuing confrontations and battles. And, battles there are.

Almost immediately we are in Colombia, in the streets of Cartagena, especially for the staging of quite a spectacular motorcycle chase through the streets – and the glimpse of a mysterious assassin who anticipates Henry’s moves and who looks remarkably like him. (This is not a spoiler because the promotion of Gemini Man relies on the fact that Will Smith has two roles, older and younger, thanks to technology, the younger looking like and acting like the Fresh Prince of Bel Air – and a good tribute to Smith’s abilities of performance when the two interact.)

While we have enjoyed the trip to Cartagena along with all its risks, there is another treat in store for us, a visit to Hungary, to Budapest, the streets, the old political buildings, the churches, crypts and basements. And, dramatic shootouts and physical fights. Which should satisfy the action customers.

Of course, in the background are a number of sinister figures, political advisers, spymasters, living in a world of deceit and cover-up. Prominent amongst these is Clive Owen as the owner and developer of the Gemini Enterprises. Which raises interesting aspects of cloning, human relationships, father-son relationships, and the development of a clone assassin.

Gemini Man is available in 3-D +, further experiments in deepening 3-D clarity. However, the film will be probably quite popular in ordinary formats as well.

1. The title? Expectations? A film from Ang Lee?

2. The future? Developments in technology, weapons, war and politics?

3. The international settings, Belgium and its fields and the train, Georgia and the house on the coast, the yacht, Colombia, this Cartagena and its streets, Hungary and Budapest, streets, political buildings, churches, basements? The Gemini headquarters? The musical score?

4. Introduction to Henry Brogan, Will Smith older? The preparation for the assassination, the countryside, the train, the agent in the train and surveillance, the target? Henry as veteran, his record, some hesitation?

5. Del, the officials, the discussion about the target, the mystery, the identity? Lassiter, Master spy, her role, personality? The talks with Clay Verris, his influence, covert operations?

6. Henry, his age, wanting to retire, repairing his house, the contact with Del, the contact with Jack, on the yacht, the girl? The information about Hungary? The attack, their deaths?

7. Danny, her work on the pier, Henry suspicious, the follow-through, the truth? The attacks, his defending her, Baron, the friendship from the past, the escape?

8. Going to Columbia, the impact of the city, the group and the attack, the mysterious assassin, the chase? The introduction to Henry’s clone? The clone knowing the detail of Henry’s manoeuvres? The details of the fight?

9. Flying to Hungary, the city, the basement, the buildup to the confrontation, setting Danny up, the wireless device and the clone missing it? The elaborate fight and its details and choreography?

10. The clone, going back to the compound, discussions with Clay Verris? His age, life, the father figure, the exhortations and encouragement, the puzzle, the clone and his disbelief?

11. Danny, her personality, strong, a partner for Henry? Support?

12. The return, the confrontation with Clay Verris, the clone? His taking a stand? The shooting of the vehicle, Baron’s death?

13. The impact of the confrontation between the two Henry’s? The younger and the older, the contrast in performance?

14. The clone wanting to kill Clay Verris, Henry warning him off, Henry shooting him? The consequences for Del and Lassiter and their collaboration?

15. Six months passing, the younger Henry and his studies, the campus? The meeting with Henry and Danny? A peaceful future or not?

SCARY STORIES TO TELL IN THE DARK

US, 2019, 108 minutes, Colour.
Zoe Margaret Colletti, Michael Garza, Dean Norris, Gil Bellows, Lorraine Toussaint, Gabriel Rush, Austin Zazur, Natalie Ganzhorn, Austin Abrams.
Directed by Andre Ovredal.

Kinda high school scary!

The main target audience would have to be high school students, the same age as our central characters here. Which means that it has a touch of the PG about the scariness – which will not be enough for dedicated fans of horror. This one is not exactly mild but, it will do for a scary night for the teenagers (and best watched in the dark rather than on a television screen with the light on!).

The most unusual aspect of the film is that it is set in 1968 and there is quite a deal of explicit reference to the war in Vietnam, the action taking place from Halloween to the week of the American elections, discussions about Richard Nixon for president and final images of his winning the election. One of the central characters is also a draft dodger – but is finally scared into a righteous attitude by his experiences and going off to the war.

The setting is Mill Hill, Pennsylvania, and it is filmed in that mellow tone that indicates the past, suggesting nostalgia, a different era (although the sunlight then was probably just as bright and sharp as it is today). The central characters are at high school and we are introduced as they get dressed to go out for trick or treat but also to upset one of the local bullies. And that happens!

The central character is Stella, living alone with her sad father, writing horror stories. She and her two companions, Augie and Chuck, take refuge from their pursuers in a car at the drive-in (screening Night of the Living Dead) - the driver, Ramon, we have already met, Hispanic, called a wetback and urged to move on. But, he becomes involved in all the action, especially when they go to a haunted house, discover a book of stories written by the young woman of legend from the house.

What follows is a series of scary stories concerning each of the young people, starting with the bully who is menaced by a desperate scarecrow in a cornfield. Then Stella discovers, as she looks at the book, that stories start to be written, in blood, concerning each of them – so, we see a succession of stories fulfilling what the blood writing tells us. The emphasis is on menace rather than anything gory.

Of course, it has to come to a climax, with Stella and Ramon, who has become inextricably involved, having a weird experience in hospital, followed by a weird experience in prison, followed by even more weird experiences back in the haunted house.

In a way, much as might be expected. But, as has been said, a bit of a scary night for the teenage audience identifying with the teenage characters.

1. The popularity of the books? The wide audience? The target audience? The high school age?

2. 1968, the Pennsylvania town, the colour photography in the mellow nostalgia for the past? Homes, hospital, the drive-in, the haunted house, the interiors? The musical score?

3. The setting at Halloween, 1968, the succeeding days of the American presidential vote, Nixon winning? The background of the war? The draft, draft dodgers?

4. The scary story, the haunted house, its reputation, the girl, her stories, killing children? Hanging herself? The stories in their coming to life, the treatment, blood and revenge?

5. Halloween, trick or treat, the introduction to Stella, with her lonely father, her writing? Augie, his mother, the Pierrot costume and his comments on it? Chuck, his family, his sister and going out with Tommy? Tommy and his friends, bully, his treatment of Chuck’s sister?

6. The introduction of the scarecrow, the appearance?

7. Ramon and his arriving in the town, Hispanic, told to move on, the painting of wet back on his car? Going to the drive-in? The screening of Night of the Living Dead? The authorities ousting Tommy? The decision to go to the house, sharing the stories, the eerie look, finding the book, taking it?

8. The sinister aspects of the book, the blood writing, the story continuing to appear? Tommy, arriving home, drunk, going to collect the eggs, going through the cornfields, pursued by the scarecrow, his turning into a scarecrow?

9. Augie, at home, the phone call, the stew, the thumb in the stew, swallowing it? His being swallowed up?

10. Chuck’s sister, appearance in the musical, her concern about the pimple, the group going to rescue her, the pimple increasing, her collapse, hospital?

11. The information about the girl, the writing of the stories? Stella and Ramon going to find the records? Chuck in the records’ room, the corridors, turning red? The threat of the story? The sinister character emerging in all corridors, absorbing him?

12. The hospital, the atmosphere of dread, the police precinct, in the cell, the police chief, the appearance of the monster?

13. Going to the house, the flashbacks, the room, the family, the history, the cruelty to the girl, her death?

14. Stella and Ramon, the escape, to tell her story?

15. Stella writing, driving with Chuck’s sister? Ramon and his decision to go to war in Vietnam?

TURNING TIDE/ EN SOLITAIRE

France, 2013, 101 minutes, Colour.
François Cluzet, Samy Seghir, Virginie Efira, Guillaume Canet, Kaarine Vanasse.
Directed by Christophe Offenstein.

Turning Tide is a story of sailing around the world, from France, along Africa to the Cape of Good Hope, crossing the Indian Ocean, coming up by Cape Horn and returning to France.

François Cluzet portrays the sailor, the intensity of his ambition, the work at sea, the rescue of a British sailor, and the predicament of finding a stowaway, a young boy from Mauritius who wants to go to France, the decision for him to stay on the ship, being concealed from the media, the difficulty of his being ill, recovery.

Guillaume Canet plays an expert who is unable to go on the voyage but who keeps in contact and supervises the voyage.

Later there were to be films with Robert Redford, All is Lost as well as Colin Firth in The Mercy, sailing around the world, and his deception to save his reputation.

1. The title? The race? The captain and solitary?

2. The French background, the sequences at sea, land in the distance, the return from the race? The musical score?

3. The recent the situation? Frank and his being unable to participate? The friendship with the young, his undertaking the voyage? Yann his family and their support? Frank and his continued monitoring?

4. The sequences at sea, Yann and his abilities? The details of the voyage, his work, his skills, radio support, contact with his family? Connecting with Frank? The British sailor, coming on board, her rescue?

5. The boy from Mauritius, stealing on board, his age, lack of experience, wanting to go to France? Yann and his response, anger? The continuing with the boy? His keeping out of sight? His illness? Frank knowing? Coming to the rescue? The final triumph?

6. The significance of the race, French interest, media interests, the achievement?

7. The finale, the large welcome, reuniting with family?

8. The popularity of this kind of film at sea, individual saving round the world?