THE HUSTLE

US, 2019, 94 minutes, Colour.
Anne Hathaway, Rebel Wilson, Alex Sharp, Dean Norris, Ingrid Oliver, Nicholas Woodeson.
Directed by Chris Addison.

Casting can often make a great difference in interpretation. After all, how often have Shakespeare devotees seen performances of Hamlet, each actor bringing something special to appreciating the character. Well, probably, Hamlet is not a good comparison for a comment on The Hustle. Originally, it was a comic star vehicle for Marlon Brando and David Niven, back in the early 1960s, Bedtime Story. There was an update remake in 1988, with a good combination of Michael Caine and Steve Martin. The story is basically about conmen.

Now is the time for remakes with women taking the men’s roles (Ghostbusters, Oceans 8). Here they are Anne Hathaway and Rebel Wilson – neither of them ready substitutes for the previous male stars. To be looking for comparisons in the making of judgements, better or worse, seems to be something of a futile experience. Each of the performers has their own special presence and style. Which means, then, that the film invites us to go with the casting and enjoy it. The director is a British actor turned director, especially for television series, Chris Addison. There is an entertaining supporting cast, especially Nicholas Woodeson as a put upon Butler, Albert.

So, here we are with two con women, one smooth and stylish although she can do some lapses as well, femme fatale or weeping victim, an Anne Hathaway performance. We first see her on the Riviera, seductive, feigning a dumb Gambler approach, but getting away with the money. Actually, it doesn’t hurt that her collaborator in the casinos works with the police!

Then, amusingly, we are in an American bar, a customer looking at provocative photos but, instead, Rebel Wilson turning up with quite a con spiel about the subject of the photo needing plastic surgery and wangling a $500 contribution and then, of course, beating it, disappearing with only a batch of black bags in sight – from which she emerges bottom first in her black dress! (And the joke is amusingly repeated at the end for both women – in gold dresses.)

They are Josephine and Penny (Penny, as always with Rebel Wilson, from Australia, accent and references and all). Josephine is a schemer but Penny, in her large, flamboyant way, is no slouch in the fraud department.

What follows really is a succession of con tricks, each amusing in its way, and there are able to fleece gullible men at a great rate. But then, they target a nerdish young man (Alex Sharp), IT expert staying on the Riviera hoping to promote his ideas. They make a bet about swindling $500,000 from him. Penny is rather good at what she does, pretending to be hysterically blind. Josephine is able then to pretend to be a German doctor who can cure her. It all gets rather serious, the young man devoted, wanting to help Penny, working with the doctor…

But…

This is a comedy rather than a portrait of fraudsters to be taken too seriously. And, if you like Rebel Wilson as a screen presence, there is much to enjoy.

1. Popular comedy? Stories of scams and hustles? The female perspective?

2. The film is a remake, a comedy from the 60s, a comedy from the 80s, an update? 21st-century style, humour? Women characters instead of men?

3. The stars, the screen presence, style? Comedy?

4. Anne Hathaway’s Josephine, British accent, indication she was an American, her adapting to variety of situations, playing different roles for sympathy? The casino, her sob story, the doting man, the bracelet, her feigning to be ignorant? The target, the police – and the revelation that they were in on the con, sharing? The different repeats of this scam? The money, jewelry in the safe?

5. The introduction to Penny, the American bar, the man with his phone, the sex images, and his arrival, the story about her friend, wanting a donation for facial repair, his giving the money, realising he had been conned, the chase? Penny disappearing – and the joke about her being in the black bags (and at the end in the gold bags)?

6. The two on the train, each observing the other, Josephine observing Penny scam?

7. Their meeting again, the talk, the different personalities? At the casino, the betting, Penny scam and Josephine losing? The going to her house, a mansion, the police, Ingrid and her being part of the scam? Protection? Help the butler?

8. The apprenticeship, the Lord of the Rings scam, the historic sets, Josephine and her charm, the range of Americans and their being conned, the meal, the introduction to her sister, Penny and the performance as the mad sister? The men fleeing?

9. The police, collaboration with the scams? The difficulties between the two women? Penny wanting to leave – Josephine not paying her share, wanting tutoring fees?

10. The bet, the money concerned? The plight of the young man from America, IT and his inventions? Penny and her scammer being blind, carrying her cane, comedy of mayhem? The issue of the professor, the young man being kind, the references, Josephine pretending to be the German professor? The switch in the bet, the two women betting on the young man? Josephine, the night – and the revelation of his explaining his inventions, her investing? Penny, caring for him, his wanting to help her, the loan?

11. The revelation of the truth, his escape on the plane? His return, the con man selling property, the revelation about his family, his mother being Medusa the arts, the woman?

12. The visit to England, the scams – and the escape in their golden dresses?

FREAKS

US, 2018, 105 minutes, Colour.
Emile Hirsch, Bruce Dern, Grace Park, Amanda Crew, Lexy Kolker, Ava Telek, Michelle Harrison, Matty Finochio, Aleks Paunovic.
Directed by Zach LIpovsky, Adam B. Stein.

An unexpectedly striking film.

Audiences wanting to see a film which is complex in its narrative, not always immediately explaining who the characters were and what is going on, continued twists, aspects of science-fiction, reality and fantasy - this is it. And, as audiences watch, they accept the narrative, ready to go with all the twists, interested in and probably enjoying the mystery of the plot.

The title indicates that within society there are some people who are different, and here they are called both freaks and “Abnormal�. One of the immediate difficulties for our comprehending who the freaks are and why they are considered abnormal is that we see little, indeed very little, of the ordinary world and ordinary human beings. In fact, most of the action of this film takes place within a house, somewhat derelict looking, those living there seeming like squatters, a downstairs space and rooms upstairs, and some windows. They can look out across the street where an ordinary family lives.

And, who are they? Yes, they are freaks. They are father and daughter, she seven years old, he committed to protecting her from the outside world, her not being allowed to go out, her creating a scenario of a false life in case she is caught and interrogated. And they can be identified because their eyes bleed. But there is something wrong with him and his protectiveness, he seems paranoid, intense, lapsing, collapsing.

Emile Hirsch plays the father, convincing in his concern (and, as he grows older, Hirsch could pass for Jack Black’s younger brother in appearance and style!). Chloe, his daughter, is most effectively played by Lexi Kolker. She is completely convincing and the focus of the film is on her character and her safety.

While the father does go out to get supplies, she asks for ice cream and then sees one of those ice cream trucks driven by Mr Snowcone. This will lead to some unexpected drama, with Bruce Dern and his ability to be both sinister and comic at the same time, driving the truck – and further revelations about what he wants with Chloe and more stories about her mother who had been captured and is now dead.

Or is she? She can appear to her daughter but the question is whether she is still alive or not. And, the filmmakers then continually tantalise us with shifts in time, the duration of time, the ability to shift in place, Chloe’s ability and her determination to enter into people’s minds and control them.

Further action includes the family across the street, the police and an inspector investigating, some torture chambers with the freaks as victims…

So, some congratulations to the writers-directors on their imagination and on their ingenuity in creating such an intriguing and striking film.

1. The title? The “Abnormals�? The contrast with normal people – and most of them not seen during the film?

2. The setting in the apartment, the street and the house across the street? The trip in the truck? The internment centre, its eerie atmosphere? The musical score?

3. The plot and the narrative, continued uncertainty for the audience? The issues of who? Why? What? What was real, what imagined? Years passing or only short times? Uses of ghosts and presences? Shifting in space, disappearance? The power of getting into other people’s minds? The importance of survival for the freaks?

4. The interiors of the house, ordinary, the rooms, Chloe’s room, rooms locked? The windows interviews?

5. The father, in himself, his age, abnormal, protecting his daughter, the paranoia, his blackouts, fears, staying within the house, the bleeding eye, becoming more frantic? Love for his daughter, training her, the scenario and rehearsing it? The tests?

6. Chloe, the names, age 7, her being abnormal, intelligent, a love for her mother and a singer, the sense of the mother’s presence, relating to her father, learning the scenario, practising, the bond between them, yet her wanting to go outside? His going to the store? Her wanting the ice cream?

7. Mr Snowcone, seeing him outside, coming outside, talking with him, his pleasant manner, leading her on, the drive, the ice cream? The connection, the stories, her mother, the story of the unicorn? Threats, taking her? The truth about him?

8. Harper, from across the street, with Chloe in the night, the portrait of her parents, their promising to look after Chloe? Harper and her hostility?

9. Alan, his interaction with Chloe, with her father, the revelation about his daughter, whether she was dead or not? Wanting to take Chloe to the mountain? Offering to help?

10. Issues of times and places, moving from one to the other, the wife and her being tortured, being a rebel? The torturer, Chloe appearing, taking over, his speaking with her voice, helping her to escape?

11. Chloe, the strength of the control, entering into people’s minds? Even to their killing themselves? The father and his reaction to this, going to the house across the street, acceptance, Harper and her hostility, the father accepting her, the mother and her change of mind?

12. The police officer, her arrival, the interrogation in the search, her knowing the facts? Chloe entering into her mind? Her death? The police?

13. The plan for the freaks, the policy, elimination?

14. Alan, seeing him, not seeing him, his interventions? His death?

15. The father, love, injuries, self-sacrifice?

16. The mother, Chloe and the escape, with her daughter? The future?

BIRDS OF PASSAGE

Colombia, 2018, 125 minutes, Colour.
Carmina Martinez, José Acosta, Natalia Reyes, Jhon Narvaez, Greider Maza, José Vicente, Juan Bautista Martinez.
Directed by Christina Gallego, Ciro Guerra.

Colombian director, Ciro Guerra, made the very striking ethnographic film about Amazon tribes in Colombia at the end of the 19th century, beginning of the 20th century, Empire of the Serpent, an Oscar nominee for Best Foreign Language Film. This film, which takes its audience further into the 20th century has won many awards nominations. Audiences looking for interesting and different serious films will find it well worthwhile.

There is a great deal of ethnographic material in this story of tribes and clans beyond Bogota, into the open plains, into the mountains of the Colombian terrain. And the setting is from 1960-1980, audiences perhaps remembering that it is in the 1980s that the cocaine trade is developed and is the era of Pablo Escobar and the intervention of the United States and the DEA.

In fact, this film is also about drug dealings with the United States but is very different indeed, a story of origins.

Teams are set with an elaborate ritual, a young woman making the transition from girlhood to womanhood, the clan gathering, the emerging of the young woman, her doing a ritual dance with her cloak and arms out spread like a bird, her chasing a little boy running backwards until he falls. However, she has a suitor, a young man represented by his uncle, a word-messenger, who succeeds with the dance and, while he wins the young woman’s hand, he has to supply a significant dowry.

We are immersed in this world of the clan, especially through the all-powerful presence of the mother, Ursula (Carmina Martinez), a powerful leader, protector of her daughter – and, as the drama continues, a dominating influence, even a kind of Lady Macbeth.

The young man, Rapayet (José Acosta – this is only films so far) trades coffee, working with his Indian friend, Moncha (Jhon Navaez). In 1968 they encounter some American Peace Corps representatives, anti-Communist, but spending most of their time smoking marijuana.

And this definitely brings us into the 20th century, the 1960s, the US and need for drugs, Rapayet and Moncho shown investing the coffee earnings into marijuana crops, making contacts (becoming more extensive, Americans even flying in to local airstrips), reinvesting their money and making larger and larger profits. Rapayet has enough of the dowry, marries, he and his wife having children and prospering.

By the 1970s, there is an extraordinary change in the life of the clans, from living in the desert, makeshift accommodation, to spacious mansions, lavish interior furnishings, clothes. But, there are difficulties, rivals in production and trade of the drugs, local chiefs, threats and violence.

The screenplay is divided into four parts, four Cantos as indicated on screen. We are taken through the transitions from poverty and hard lives to wealth and lives of ease, to further complications between old traditions and protocols and the consequences of the increasing capitalistic manipulation of trade and lifestyle.

Ultimately, there is war, a great deal of violence, a story that could be easily interpreted as “what does it profit to gain the whole world and lose one’s soul�. Over the years, many pessimistic stories can be described as “out of the depths/De Profundis� films, going deeply into the dark recesses of human nature and human oppression. But, there are some pessimistic stories where the cries from the depths seem not to be heard by anyone, not by God (and the clans here are traditional people but have no signs of religious belief or practice, not Christianity) nor by any human. The 2009 film by Gaspar Noe had the title “Enter the Void�. And, while Colombia continued with Pablo Escobar rising from seeming very little to drug lord and setting the course for drug wars for decades, this part of the story is very much an enter the void. Well worth seeing, but overpoweringly pessimistic.

1. A film from Colombia? Serious themes of Colombia in the 20th century? People, tribes and clans, traditions, changes, drugs and wealth?

2. Locations, score, local themes and drums?

3. The ultimately pessimistic tone of the film, the number of deaths, people acquiring wealth but to what purpose? Going into a void? The young girl as the only survivor? Her future?

4. Colombia, marijuana and its cultivation, the interest of the United States, the exports, the business? Soon to develop into the cocaine industry and Escobar?

5. The title, the imagery of birds throughout the film? In flight, individual birds and their colour, the crane walking around the floor of the house? The men and women themselves as birds of passage? Zaida and her transition, the bird dance with the little boy and with Rapayet?

6. The ethnographic background of the film? The interest of the filmmakers and their previous films? Colombia from 1960 to 1980? Out in the plains, the mountains? The terrain, dry, fields and crops? The tribal homes, huts, makeshift? The references to traditions, the various clans, interactions, the protocols, the word messages and their being sacrosanct, the breaking of the traditions and the protocols, consequent hostilities, war, destruction?

7. The setting of the tone, Zaida and her transition from girl to woman, the supervision of her mother, her face being painted? Rituals of the dance, with the young boy and his falling over? Rapayet, his arrival, the petition from his uncle, his performance with Zaida, his love, the arrangement for the marriage, the issue of the dowry, Zaida and her response?

8. Rapayet, his friend, the encounter with the gringos, 1968 and the Peace Corps, the individuals, their work, anti-Communist? Their wanting marijuana? Rapayet thinking of the possibilities, his working in coffee, selling it, the money, investigating marijuana, building up the crops, getting the American contacts, even planes flying in, the Americans and their verbal contracts? His making money? Enough for the dowry? His marriage?

9. Audiences watching this transition in the lives of the tribal people, their past, the 1960s, the drugs, deals, the increasing wealth, the building of lavish homes, the interiors and furnishings, clothes, lifestyles, swimming pools? The difference between 1960 and 1980?

10. Rapayet, as a character, introverted, quiet, shrewd, filling up the building, his relationship with his friend, the friend and his wasting the money, the contracts? Shooting the Americans? The clash between the two? The friend and his double dealing? The sexual encounter, the challenge, Rapayet shooting him?

11. The uncle, his serving Rapayet, the old-style, the go-between – and ultimately, with Anibal, and his death and the breaking of the traditions?

12. The years passing, the improvements for Rapayet and his wife, the birth of their daughter, their son? The growing prosperity? Seder and her devotion to her husband?

13. The mother, her strong presence at all time, the command, her approval of Rapayet, her grandchildren, the prosperity, the change of house, clothing, her authority? Appointing Leonidas the head of the clan?

14. Leonidas, as a boy, leadership, immature? Growing up, assertive, Anibal and his daughter, his offence, his death or his going to work, working for Anibal, then assaulting the daughter? The consequences?

15. Anibal, his role, chief, personality, his associates and advisers? The drugs and the dealings? The contracts?

16. Rapayet, the family difficulties with animal, bringing disaster, Rapayet not wanting war, his withdrawing, his wife and children?

17. The mother, the confrontation with Anibal, her promising to deliver Rapayet, her taking away her daughter and her children?

18. The war, the confrontation with Anibal and Rapayet, Rapayet’s death? Anibal, breaking the traditions, his being shot? The revenge motivation? The dealer and his getting ownership of the property? Anibal and his revenge, the destruction of the house and all inside it?

19. The daughter’s surviving, audience attention to her, growing up, with her mother, the scenes with her grandmother?

20. The storyteller, the narrative, the comments about the little girl herting the sheep, her inexperience, what future?

21. A powerful story? But a grim story about Colombia?

WAR MACHINE

US, 2017, 122 minutes, Colour.
Brad Pitt, Daniel Betts, John Magaro, Emory Cohen, Topher Grace, Anthony Michael Hall, Anthony Hayes, Alan Ruck, Griffin Dunne.
Directed by David Michod.

War Machine is a strong satire on the American military, American politics, American media, American propaganda, beginning with the war in Iraq but principally the war in Afghanistan.

The film was written and directed by David Michod who made an impact with his Animal Kingdom, followed by The Rover – and later, the tour de force about Henry V, Kings.

The focus of the film is an American commander, Mc Mahon, veteran, the embodiment of the stern command, forever exercising jogging, confident in himself, transferred to Afghanistan, the authorities relyong on him to succeed.

What follows is observation on the war in Afghanistan, the role of President Bush, expectations of American command. In fact, the war does not go the way that was intended, Mc Mahon having to go to Europe to gain support (and meeting his wife whom he rarely saw), being followed by an ambitious journalist from Rolling Stone.

The film has a very strong cast with Brad Pitt doing an interesting variation on his frequent roles as Mc Mahon.

The film was not a successful commercial venture on its release.

1. The title? The American military? The background of the 20th century, 9/11, the invasion of Afghanistan, the longtime presence of the US in Afghanistan?

2. The critique of the war machine, America, invading, ruling, saving and wanting to help, hostility to the American presence? Insurgency, counterinsurgency? The background of the military chiefs, the politicians? The role of the media?

3. The Afghan settings, Kabul, the military posts, the desert, Helmand province, the village? The contrast with Paris, the building sequences, the tarmac in Denmark? The musical score?

4. The aftermath of 9/11, the role of allocator, the invasion of Afghanistan, the motivations? American assertion? The role of the Taliban and its background, the attitudes of the population, of the government, of president Khazai? The missions, the influence of George Bush, of president Obama?

5. Brad Pitt as Mc Mahon, his age, experience, military person, physical prowess, the scenes of jogging? In the uniform, with his men, his background from Iraq and reputation? Self-confident?

6. The journalist from Rolling Stone, the narration, his observations, moralising, meeting Mc Mahon in Europe, the interviews, the final article? The condemnation?

7. Mc Mahon and his entourage, tough, studying in the past, the various jobs, military advice, personal loyalties? William and his personal service? The media officer and his being contradicted? The lobbyist and his being paid to go to Afghanistan? Their work together, collaborating?

8. The politicians, Dick and the connection with the White House, relationship with Mc Mahon, the other experts? The meetings and discussions? Policy, no troops, Mc Mahon demanding them? The characters, political gamesmanship? The Secretary of State and echoes of Hillary Clinton?

9. The mission in Afghanistan, the survey, travelling, the interviews with President Khazai – and the touch of mockery? Issues of democracy, traditions, the role of the president, watching American television? Been inaccessible?

10. The young troops, after their leave in Italy, their being deployed, their being glum? The officer in charge, the African- American and his criticisms? Mc Mahon and his talking with them, morale boost?

11. The visit to Paris, Mc Mahon meeting his wife, infrequently over the year, yet her being happy being there, the meals, the discussions? Going to Berlin, the visuals, the German politician and her questions and accusations? The Rolling Stone journalist, the entourage and then drinking – and this later being quoted?

12. Helmand province, the British advisor against it, the deployment, the attack, few people in the village, the snipers, the family and the child’s death, Mc Mahon offering money compensation and apology?

13. The journalist and his ambitions, to succeed, the Rolling Stone article, his reaction? The criticisms of the lobbyist? The reactions of the media man? His being summoned by the president – after the brief meeting of the tarmac?

14. Mc Mahon, finished, the return, instruction work?

15. How real? How ironic? The critique?

BY WAY OF HELENA/ THE DUEL

US, 2016, 110 minutes, Colour.
Woody Harrelson, Liam Hemsworth, Alice Braga, Emory Cohen, Felicity Price, William Sadler, Benedict Samuel, Raphael Sbarge.
Directed by Kiaran Darcy- Smith.

By Way of Helena is a striking title but, apparently, not sufficient to attract an audience and so the title was changed to The Duel. In fact, the film starts with the duel, a fierce fight in the streets of the town, a man standing up to a violent bully and his little son observing. The bully is played by Woody Harrelson.

The main action takes place 20 years later, the end of the 1880s, the boy having grown up and become a Texas Ranger. His played by Liam Hemsworth. His wife is played by Alice Braga. In the film was directed by Australian Kieran Darcy- Smith (Wish You Were Here, episodes of Jack Irish, Wolf Creek).

The Ranger is commissioned by the Governor to investigate a small community in southern Texas where people are disappearing.

The town is run by the bully played by Woody Harrelson, using religious domination, flirting with various women, capturing Mexicans, running a business where hunters, even from England, pay to go on shooting expeditions against the Mexicans.

The characters are strongly drawn, especially Harrelson and his vengeful son (emory Cohen). Liam Hemsworth is the straight up-and-down manager of law and order. The film builds up to a strong climax with the Mexicans, the hunters, the confrontation between the two enemies.

A grim but an above average Western.


1. The title? The alternate title? The American West? The 19 century?

2. The towns of the West, 1869, hosts civil war, the changes by the 1880s and 1890s? The countryside, travelling through the countryside, the isolated community, the Rio Grande and the Mexican border? The musical score?

3. The introduction, the atmosphere after the Civil War? The clashes in the town, the role of the law, crooked shysters, the fights, the preparation for the duel after the challenge, the death of the man, Abraham and his success? The boy watching his father die?

4. The 1880s, David and his being a Texas Ranger? Memories of his father? His marriage, Marisol? The status of the ranges, the meeting with the governor, laws and dealing with outlaws? The job, the commission, to find Abraham and his community, they’re exploiting Mexicans on the Rio Grande in?

5. David in himself, his age, his father, relationship with his wife, tensions, pregnancy? The mission, the long travel to find the community? His wife accompanying him?

6. The arrival in the town, the initial encounter with Abraham? Abraham, religious and preaching, capacity for healing, yet a fraud? Belief in himself, his control of the town, loyalty of the underlings, the attraction of the women, the role of Isaac, his son?

7. Abraham at Marisol, the range of women, the attraction, the religious motivation, the healing, his charm and self-confidence?

8. Abraham in himself, his way of control, exercise of charm, yet a fraud, the religious language? His liking David, responding to him, appointing him as sheriff? The reactions of the people on the town, terhis associates? Issak’s reaction?

9. Issak, the burden of being Abraham’s son, yet his self-assurance? The clashes with David? Wanting vengeance, his father’s treatment of him, severe?

10. David, following the group, the discovery of the truth about the river, the Mexicans, the tent and they’re being captured, their fears, rough treatment, for execution?

11. The visitors, Americans and British, coming to the west, paying for the hunt, Issak and his participation? With the Mexicans, giving them food, reassuring them? Yet turning them out to be hunted, tortured and shot? The bodies to be buried, to escape any detection, yet Issak putting them in the river, they’re being discovered?

12. Marisol, the interaction with Abraham, his hold over her?

13. David, the buildup to the confrontation, Abraham and is discovering the truth about Issak and his treatment of him? David being pursued, Abraham and the men, David and his shooting the men? The confrontation with Abraham, they’re talking, the rock falling on him, being left for dead? The Mexican woman, her encounter with David, her return and saving him?

14. Justice done, the Rangers, David and his visit to the governor, survival – and his future?

THE UNHOLY WIFE.

US, 1957, 94 minutes, Colour.
Diana Dors, Rod Steiger, Arthur Franz, Beulah Bondi, Marie Windsor, Tom Tryon.
Directed by John Farrow.

This is one of the last films directed by John Farrow, making John Paul Jones at much the same time, some television before his untimely death in 1963.

Australian Farrow had made an impact with his biography of Father Damien of Molokai and other religious books, especially on the papacy. An Australian, he had followed the example of Errol Flynn and sailed adventurously around the world, eventually writing novels and screenplays in Hollywood and then moving into direction. (He also married Maureen O’ Sullivan, had many children including Mia Farrow.)

His dramas were generally studio bound but he made films with a great range of interest, often drawing on religious themes and the Catholicism to which he was a convert (Full Confession, Five Came Back, Alias Nick Beal. This melodrama is particularly Catholic, Arthur Franz appearing as the kind of priest one might expect in the film of the 1950s.

The film is striking with the pairing of Diana Dors and Rod Steiger, she something of a vamp and a schemer, he a serious landowner whom she frames. Key to the screenplay is her going to confession to her brother-in-law – and some possibilities of redemption.

There is an interesting supporting cast with Beulah Bondi, Marie Windsor and the young Tom Tryon

1. A 1950s melodrama? The perfect crime? Social issues? Religious issues? Conscience?

2. The cast, Diana Dors in an American film?

3. The locations, the colour photography, San Francisco and the Vineyards? The vistas of the countryside? The home, exteriors and interiors? The fair, the rodeo, the parties? Los Angeles, clubs, the beach? The musical score?

4. The framework of the drama: Phyllis, dark hair, in prison, photographed in close-up, the suggestion of the priest listening to her, her explanation, the perfect crime, the flashbacks, her comments, repentance and forgiveness? Stephen then listening to her, the confession, absolution? Her going to her death?

5. The situation, the Swiss family, migration, building at the Vineyard, the success, Paul and his knowledge, proud of his heritage, the San Francisco area? The pride for the family, the reputation, Paul with the Vineyard, Stevens the priest? Their bonds with their mother, the ageing?

6. The tone of the film, Phyllis and the mother, fear of the prowler, fears, sedation, the mother and her panicking, the response of her sons? Phyllis’s response and being harsh?

7. Phyllis, with her mother-in-law, dismissing her fears, meeting up with her lover, his being the prowler? The situation, out of love with her husband? Planning to leave? Her memories, her girlfriends, at the bar, goodtime girls, the story of being from England, the RAF, her son and devotion to him? Her dropping her purse, the drink with the girls, Paul and his partner? Going to the restaurant? Going to the beach, listening to the races, Paul playing with Michael, Michael seeing him kiss his mother, upset, Paul and his ability to make friends with Michael, the story of the shell, the embrace?

8. The rodeo and the fair, Paul expected to be there, the visitor wanting to buy, Paul’s thinking his partner was betraying him, the fight? Phyllis going home, urging them to make up? Phyllis and her plan, with the gun, to kill Paul on his arrival? The irony of the partner overtaking him and getting shot? Paul, arriving home, his partner dead, the issue of the gun and the shooting, the consequences, Paul and his decision to take the blame, Phyllis and her response, the police, the interrogation? Phyllis writing the note putting it into the victim’s pocket? The poker with the door and suggestion of breaking in? The issues of fingerprints? Whether Phyllis was asleep or not? The contradictions, Paul taking the blame?

9. The mother, her nerves, hearing the lover, hearing Phyllis explain what happened? Her collapse, the/, Stephen trying to ask questions, for her to raise her fingers? The pills, Phyllis giving one? The mother taking the others and causing suspicion on Phyllis?

10. Stephen, place in the family, the good image of the priest, kind, a listener, helping with the family, respect of the law, the plea?

11. The court sequence, all of the accusations, the evidence? Phyllis and her confession, troubled, letting things slip? And this all being planned? The perfect crime?

12. The Exodus text, the religious values and conscience, Phyllis being described as unholy? The text, punishment for guilt? The impact on Phyllis? Her confession?

13. Paul, freedom, not being able to have children, his love for Michael, and finally being able to hand on the heritage to his son?

THE HITLER GANG

US, 1944, 101 minutes, Black-and-white.
Bobby Watson, Roman Bohnen, Martin Kosleck, Victor Varconi, Alex Pope, Sig Ruman.
Directed by John Farrow.

This is a little-known film by John Farrow, the Australian adventurer who arrived in Hollywood, writing novels and screenplays, eventually directing. He contributed to the war effort, especially with his Oscar-nominated Wake Island. He became an American citizen in the 1940s and was later to make the patriotic John Paul Jones.

This film is very interesting in retrospect, a portrait of Hitler from the time that he participated in World War I, was injured, became an enthusiast for Germany’s future, a demagogue, meeting up with many who were later to be part of his cabinet when he was Chancellor and during World War II.

For many, the image of Hitler was from the mid-1930s and his leadership during the war. This film is valuable in giving some intimations of his character, the development of his leadership, what was behind the capsule. He was played by Bobby Watson who portrayed Hitler in a great number of films. Interestingly, many in the cast were chosen because of their visual resemblance to the Nazi counterparts.


1. The film released in 1944, in the final year of World War II? Its portrait of Germany, postwar, the 1920s into the 1930s, the war? The portrait of Hitler, a portrait of his associates, his gang?

2. The film in some ways prophetic, the outcome of World War II? Audience response in the mid-to-late 1940s? Later audiences with the familiarity of the stories of Hitler and World War II?

3. Black-and-white photography, the atmosphere in Germany, the impact of the war, the hospitals? Germany and its social situation? Defeated? The various groups, the emergence of a nationalism, a national socialism, anti-Communist? The type of people joining the groups? The politicians using the leaders? The political developments? The people’s responses?

4. The building up of an ideology? Target victims? The Communists? The idea of blaming the Jews? Economic reasons – leading to racist ideology and persecution?

5. The portrait of Hitler, his injuries during the war, psychological blindness, his recovery, his social concern, partly awkward social manner, his power of making speeches and their impact? The gradual development of his autocratic behaviour? Those wanting to join with him, their personalities, their causes? The growing exercise of power, Hitler and his growing demands, self-confidence, being the Fuhrer?

6. Hitler and his whims, yet maintaining support, Goebbels and his sinister presence and advice, Himmler and his machinations, Goering and his support, leaving, returning? Rohm and the eventual buildup of the SSA?

7. Hitler’s sister, her arrival, bringing her niece, his initial wanting her to leave? The growing infatuation? Hitler and relationships, sexuality? The niece wanting to leave, pressure and her mother? Her death?

8. The attempt at the putsch, the beerhouse, being overcome, lack of success, the following years stalling Hitler’s progress?

9. Von Hindenburg, his age, concern about Germany, its place in the world? His advisers? The toleration of Hitler and his emerging group, their power? Making him Vice Chancellor?

10. The National Socialists, the Nazis, their salute, loyalty to Hitler? Hitler eventually becoming Chancellor? The plans to retain his power? The suggestion of the burning of the Reichstag? The visuals?

11. Hitler, becoming the leader, his control, loyalties, oratory, the growing ideology?

12. And the audience knowing that this Third Reich would like not last many years?

NOSTALGIA

US, 2018, 114 minutes, Colour.
Ellen Burstyn, Bruce Dern, John Hamm, Catherine Keener, Joanna Going, Beth Grant, Arie Gross, James Le Gros, Amber Tamblyn, Nick Offerman, John Ortiz.
Directed by Mark Pellington.

Nostalgia is actually three short stories in one with some interlinking. And the stories are, especially, about memories and dealing with memories.

The first story focuses on an investigator, played by John Ortiz, who interviews an old man, Bruce Dern, who has to move from his house and relatives are interested in evaluating what he has.

The second story focuses on Ellen Burstyn. The insurance investigator sees her at the site of her house which is burnt down. There has to be some appraisal of her property and what has survived the fire, including a baseball memento which has some wants. She flies to Las Vegas, this is another investigator, Will (Jon Hamm) and sells him the memento.

The third story focuses on Will, going to California to meet his sister (Catherine Keener) and an appraisal of a property and the mementos inside the house now that their parents have moved to Florida. There is a subplot focusing on the daughter of Catherine Keener, who really has no interest in the property in the business – but then is involved in a tragic accident.

With the theme of memory, there is a rather poignant reminder that in the digital age, so much correspondence, so many memories are kept on computers and the particular fragility that computers can be lost, broken, destroyed – and memories lost.

A thoughtful kind of entertainment.

1. The title? Memories? Longing? Different perspectives for different generations? Souvenirs, memorabilia, things? And the revelation that so many memories were confined to digital – and easily lost or destroyed?

2. The stories, variety of memories, homes, the site of the fire, visits to Las Vegas, California homes and memorabilia? The musical score?

3. The insurance investigator, as a person, his job, philosophy of life, emotional detachment, yet learning from meeting people, realism rather than empathy? With Ed, the discussions about his books, meeting him in his room? The daughter and her husband, the discussions about the property, keeping and dispersing? The encounter with Helen, at the site of the fire, listening to her memories and regrets, meeting the friends who had also experienced fire? His looking, listening, reflecting? The effect of it on him, of Helen?

4. Ed, his age, his books and possessions, the appraisal, the conversation, the daughter, the discussions and reactions, the next generation? Issues of moving, letting go?

5. The site of the fire, the sense of loss, the insurance issues, revisiting the situation of the rooms, Helen and her choices? The baseball and Ned? The family interest, her son? The issue of moving, the insurance payout, the son and his wanting the ball, his discussions with his mother, with his wife? Sense of realism, the conversations? Helen going to Las Vegas, meeting Will, the appraisal, experiencing empathy, his not remembering her in the future, her story?

6. Will, flying home, driving, meeting his sister, their parents moving to Florida, taking what they needed, leaving the rest, the attic, the choices to be made, memories kept, left behind?

7. Sorting through the possessions, their values, keeping them or not, the flashbacks to the past, the children, their parents? The passing of time, souvenirs and values, the conversations between brother and sister?

8. The daughter, promising to help, seeing the memories as junk, the discussions about the LP, downloading music? The rational approach to souvenirs in the 21st-century? Detached?

9. The news of the daughter’s death, the crash, her memories, no digital memories, the destruction of the computer and phone? The mother, her grief, the visitors for the funeral?

10. Friendship, surviving, bonds, blame? The young girl, surviving the accident, the visit to her friend’s parents?

11. Audiences are of different generations and their identifying with the stories?

NATIVE SON

US, 2019, 104 minutes, Colour.
Ashton Sanders, Margaret Qualley, Nick Robinson, Kiki Lane, Bill Camp, Sanaa Lathan, Elizabeth Marvel, David Allen Grier, Lamar Johnson, Stephen Mc Kinley Henderson, Barbara Sukowa.
Directed by Rashid Johnson.

Native Son is an updated screen version of the novel by Richard Wright (who directed a version of the film in the 1940s). The basic outline of the plot remains the same.

At the centre of the film is a young man Bigger Thomas, played by Ashton Sanders (who played the teen version of the central character in the Oscar-winning Moonlight). He lives at home, but has some friends who want him involved in robberies. He also has a local girlfriend. However, he gets a job with a wealthy family as a chauffeur after a successful interview.

The daughter of the family and her boyfriend are particularly wilful, living the high life, making demands on the chauffeur, concealing them from her parents.

When she makes an advance on Bigger, he defends himself, wants to cover the episode, placing a pillow over the woman and actually killing her. The film pursues Bigger’s issues of conscience, failures of conscience, exploitation of the situation.

The film is well acted by strong cast in supporting roles – and, a challenge about American society, dominance of white society, aspects, this time, of 21st century racism.

1. An adaptation of the classic novel? The earlier versions? 20th century versions? Adaptation 21st-century? Relevance, race issues?

2. The Chicago setting, contemporary, the vistas of the city, apartments, mansions, neighbourhoods? The streets and deliveries, the bars, the clubs? Driving through the city? The musical score?

3. The introduction to Big, his room, posters and possessions, his getting up, looking in the mirror, the mirror in three parts, his green hair, his eye drops and glasses? Place in the family, the grace before meals, his mother, his sister? His bike, riding to work, the meeting with Bessie, the bond with her, his other friends, the deliveries and his deceptions, the friends and wanting the robbery? Visiting the cinema? His contacts, advice, drugs? The link with the Waltons? The interview, the blind wife, accepting him? The daughter, driving her? The father going to work? His success in business? Big and his room? Going to the clubs with the daughter, her boyfriend? The types of the clubs, his staying outside, observing? Momentary glimpses of him in the swirl, reality and fantasy? His voice-over and communication?

4. His family, the background, his mother and her concern, his siblings?

5. The range of friends, the discussions, meeting in the alleys? His relationship with Bessie, her being upset? The sexual encounter with the other woman?

6. The Waltons, their comfortable life, the long serving chauffeur and his turning up and giving advice? The personalities of the parents, the daughter, relationship with Jan, his political perspectives, not going to lectures, going out, the lively parties, Big and his observations?

7. The crisis, the daughter being drunk, her provocation in her room, the mother hearing noises, Big placing the pillow over the woman, his anxiety, turning around, the pressure, discovering that she had died? The sense of denial, his decision, dragging the body, the furnace and his burning her? Not giving himself up to the police?

8. Housekeeper, finding the jewellery, the Waltons, the reaction, the police? Big shaving his head? In the cinema, the meeting with Bessie, the warehouse, desperate, his behaviour towards her, her running away? The police, his death?

9. Issues of race, neighbourhoods, segregation, black and white and sexual relationships?

10. The reason for Big’s death, the provocation of the daughter, his defensive reaction, symbolic of the white person destroying the black man?

ANIMALS

Australia/Ireland, 2019, 109 minutes, Colour.
Holliday Grainger, Alia Shawkat, Fra Fee, Dermot Murphy, Amy Malloy, Pat Shortt, Olwen Foueere. Kwaku Fortune.
Directed by Sophie Hyde.

The animals of the title are two party-girls. And, for most of the film they are partying. They are two young women, in fact, turning 30, a decade of party life of more, drugs, booze, sex, hedonistic indulgence and no sign of it stopping. Or, are there some signs?

The film is based on a novel by Emma Jane Unsworth which was very popular. She has written the screenplay. The film was directed by South Australian, Sophie Hyde, who made 52 Tuesdays. The production was filmed in Ireland and post-production in Australia. So, the setting is Dublin.

Holliday Grainger and Alia Shawkat are Laura and Tyler, Laura from Dublin, a would-be writer who has achieved very little except for jottings and her notebook. Tyler is actually an American living in Ireland, alienated from her family. The two actresses give strong performances but it will depend on audience point of view whether they find them sympathetic or not. Unless the audience are party animals themselves, they might find the constant presentation of the partying a bit wearisome.

But, the screenplay asks, is any change possible, can they really grow up, take responsibilities for their lives? For most of the action, it seems not. And, perhaps for Tyler, there is very little possibility for change, even as she sees some change in Laura.

Music is sometimes able to tame the savage beast – and Laura encounters a dark and brooding musician, Jim (France Fee) who is serious about his music, is attracted to Laura and she to him, opening up possibilities for a long-term relationship, rather to the dismissive disgust of Tyler.

There are some characters who offer balance to the two-party animals, Laura’s pregnant sister, her husband, Laura’s sympathetic parents. At least Laura can see possibilities. But, given the fact that she declares she has had more than a decade of this kind of partying life and stranded herself in it, it is getting rather late in her life to commit herself and make some decisions. And, of course, she makes some wilful mistakes.

Young adults in their 20s and 30s, especially if they are prone to being party animals, may well identify with Laura and Tyler – and see that Tyler whose kind of life is an open highway to…? But that, for Laura, there needs to be some change, some facing the reality of life, some settling down…

Older audiences, even some who have been through similar phases in their life, may find almost 2 hours in the company of Laura and Tyler, no matter how well and effectively made the film is (and it is well-made), very trying (hoping, perhaps, against hope, that the two women will go beyond hedonism into some kind of responsibility).

1. The title? Party animals? So much of the film devoted to the partying and its aftermath? The girls being wasted – and the implications of wasted lives?

2. An Irish production, the Australian contribution? The Dublin settings, streets and homes, pubs and bars, music and recitals? The musical score, songs, the classical music and performances?

3. Laura and Tyler, their long friendship, Laura from Dublin, Tyler from America and alienation from her family? Laura and her bonds with her sister, brother-in-law, with her parents, her father’s illness? The contrast between the two girls and their background?

4. Laura’s story, 30s, partying for so long, the booze, so many drugs, the sexual encounters, especially with the dealer? Her wanting to write the novel, but having completed few pages? Her jottings? Her inability to follow through? Giving up, going out with Tyler? Living with Tyler, paying her the rent? Best friends? Tyler and her example, her cynical comments, interpretation of life? Laura relying on her?

5. Tyler, from the US, party animal, no indication of wanting to change? The scenes of her being wasted? Her friendship with Laura, best friends, her job in the bar, losing the job? The proliferation of drugs, her drinking, casual sexual encounters and pickups? The phone call with a death from America and her reaction? Her observing Laura, Laura and Jimmy, the possibility of Laura settling down, the threat to the friendship? Her wanting to thwart the relationship?

6. Jimmy, in the bar, musician, hours of practice, recitals, ambitions? The attraction to Laura? Moving in together? The proposal? Going to the family and his being welcomed? His friend, Mexico, the sexual aspects? Laura, her own infidelity with the dealer, her attitude towards Jimmy, going to the party, going to the recital, her being upset and breaking the relationship?

7. The world of the bars, the baristas, young people, dancing, music, booze, drugs? Marty his character, dealing, relationship with Laura and her reactions?

8. The birth of the baby, Laura going to see the baby, the glass of wine, spilling it, her sister’s reaction? The later going to see her sister, the discussions, the baby, drinking together?

9. Laura, into her 30s, her prospects?