WILD ROSE

UK, 2018, 100 minutes, Colour.
Jessie Buckley, Julie Waters, Sophie Okonedo, Daisy Littlefield, Adam Mitchell, James Harkness, Jamie Sives, Bob Harris.
Directed by Tom Harper.

This is a film with a lot, even more than a lot, of Country music and songs. Somebody remarked that, if an audience was not familiar with Country music, by the end of Wild Rose, they certainly would be. And, possibly, converts! When we realise that the setting is the UK, a long way from Tennessee, that the setting is, in fact, Glasgow, that is something of an achievement.

This is the story of Rose- Lynn, Right from the start, we know that Rose -Lynn is going to make good by the end of the film. That’s not a spoiler, it’s a proper expectation. However, as she emerges from prison, pretty cocksure of herself, she is certainly not a character who engages her audience – rather, she does engage the audience but our response is a strong dislike.

Because she is a strong screen presence, Jessie Buckley makes Rose -Lynn something of a demanding character. She challenges us. But, as we watch her get out of prison and immediately go to visit her boyfriend, and get round to going to her mother’s house where we discover that she has two children, eight and five, we realise that she is going to be challenged herself. And, on first evidence, it looks as though she is going to fail.

As it emerges that from the age of 14 she has been a star down at the local Glasgow Grand Ole Oprey and other clubs, her inborn talent for singing is energised by audience response (which is always loud and enthusiastic, energetic line-dancing, rollicking applause).

Life’s agenda? Plans and decisions – no, except that she has an overall vision that she should have been born in America and that her natural place in life is Nashville, Tennessee. Her life is in the here and now, but focused on her singing rather than on her children and responsibilities. In terms of decisions for life, she is almost completely self-absorbed. Which, in the early part of the film, makes her even less likeable.

She is in her mid-20s, having had her two children before she turned 18, has had a drug-life and been imprisoned for throwing heroin packets over prison walls for inmates. She seems to know nothing about responsibility.

There are two older women in her life and these are the catalysts for, at a later age than might be expected, she begins to be at home in her type and can move on, two steps forward, one step backward, to her appreciation of herself and for some self-acceptance. But, becoming more confident with that good word, quoted in the film, gumption!

Her mother, played by Julie Waters, is very much old-school principles, overcoming her disappointment in not being able to achieve her hopes, but drawing on her strength to get through life. She challenges her daughter to get a job, which she does, but to face up to responsibilities, to show some care for her children, her little daughter not even speaking to her for some time after Rose- Lynn gets out of prison.

The other woman is her employer, played by Sophie Okonedo, a woman whose life in Glasgow was initially hard but who has found love with her husband, achieved a comfortable way of life, is devoted to her children. When she hears Rose- Lynn in singing, she is charmed, enthused, delighted to go out of her way to find opportunities to promote Rose-Lynn?. In fact, she is a kindness personified person.

So, buoyed by opportunities and having to face the demands of responsibilities, Rose-Lynn? begins to be her true self.

The good thing about the film is that it does not simply run along the tracks of showing a self-centred woman who is given opportunities and moves along paths to ultimate success. Rather, she has to test out the reality of her dream (and discover the myriad of similar dreamers who flock to Nashville) and face the reality of her talent and abilities. So, the happy ending, but a realistic one that can be shared by her mother and children and by her kind sponsor.

In fact, Rose- Lynn, performing her final country song, proves to be a good example of potential made good.

1. The title? Rose- Lynn and her name? The image of the Rose, wild? Growing wild? Beauty?

2. The Scots story, the Glasgow settings, the different areas, in the past, the new high-rise buildings? Homes of the wealthy, poor neighbourhoods, the middle class? Clubs, the Grand Ole Oprey, the shops and supermarkets, the prison?

3. The musical score, the range of Country songs, the performance throughout the film? Style of music, themes and lyrics, performance? The country response, the clubs, line dancing, the enthusiasm?

4. The introduction to Rose- Lynn, getting out of prison, her age, self-absorption, her going immediately to her boyfriend, the sexual encounter, then going to her mother and children, the little boy and his not responding, the little girl and her refusing to speak to her mother? Rose- Lynn and her own mother, the reprimands and judgement? Yet her capacity to sing, the reputation from 14, audiences, yet the drugs, the children before she was 18? Her dream of Nashville, saying that she should have been an American?

5. The range of contacts, friends, the boyfriend and the sexual encounter, his presence at the clubs? The not strong bonding with him? The people in the clubs, the owners, customers, bartenders? Her reputation because she was in prison? The past with drugs? Her being sentenced for supplying drugs?

6. Her mother, hard-working, caring for the children, strict, her life’s dreams, not achieving them, working in the bakery at the supermarket, helping with the children, providing meals? Challenging her daughter, accusing her of selfishness and not looking after her children?

7. Rose- Lynn, the drugs background, the children and her inability to cope, the reputation for singing, not made for housekeeping, yet getting her job and cleaning house for Susanna? The moment of change of heart when she tidied up the house – to everyone’s surprise? The gradual softening of the children?

8. Susanna and her family, husband and the children, Rose- Lynn and her admiration of the house, the music, the children’s response, Susanna listening? Susanna and her kindness, encouraging Rose- Lynn, the contact with the BBC, sending her to London? The possibilities? The idea of the party and the guests, for Rose- Lynn to perform with her band, to crowd-fund a ticket to Nashville?

9. Beginning of hopes? But her drinking on the way in the train to London, losing her purse, having to run to the BBC, yet well received by Bob Ross? Prospects?

10. The week of school, the promise to take the children to the beach? The need for rehearsals, her offloading the children to friends and neighbours? Her mother’s reprimand? The children saying they hated her? Yet her taking them to the beach, a happy day?

11. Susanna’s husband, telling her that he saw through her, the warnings? The effect on Rose-Lynn?, drinking, arriving for the party, the welcome, Susanna and her happiness? Her walking off, explaining and giving the truth to Susanna?

12. The response of her mother, their frank talk, her mother giving her the money, the ticket to Nashville?

13. The visit to Nashville, the atmosphere, aura of country music? Her stay, walking the streets, observing? The tour, her going onto the stage, her singing, the violinist? The conversation with the security guard? Her realising there were many girls with dreams arriving in Nashville?

14. Going home, welcomed home?

15. Yet success, growing up, acting within gumption as her mother encouraged her? Writing her own songs, as advised? Going to the club, everybody there, the joy of the family, Susanna and her children present? Rose- Lynn becoming her true self?

RED JOAN

UK, 2018, 101 minutes, Colour.
Judi Dench, Sophie Cookson, Stephen Campbell Moore, Tom Hughes, Freddie Gaminara, Tereza Srbova, Ben Miles.
Directed by Trevor Nunn.

The opening credits remind audiences that this film is based on a novel – but it is inspired by actual characters and events. Which means that this is an interpretation of the role of the actual Melita Norwood, Melita Norwood worked at the British Non-Ferrous? Metals Research Association as a secretary and supplied the Soviet Union with nuclear secrets. The materials that Norwood passed on to the USSR hastened the pace at which the Soviets developed nuclear bomb technology. Wikipedia provides a quick, brief background to Melita Norwood.

In this fictionalised version, Judi Dench plays Joan Stanley, seen in her 80s in the year 2000 when she is arrested for espionage. As she spends time in custody, being interrogated, accused by her disbelieving son, there are flashbacks to her study days in Cambridge in 1938, her being employed by the Department of Defence, her scientific skills and insights, being seconded to a department working on nuclear fission, conscious of the work of the Americans with the Manhattan Project, the race towards nuclear weapons by the Soviet Union, travels to Canada and collaboration with Canadian scientists. Joan Stanley is portrayed as a significant scientist, but a woman with connections with socialist and Communist groups in the late 1930s.

Audiences will be conscious of the range of British spies, centred on Cambridge, their work during World War II and subsequently, passing on secrets to the Russians, covert lives and subsequent moves to Moscow including Burgess and Maclean, Kim Philby and the later unmasking of Anthony Blunt.

The younger Joan is played by Sophie Cookson, earnest, caught up without realising that she has been recruited by a range of socialists in Cambridge, including a number of later civil servants, émigré Russians, falling in love with one of them. There is on and off contact during the war and after and the pressure on her to pass on secrets.

She also falls in love with her she-scientist boss, played by Stephen Campbell Moore, with whom she travels to Canada for continued nuclear work. She becomes more and more conscious of the race for the bomb, appalled (as we are with the familiar images of Hiroshima) and is faced with moral dilemmas at the beginning of the Cold War, a motivation that thinks that if Russia has nuclear capabilities, this will counterbalance those of the United States. And, she points out, that this counterbalance has been effective for more than half a century.

Her son is shocked, a devout patriot, questioning his mother about her behaviour and motivation, concerned about how much his father knew of his wife’s behaviour – an interesting, unanticipated twist towards the end.

Many critics have turned up their noses at this story, some calling it absurd, many saying that was a waste of Judi Dench’s talents. On the other hand, this is the kind of story that interests many audiences, many older audiences who like to give some thought to the issues and their continued relevance.

1. The tradition of British spy stories? Stories of the 30s and 40s? The versions of John Le Carre stories?

2. The screenplay as a fiction, credible, based on an actual character? Activities, motivations? Exposure in the year 2000?

3. Judi Dench and the central role? Impact?

4. The year 2000, the house, the London suburbs, the police arriving, interviews?

5. The 1930s, Cambridge, the University, the flats for the students? The socialist groups? Their meetings and enthusiasm? The academic world? The personal stories? The 1940s, Department of Defence, the laboratories and research, personal stories, the workplace? The work in Canada? The return to England, wartime, collaboration with the Soviet Union? The passing on of secrets? The arrest of the head of research? The musical score – and the overtones of the Internationale?

6. The picture of Joan, as Mrs Stanley, in the house, the neighbours watching, the son and his legal work, the arrest, the shock, the interrogation rooms, the attitude of those questioning? The collapse, Hospital? The discussions, the issues of science, the bomb, patriotism? The hostility of her son? His patriotism? His concern about his father, the revelation of who his father was? The final press conference and his standing by his mother’s side?

7. Joan, young and earnest, her study, the episode with Sonia getting into the building, Sonia’s invitation to Joan to go to the meetings, her shyness, the attraction to Leo, falling in
love with him, caught up in his ideology, going to the meetings, the protests? Her personal involvement?

8. Sonya, her personality, exuberant style, getting into the house, invitations to Joan, the relationship with Leo and the later photo of their son? Her cover, recruiting, her work during the war, after the war, loyalty to Russia?

9. Leo, as in émigré, German background, bond with the Soviet Union, his ideologies, work and study, the demonstrations, his speeches, the influence on young British politically minded men and women? During the war, moving out, returning, the affair with Joan? Going to Canada, their meeting there? His return to England, pleading with her? The affair resuming? His death, hanging? Sonia and her cover?

10. Max Davis, his skills as a scientist, in charge of the group working, interview with Joan, hiring her, keeping her in prominence, other scientists and expectations that she was the tea lady? The collaboration with Joan? Falling in love with her, the separation from his wife, not getting a divorce? The going to Canada, with the scientists, the revelation of the link of the Chief scientist with the Soviet Union? The return to England? The continued work, the rivalry with the Manhattan Project, developments in Russia? Max and his being arrested, his love for Joan, suffering, the divorce, her visiting him in prison, her confession?

11. The British politicians, the discussions and plans, collaboration with the Canadians?

12. The world of the scientists and research, the role of men, subsidiary roles of women, Joan as a leader?

13. The Manhattan Project and its development, the bombing of Hiroshima, Joan (and the audience) watching the devastation? Her response? Her motivation? Not receiving money from the Soviet Union? Her ideology, a balance of power with each power having the bomb and capabilities? Leo and his persuasion, her getting the materials, the camera, passing on the documents, losing her camera in the canal?

14. William Mitchell, the contacts, her finding the compromising photo, her blackmailing him, getting the tickets to Australia, Max getting out of jail, the couple going to Australia as Mr and Mrs Stanley? Nick asking about his father? How much he knew?

15. The final press conference, the questions, Joan and her explanation of her motivation?

16. The actual character of Melita Norwood, as fictionalised as Joan Stanley, the different facts, but helping to understand the role of those who passed secrets to the Soviet Union in the 30s and 40s?

#SQUAD GOALS/ DEADLY SCHOLARS

US, 2018, 93 minutes, Colour.
Sheryl Lee, Kennedy Lea Slocum, Corey Fogelmanis, Peyton Clark, Alexa Mansour, Paris Berelcl, Eric Stanton Betts, Sherri Saum.
Directed by Danny J.Boyle.

This is a murder mystery designed for high school students, written with them in mind, less sophisticated than an adult murder mystery (and the misreading of the screenplay and the target audience by bloggers).

This is a California high school, the central character, Sam, new to the school, but interested in journalism, writing for the magazine. She teams up with Nate, an inveterate photographer, snapping shots at every moment. Together they make an investigative team. (In the past, it was Nancy Drew style.) Sam has a best friend, Gillian, who is also infatuated with Nate. The other close member of the group is Rudy.

When the actor playing Romeo dies in rehearsal performance, it is considered an accident because of his peanut allergy. The amateur detectives get clues, check the lipstick which was on the lips of Juliet, Rudy doing a laboratory analysis, finding peanuts there. The next victim is the leader of the cheerleaders of the school, the girlfriend of the top sportsmen – but, a secret is revealed there.

The principal is very uptight about her school. Sam’s mother (Sheryl Lee from Twin Peaks) is a school counsellor.

The police do not seem to be interested, so the youngsters do their investigations. As we watch, get clues to exclude suspects, it is not difficult to spot the killer.

1. A murder mystery? In a high school? Designed and written for an audience of high school teenagers?

2. The characters, the relationships, friendships, jealousies, the deaths, the investigations, the role of the principal, the Counsellor, the inactivity of the police?

3. The Californian high school, classrooms, theatre and rehearsals, sports, activity centres? Laboratories? The musical score?

4. Samantha, age, experience, six months at the school, her mother the Counsellor? Her friendship with Nate? His forever taking photos? Friendship with Gillian? The friendship with Rudy? The discussions, the school magazine, reporting, writing stories, photographs?

5. Romeo and Juliet, the death scene, Jordan and his death? The principal and her reaction, wanting to contain the story? The press? Her relying on Sam’s mother? Secrecy, professionalism?

6. The reaction of the students? Sam and the investigation, the interviews? Nate and the photos? Brittany, cheerleader, relationship with Lance, the photo, her disappointment, showing the photo to Sam, her death, falling out the window? The later revelation of her being stabbed? The interview with Lance, sport, basketball, the photo, his relationship with Jordan, the photo on all the lockers? His moving?

7. Gillian, friendship, attracted to Nate? Close but sometimes on the periphery? The information given to Sam?

8. Rudy, self-assured, his father, needing the scholarship, throwing the party, the drink, the police reaction? Brittany’s death? The knife in his locker? The analysis of the lipstick for peanut? His being arrested?

9. Sam, her mother, her mother giving her the warnings, not to investigate?

10. The issue of scholarships, Gillian wealthy and not needing one? The final list, people dropping off, the final three?

11. The award to Sam, for dividing it with Nate and Rudy?

12. The high school Nancy Drew, the investigations, the clues, the final set up with Gillian, Nate recording her, the fight, the solution?

BLUE LIGHT/ HERE AND NOW

US, 2018, 91 minutes, Colour.
Sarah Jessica Parker, Jacqueline Bissett, Simon Baker, Common, Renee Zellweger, Mary Beth Pell, Gus Birney.
Directed by Fabien Constant.

This is a brief film about death. The action takes place over 24 hours, the film beginning and ending with close-ups of the eyes of Sarah Jessica Parker who plays a singer, who is given her whole life to her career and separated from her husband and daughter.

She is diagnosed with a brain tumour and spends the next 24 hours reflecting on her life and memories, the decisions, the people in her life.

This means that the film consists of a lot of her walking through the New York streets, riding in a taxi (whose driver she continues to meet and then hires for several hours), the producer and band with whom she works, an encounter with an old friend having a birthday party, going to hear a singer at a club and then her singing, two visits to her husband and daughter.

Those who are moved by films about prospects of death may well respond to it – but the bloggers, not engaged, have judged the film as extremely boring for them.

The film has a good supporting cast including Jacqueline Bissett as her French mother, Simon Baker as her husband, Common as her manager, Renee Zellweger as the friend from the past.

1. A day in the life of a singer? Contemplating death?

2. A New York City story, the streets, rehearsal rooms, apartments, restaurants, taxis? Songs in the musical score?

3. The two titles and their tone?

4. Vivienne’s story? Her career as a singer? With her director and band? Her relationship with Nick, with Lucie? Lucie living with her father, Vivienne and her career?

5. The visit to the doctor, the x-rays, the diagnosis, the limited time, surgery or not? The immediate impact?

6. Late for rehearsals, her arrival, the personalities, her singing? The interview? The offhanded attitude of the interviewer?

7. Her walking the streets, contemplating, people passing by, bumping into people? The taxi, continually meeting him, her irritation with the music, getting out, encountering him again, the discussions, hiring him for the night?

8. Her relationship with the drummer, sexual, going to the performance, the singing?

9. The producer, friendship, his support?

10. Her relationship with her mother, demanding, French, visiting, interfering?

11. Walking the streets, the chance encounter with Tessa, their past friendship, Tessa and her birthday, marriage and three children, the impact on Vivienne?

12. Going home, the discussions with Nick, preparing the meal, Lucie arriving home? Her relationship with her daughter?

13. Visiting her again, the discussions with Nick, the gift of the dress to Lucie, leaving?

14. The audience sharing Vivienne’s experience, reflections, prospects? The film opening with the close-up on her eyes, the end of the film with the same close-up?

MYSTIFY: MICHAEL HUTCHENCE

Australia, 2018, 104 minutes, Colour.
Directed by Richard Lowenstein.

For fans of Michael Hutchence and INXS, this exploratory documentary is a must. For those not familiar with the singer and performer, it will provide an interesting, sometimes disturbing, portrait of an artist, insecure in himself, talented in his singing and composition, a life ended prematurely.
Documentary and feature director, Richard Lowenstein (He Died with a Falafel in his Hand, Say a Little Prayer, In Bob We Trust) had worked with Michael Hutchence in his 1986 feature film about a commune of musicians, Dogs in Space. Which means that he had followed Hutchence in the 1980s and into the 1990s, until Hutchence’s death in 1997.

For those who like INXS, it is an opportunity to relive the story of the band, the different personalities, their different contributions to the music, to performance. There are their ups and downs in career, the ups and downs in friendship and relationships. And there are sequences of performance in many venues around the world. This documentary culminates in a performance of their hit, Mystify.

The film provides a substantial overview of Hutchence’s life and career, his relationship with his parents, their separation, his growing bond with his father, strong bond with his sister and ups and downs with his brother. There are the photos of his growing up, interviews with family and friends about his personality, shyness and diffidence, a growing transformation with his involvement with his band.

And, interestingly, the women with whom he had relationships are also interviewed to quite some extent. The outsider, he seems to begin an intense relationship and, then, suddenly move out of it, no real explanations offered, moving along to the next partner. In fact, this happens four times, including a relationship with Kylie Minogue (and quite an amount of film footage to illustrate it) as well as with model Helena Christensen (again film footage available).

There is also quite a lot of footage of Hutchence himself and quite an amount of footage attributed to him and his camera work. It illustrates the background of his life, time living in France, the international tours and success.

However, older audiences may remember his involvement in scandals in the 1990s, his relationship with Paula Yates, her work as an interviewer, then the personal bonding, her leaving her husband, Bob Geldof, her children, and the successive court cases about divorce and custody. There are no comments from Bob Geldof himself in this film.

Hutchence seems to have been preoccupied with the case, his relationship with Paula Yates, the birth of their daughter.

NEVER LOOK AWAY

Germany, 2018, 189 minutes, Colour.
Tom Schilling, Sebastian Koch, Paula Beer, Saskia Rosendal, Oliver Masucci.
Directed by Florian Henkel von Donnesmarck.

Audiences were very impressed about a decade ago with the Oscar-winning film for the Best Foreign Language category, The Lives of Others. It was written by Florian Henkel von Donnesmarck and focused on the history of post-war divided Germany, especially life in the East, the Communist regime, its strictures, the Stasi.

Audiences will also be impressed with this film. It covers several decades of 20th century German history, pre-war, war and post-war, initially concentrating on the east, the city of Dresden, and then moving to the west just before the building of the Berlin Wall, and locations in Düsseldorf.

So, in one sense, this is a film of the history of Germany last century. But, with its focus on a young boy, Kurt, his growing up after the war in the East, his skills as an artist, this is also a story of art.

And, when Kurt, Tom Schilling, meets the love of his life when studying art, it is also a poignant love story – with complications and connections with the work of sterilisation by Nazi doctors.

With the film running over three hours, there is time to explore all these themes and develop the characters.

Kurt is a small boy in 1937, taken to an art exhibition in Dresden by his erratic aunt who has a breakdown and is interned, considered unfit to bear children in the Third Reich and sentenced to sterilisation surgery. The doctor in charge, Dr Seeband (Sebastian Koch), expert medically, is confident in his own abilities and his loyalty to the Reich, becoming an officer of the SS. He will play an important role in Kurt’s post-war life.

Kurt’s father was a teacher who refused to join the Nazi party but finally did so because his wife wanted him to be successful after the war. This did not happen, his father humiliated, taking his own life.

The film immerses the audience in the atmosphere of East Berlin in the 1950s, the socialist ideology transferring into socialist images, murals, the Stalinist style of government and police.

With the transition to the west and to Düsseldorf, the film explores the modernist trends in the 1960s, anti-painting, experimental and performance art, with Kurt trying to find his place and his talent in this different atmosphere. Eventually, he does find a medium, drawing on photos from the past and transforming them into black-and-white paintings. He has a happy life with his wife but there are continued threats from the past.

This is both a portrait of and a critique of 20th century Germany and absorbing storytelling.

1. German history in the mid 20th century? The portrait of an artist? Love story?

2. The settings, Dresden, 1937, the war, 1940, the end of the war, 1945, German life in the 1950s, East Germany, Berlin divided, into the 1960s? The overview?

3. The German settings, the city of Dresden before the war, the bombing of Dresden, the ruins? The portrait of East Germany after the war? The contrast with the West? Berlin? Düsseldorf?

4. The atmosphere, the world of art, galleries, work, the socialist emphasis on out? Was Germany and Modernism? The musical score?

5. Kurt and his story, the boy pre-war, the experience of the war? Growing up in the East, his early years as an artist, the transformation in going to the west?

6. With his aunt, going to the Gallery, the guide and the condemnation of decadent art, his commentary and people’s response? The examples of art on the wall? Kandinsky, the bond with Elizabeth, the comments? Getting the bus home, Elizabeth and her pose in front of the buses, the drivers and their horns? Kurt, his parents, his father as a teacher, not joining the Nazi party, the pressure from his wife, to be safe after the war – and the ironies of this failure? Elizabeth, her attitudes, sitting naked at the piano, telling Kurt he must never look away? The interviews with the doctors, the lies, the intern? The institution? The status of people with mental disorders? The Nazis considering them inferior? Euthanasia programs? Sterilisation programs? Dr Seeband and his decisions?

7. Dr Seeband, his role with the SS, the meetings, the euthanasia programs, his skill as a gynaecologist, specialty? Seeing him in the flashbacks, wearing the uniform and admiring himself in the mirror? The euthanasia decisions, sterilisation decisions, the confrontation by Elizabeth, his not sterilising her? The end of the war, the defeat, the Russian general interviewing him, slapping him, his wanting to be called Professor? In prison, hearing the general’s wife and the difficulties of the birth, his help, the Russian general protecting him, the passing of the years, his reputation, successful work? His relationship with his wife, the affair with the associate? His love for his daughter, suspicious of Kurt, discerning that she was pregnant, the compulsory abortion, the result? His final agreement to their marriage? His going to the west, his arrogance, his trip with his wife and the slides, getting Kurt the job of scrubbing the steps? The interest in art, getting Kurt to paint his portrait, hanging in the hall? The arrest of the associate, the aftermath for him, being exposed, his fears?

8. Kurt, teenager after the war, painting signs, graphics, the supervisor, going to art school, the professor and his support? His father scrubbing the steps? His father eventually hanging himself?

9. Training, posing, the jokes with the model, socialist perspective, painting the mural?

10. The encounter with Ellie, their talking, flirting, the walk, her home, the irony of her father being Dr Seeband? Her making the suit for Kurt, the growing relationship, the sexual encounter, the parents arriving home, Kurt leaping naked into the tree, the encounter with her mother, the talk? The suggestion that he occupy the room? The mother urging her husband for Kurt to have the room? Painting the portrait of Dr Seeband? The experience of the abortion, sadness, the bonding of the two, their marriage?

11. East Germany, the 1950s and 60s, people leaving, the decision to go, the train, the tension, arriving in the West, before the Wall? Getting advice, the art world? Düsseldorf?

12. The visit to Düsseldorf, the galleries, the tour, the range of modern art, eccentricities, painting as dead, experience art, the various theories, Harry and his guidance? The professor, his eccentricity, his performance, his lectures? Looking into Kurt’s eyes, giving him the studio? The experiences, Kurt experimenting with different styles? His theory about numbers being meaningless, but lottery numbers having meaning?

13. The professor, his work, the interviews with Kurt, his war story, capture, his explanation of the grease and the felt keeping him alive?

14. Kurt and Ellie, their love, her miscarriages, coping, scrubbing the stairs?

15. The paper, the picture of the SS euthanasia chief? Kurt his experience, beginning to paint, the photo of Elizabeth, naked woman descending the stairs? The father’s reaction? Kurt and developing the style of painting the photos, black and white, people’s response, his friend and the setting up of the Gallery and exhibition?

16. Ellie has pregnant, nude on the stairs, the birth of the boy?

17. Adrian, as Kurt’s agent, the importance of the press conference, the questions to Kurt, misinterpreting what he was doing in his art?

18. Kurt, love for Ellie, family, the end and is standing in front of the buses and the drivers tooting their horns?

LIONS, LOVE (… LIES)

France, 1969, 110 minutes, Colour.
Viva, Jerry Ragni, James Rado, Shirley Clarke, Eddie Constantine, Peter Bogdanovich.
Directed by Agnes Varda.

Agnes Varda, photographer, film director, commentator on 20th century life, died at the age of 90 in 2019. She made significant films in her later years, her last two films, Faces/Places and the documentary reviewing her whole life, Agnes by Varda.

Initially a photographer, then moving to film, Agnes Varda began to make documentaries in the late 1950s and, over the coming decades, a number of feature films including Cleo from 5 to 7, Happiness and Vagabond. But her main work was in short films and in documentary.

She worked for some time in the United States, especially in Los Angeles, with a feature documentary, Lions, Love (Lies…), a rather free-flowing look at California and, especially, Los Angeles in the 1960s, the effect of changes in that decade, greater freedoms, the hippie movement. It focused on three characters, Andy Warhol’s actress, Viva, as well as the two authors/composers of the musical, Hair, Gerome Ragni and James Rado. The three lived together, rather uninhibitedly, especially with swimming pool and bedroom scenes, as well is commonplace domestic episodes.

They welcome the independent director, Shirley Clarke, to stay with them while she meets producers and executives to get money for her next feature – with some satiric sequences for the discussions of the producers, one giving the familiar arguments about money and control, another making a plea for the freedom for the director.

Agnes Varda is there, continually with her camera, encouraging the performers to be creative, to improvise.

And, there is a great deal of talk. The film opens with two performers with the play The Beard, and a focus on the audience. The three central characters have opinions on many aspects of contemporary American culture, the arts. At one stage, the three take on the roles of mystical saints, St Augustine, Teresa of Avila, John of the Cross, sitting together and reciting, quite extensively, some of their reflections on God and spirituality.

There is also quite some discussion with Shirley Clarke about contemporary art, filmmaking, finance – with Shirley Clarke playing a fictitious variation on her own character, from New York, enjoying California, especially with her range of clothes.

Some audiences found it intriguing, just going with the flow. Other audiences found the flow to unfocused – and the characters rather self-indulgent.

Nevertheless, a milestone in the career of Agnes Varda.

THE CON IS ON

US, 2018, 90 minutes, Colour.
Uma Thurman, Tim Roth, Maggie Q, Alice Eve, Stephen Fry, Edward Zo, Crispin Glover, Parker Posey, Sofia Vergera.
Directed by James Haslam.

This is a confidence trickster’s film that seems something of a confidence trick in itself

It opens in St Paul’s Cathedral, London, and the old nun praying, seemingly out of Call the Midwife, but who turns out to be a drug dealer with a four-letter repertoire, a rendezvous with the central confidence trickster played by Uma Thurman. She turns out to be an inveterate gambler at poker, has taken money from the sinister criminal with whom she had a past relationship, Maggie Q. Her present relationship with her new husband, played by a perpetually grumpy Tim Roth, perpetually drinking, perpetually swearing, caught up in all the antics. He has been married to Alice Eve, all provocative glamour, an actress now married to Crispin Glover. He is making a film and is having a relationship with his main star, Sofia Vergerra. His assistant, played by a blonde Parker Posey, is insanely in love with him.

Added to that is Stephen Fry in a horrible caricature performance, first seen as a priest hosing down street people, a drug dealer, ostentatiously gay with a Korean assistant, affirming the fleeing couple in Los Angeles but then betraying them – with various gay memories including some assault.

Most of the action then takes place in Alice Eve’s mansion, the couple wanting to steal her valuable ring, all things going wrong, the criminals turning up in Los Angeles, aided by Stephen Fry, the couple eluding detection, fleeing from hotels, hiding in the mansion and Uma Thurman pretending to be a dog whisperer.

If you have read these paragraphs, and that is probably more than enough, definitely more than enough then seeing the film is superfluous – although reading the unanimous views of the IMDb bloggers, starting with “Atrocious�, is much more interesting and entertaining than seeing the film!

ROCKETMAN

UK, 2019, 121 minutes, Colour.
Taron Egerton, Jamie Bell, Richard Madden, Bryce Dallas Howard, Gemma Jones, Stephen Mackintosh, Harriet Walter, Tate Donovan.
Directed by Dexter Fletcher.

Even those who are not fans (and for almost 50 years he has had multitudes of fans) will know or know of Elton John. And the fans will have their favourites, hoping to hear them in this biopic – and they will (except for Candle in the Wind). Rocketman is well known as is, of course, the Yellow Brick Road.

While the film does trace the life of the young Reggie Dwight and his transformation into Elton John, it is also a something of a musical fantasy about his life and career. (One presumes that the costume designer will be prominent on the list of award nominations!) What the screenplay does (and it was written by Lee Hall who write Billy Elliot and other screenplays and musicals) is offer a framework for understanding and appreciating Elton John.

The framework is sessions for Alcoholics Anonymous. Initially, Elton John comes racing down the corridor flamboyantly dressed in rather diabolical red, gatecrashing a session, pretty desperate. And, throughout the film, we are returned to the group, eventually Elton getting rid of the red costume and more and more relaxing and comfortable with the group, revealing, quite candidly, the progress as well as the declines in his life.

So, back we go to the suburbs of London in the 1950s. Elton’s mother is quite self-absorbed, fancying herself, exasperated with her husband who has returned from the war, rather traumatised and isolated, leaving, marrying again. Needless to say, this has quite an impact on young Reggie and the older Elton, his mother reappearing (and, for those trying to pick who is the British actress portraying her, they will discover that it is the American Bryce Dallas Howard, with Stephen McIntosh? playing the father). The sympathetic role is that of his affirming grandmother (Gemma Jones).

In the flashbacks, two young boys represent little Reggie the most convincing. Matthew Illsley, so far his only film, is excellent in performance, singing, accompanying the older Elton. The other boy, Kit Connor, also does a fine job.

And, speaking of fine jobs, Taron Egerton excels as Elton himself (Egerton filming at the age of 28 and covering Elton from his 20s to his 60s), not only the performance and interpretation but also doing all the singing of Elton’s songs, the dancing, the gymnastics, the stage flair.

And, flair there is. After unsteady starts, and a reference to Elton as an extroverted introvert, Reggie dreams of what he might be, chooses a new name, starts to sing, has difficulties with auditions and agents, but finds a lifetime friend in lyricist Bernie Taupin (and another fine performance from Jamie Bell). And there is real excitement as, hesitatingly, he goes on to perform at the Los Angeles Troubadour and is immediately engaging, immediately multi-successful.

That is on the showmanship level. As we begin to appreciate more and more from his presence at the AA meetings, Elton has been affected by his less than affectionate mother, his father leaving and setting up a new family, a basic dissatisfaction with himself. There is also the question of his sexual orientation, the relationship with his agent (Richard Madden) and a sense of betrayal, the attempted marriage with almost immediate failure, the descent into alcohol, the further descent into drugs.

The film is been directed by actor, Dexter Fletcher, who made the Scottish musical, Sunshine on Leith, and was invited to complete the work on Bohemian Rhapsody. This is an accomplished biopic with its drama, its comedy, its music, its extravagant performances.

Elton John and his partner, David Furnish, produced the film, supported Taron Egerton in the central role – and, the credits provide a final tribute that Elton John has been sober and off drugs since 1981, has been passionately involved in AIDS charity, and the couple are bringing up their sons.

A life very much of the second part of the 20th century – but still going.

1. Elton John and his life, career, entertainment, influence? The title and his song?

2. The performance by Taron Egerton, his look, embodying Elton John’s manner, his singing all the songs, the dancing, the performance of the gymnastics, the drama? The tour de force embodiment of Elton John?

3. The role of music, throughout the film, his range of songs, prolific, the songs illustrating each aspect of his life, Taron Egerton and his range of performance, playing the piano, singing, dancing, gymnastics? His songs in recollecting his childhood, the two versions of his younger self? In the band? Auditioning? Working with Bernie? The Troubadour, hesitation, performance, flamboyant, outfits, glasses, range of costumes, evermore extravagant, more extravagant action? Distinctively Elton John?

4. The response to his music, the range of audiences, over the decades? And responding to this film?

5. Reality and fantasy in telling his life? His origins, born in the 1940s, Reginald Dwight? The two boys performing as him? The younger boy and the pool sequence, the final reconciliation with himself?

6. The United Kingdom, the 1950s, 1960s, 1970s? British society and the changes? Life in the suburbs? Local clubs? The range of venues for performance? The American venues? Luxury in Los Angeles? The room for the group work?

7. The opening, the red costume, rushing down the corridor, into the group, Elton John’s attitudes, his requests and questions, the response of the members of the group? The group appearing throughout the film? Sessions, Elton changing, changing his clothes, greater confidence, commit himself to the group, confiding in them?

8. Life in the 1950s, at home, the ever presence of his grandmother, a good woman, nice, believing in him, noting his talent, playing the piano by year, the scholarship, her taking him to the venue, her defence of him? The contrast with his mother, vain, self-centred, complaining, critical of her son? His father, service in the war, wounds, trauma, away and coming back, private, his music, not wanting his son to be soft? Strictness? Clashing with his wife? Elton catching her in the car with Fred? His father leaving, Fred coming into the house, Elton calling him dad?

9. The later visit to his father, his father’s new life, settled, his children, the discussions with Elton, asking him to sign the record?

10. His talent was music, playing by year, his giftedness, the scholarship, meeting the teacher, playing her performance by ear and then stopping, her response, supervision, getting him to practice and improve technique?

11. Elton as introverted and extroverted, as a little boy, as the older boy, in his life and performance, in his loneliness, in his identity?

12. Playing, his success, looking to play backup, the group, discussing his name, wanting something better with life, John Lennon?

13. The encounter with Bernie, Bernie as a character, his age, personality, their meeting, friendship, discussions, sending the lyrics of the songs, Elton using his imagination, creating the songs, performing them? Bernie’s delight? The long friendship, the ups and downs, Bernie supporting Elton, Elton feeling that he had abandoned him at various times? Elton and hurt? The final reconciliation?

14. Ray, admiring Elton, his help, the interviews, the discussions, the lyrics, playing, the audition? The agent, his attitude, Philistine responses, Elton composing, the song that he liked, arranging for Los Angeles and the Troubadour?

15. The visit to Los Angeles, awestruck, the Troubadour, the manager and his enthusiasm, the reputation, the other musicians present, Elton as hesitant, going out, performing, the enthusiastic response? Wanting to go to Tower records, Bernie preferring to be with the girls? The aftermath of the party?

16. Continued performances, reputation in the US, the records, sales, Elton being a millionaire? The years, performances? International?

17. Elton and his relationships, his orientation, discovering, the phone call to his mother and her saying that she knew, wanting to keep it quiet? The meeting with John Reid, the attraction, the sexual encounter, Reid managing him, money and luxury, the sequence with ousting Ray and the agent?

18. Elton and his relationship with women, their advice, singing with Kiki D, the help of Arabella, the encounters with Renata, the proposal, the wedding, life with her, the breakfast scene, the divorce, the aftermath?

19. Elton not believing that he was loved, but hurt, encountering Reid and his behaviour with the men, the scene of the pool, Elton and drugs, drink, into the pool, drowning, the fantasy with his younger self, the rescue, hospital, recuperation?

20. The family, the neighbours, their all coming to Los Angeles, the delight?

21. Drinking, drugs, yet the show must go on? Growing desperation, collapse, going into the rehabilitation?

22. Bernie and his visits, the talk, Bernie affirming Elton but wanting him to take charge of himself?

23. The final information, sober for 28 years, the development of his charities and the success, his partnership with David Furnish, the adoption of the children? The couple
producing this film?

24. Audience response, admiration, his achievement?

PRECIOUS CARGO

US, 2016, 90 minutes, Colour.
Mark- Paul Gosselaar, Claire Forlani, Bruce Willis, Jenna B.Kelly, Nick Loeb, Lydia Hull.
Directed by Max Adams.

This is a crime drama that is not essential viewing.

The film focuses on the young criminal, his plans, successes. It also focuses on his range of relationships with women. He is played by Mark- Paul Gosselaar. Amongst his relationships is an intense bond with a woman who is also a criminal, Karen. She is played by Claire Forlani.

The main villain of the film (in which all the characters are villains) is played by Bruce Willis, a familiar kind of figure from many films in his later years, several action films a year. He is arrogant, dominating, has an entourage of thugs. He confronts Karen, threatens her, she has access to call of jewels.

There is a whole range of bonding, betrayals, a number of set pieces with robberies, shootings, explosions, motorboat chases, exploding planes, safes falling from the planes and captured.

One robbery leads to another and there is a raid by the central protagonists.

Amongst the women, there is a young woman who is an expert sniper and goes into action. There is also a sympathetic doctor.

In fact, there is no really sympathetic character in the whole film in so far as everybody is involved in criminal activity – and exploiting each other, lies, betrayals. Which means then that Bruce Willis has to go – when he least expected and thinks he is in control. Karen also is left stranded despite her wanting to reconcile. Which leaves the hero, with sympathetic friends, with the sniper, the support of the doctor, a final girlfriend.

While the jewels are precious, the film is not.