THE HIGHWAYMEN

US, 2019, 132 minutes, Colour.
Kevin Costner, Woody Harrelson, Kathy Bates, John Carroll Lynch, Thomas Mann, Kim Dickens, William Sadler.
Directed by John Lee Hancock.

The story of outlaws Bonnie and Clyde, operating in the early 1930s, was well known in its time, almost a legend, receiving a great deal of popular acclaim, regret at their deaths, thousands going to the funeral services. And they have a place in cinema history, especially with Arthur Penn’s 1967 film, Bonnie and Clyde, Warren Beatty and Faye Dunaway archetypal, their associates, and the famous sequence of their death, the car, riddled with bullets, their bodies and the bullets – and this is repeated in this film.

However, this is not really the story of Bonnie and Clyde who are glimpsed generally in the distance that only close-up in the finale and the Louisiana parade of their bodies in the car with the crowds jostling to touch it and the outlaws. This is, rather, a story of two former Texas Rangers who tracked them down, collaborated with law enforcement agencies in various states, realised where the couple were heading, where to meet them and shoot them down after the years of the rampage, robberies, and many deaths, especially of the police.

The film sets a tone with an opening prison sequence and an escape. The governor of Texas, Ma Ferguson (Kathy Bates) is exasperated but is persuaded by the warden of the prison (John Carroll Lynch) to hire two former Texas Rangers (after the governor had closed them down).

The film is a portrait of these two men, the taciturn Frank Hamer, played by Kevin Costner in his accustomed style, a hard man, shrewd, not afraid to use standover tactics. His partner, Maney Gault, is played by Woody Harrelson, also in his accustomed style, somewhat offbeat in his approach to life, a dedicated lawman but with some sardonic humour, a touch more humanity than Hamer, able to spin a story when he is trying to get information.

While the jurisdiction was in Texas, they decide to go over the border, break through police barriers, enlist the help of law enforcement in other states. There are some significant moments throughout the film, revealing the characters of the two men. This is especially true of a sequence where Hamer goes to meet Clyde Barrow’s father (William Sadler), the father knowing that his son is doomed but Hamer taking the opportunity to tell something of his life story, intentions of being a minister, shooting a man who brutalised him, becoming a lawman.

The climax, the deaths of Bonnie and Clyde, the car with so many bullet holes, the bodies also riddled, his room but contrasts with the adulation of the crowds surging towards the car after their death and the information that thousands attended their funeral services.
While there have been some television films and series about Bonnie and Clyde, this is a major change in perspective with the portrait of the lawmen.

1. The title? The Texas Rangers? History, abolition, hired to track Bonnie and Clyde? Restoration of the Rangers?

2. The popularity of Bonnie and Clyde in their time, that they robbed banks and not the poor? People not acknowledging their murders? The glamour, the style? On the rampage for so long? The images of the death? The thousands coming to the funerals?

3. Bonnie and Clyde in the background, the police tracking them, the governor of Texas calling in the former Texas Rangers? The jurisdiction? Beyond Texas? Involved in activities in other states, finally in Louisiana?

4. The landscapes of Texas, flat, the roads, dust, crops? The different states? Cities and towns? Police precincts? Labour camps? Prison sequences? The governor’s house and office? The feel of the mid 1930s? The musical score?

5. The opening, the cars on the road, the prison, the plan for escape, the guns, Bonnie and Clyde, Bonnie shooting, the death of the guard, the escape, the car? Hamer and Gault? Progress and impatience? Taking the final credit?

6. Introduction to Frank Hamer, at home, his wife, retired? The warden and his approach? his wife and her reaction? Not wanting him to go? Agreeing? The sandwiches? His going to the shooting practice and paying the boys? Travelling to Gault’s house? The introduction to Gault, family, retired, drinking in the past, his going into town, meeting with Hamer, the discussion, agreeing to go with him? Issues of jurisdiction?

7. Hamer, his background, telling the story to Clyde Barrow’s father, the work, the accusation, shooting his assailant? Intention to go to the
ministry? Money, paying fees, change of heart, going to the law? His tougher attitudes, the contrast with Gault� Gault, memories of their work, the shooting, yet some sensitivity, touches of humour, inventiveness in storytelling?

8. The reputation of Bonnie and Clyde, glimpsing them only throughout the film until their deaths? The aftermath, the crowds, besieging the car? The footage and the final photos?

9. Other agencies and law enforcement, sheriffs and their collaborating? The young officer who knew Clyde? Ingenuous, wanting to help, with the group, playing cards, the binoculars and his identifying the car? The impact of the experience?

10. The Rangers, tracking the outlaws, getting the information, the labour camp and the little girl with the doll, people reticent, Hamer and his brutality towards the service station manager, in Louisiana and the offering of the bribe, the sheriff refusing, collaborating?

11. Clyde Barrow’s father, his reflections on his son, knowing the death was inevitable, the conversation with Hamer, the life story?

12. The farmer, the work, his son, collaborating, the flat tire and Bonnie and Clyde stopping?

13. The portrait of the rangers, their personalities, using their instincts, skills, the role of the guns and Hamer are going to the store, Gault’s reaction? Their disgust at the media offer of the thousand dollars for the interview?

14. The other side of the Bonnie and Clyde story? Untold?

WOMAN AT WAR

Iceland, 2018, 101 minutes, Colour.
Hellodora Geirhardsdottir, Johann Sigurdsson.
Directed by Benedikt Erlingsson.

The title is apt. But the question is: what war is the woman involved with? At war with whom, or what?

While this is a film about protest and sabotage, it is in fact quite a genial film. The woman concerned, Hall, is able to get us onside even if we disapprove of some of her tactics in action. She is at war to save the earth. She is against industrialisation in Iceland, against multinationals like Rio Tinto (explicitly mentioned), against the government and its contracts with China and its calling in the CIA.

Films from Iceland over the years have been very distinctive, life in the small community, an exotic Scandinavian terrain (often used for landscapes for apocalyptic action shows), different mentalities.

Actually, we first encounter Halla on one of her missions, always alone, out in the countryside, armed with bow and metal arrow, firing the arrow onto powerlines and bringing them down – and later doing the same thing with a surveillance drone. It is not the first time and the authorities are after her, helicopter searching for her. However, she relies on an old farmer, claiming that he is a cousin (and his comment about breeding in Iceland and everybody being related). He helps her, actually espouses her cause and becomes involved himself.

On the other hand, Halla, despite her ideals and her tactics, is a middle-aged woman, living alone, applying for adopting a little girl. She also conducts the local choir.

Speaking of choirs and music, there are many songs – but one of the great novelties of this film is that the audience sees the band playing the film score. They suddenly appear out in the countryside after her aggression. Then they appear, singly or as a group in all kinds of scenes, a pianist in her home. There is a drummer and a man playing the sousaphone. And, with the information that she can adopt a little girl from Ukraine, three women singers, all in traditional Ukrainian dress, also appear. This is quite a device – and we look forward to the band continually reappearing, the singers as well. (And, ultimately, they become involved in the action itself!)

Icelandic authorities are not happy with the sabotage and the threat to Iceland’s industry – with some talking heads being interviewed as to whether they are pro or con the sabotage, discussions about Iceland’s economy and the necessity for this kind of international collaboration.

Then we find that Haller has a twin sister, who leads a rather exotic life, studying the mysticism of India, a yoga teacher. She is also the backup support in the application for the adoption.

There is one last act of sabotage, Halla achieving what she intended but having to escape, bring down the drone, hide herself from its surveillance by putting the carcass of a dead sheep over her (and the helicopter pilots lamenting the number of sheep on the loose in Iceland!).

At the end, it all becomes rather serious as Halla makes her way to the airport for Ukraine, but the airport requiring DNA tests (because investigators discovered a drop of blood when she injured herself on mission).

At this stage, the audience might be asking itself how can this all be resolved optimistically. A hint – her sister is willing to give up her two years in an ashram in India and support her sister.

Lots of issues. Lots of personal story. And already, Jodie Foster has the rights to the American remake, planning to start as well as direct. Let’s hope she makes a film is interesting and as enjoyable as the original.

1. An engaging protest drama? The title?

2. Iceland, the city, homes, yoga classes, the choir, officialdom, the streets? The countryside, the power lines, mountains and caves, the farm? The musical score? The irony of the audience seeing the score being played, the band, the piano, the drums, the Sousaphone? The three Ukrainian women in traditional dress? Their being glimpsed, then part of the action, the finale and everyone involved moving through the flood?

3. The title, the portrait of Halla, her war, her cause, saving the earth, against power, the multinationals, Iceland industry?

4. Her age, her experience, the loss of the child? Her twin sister, going to visit her, the bonds between the two sisters? Her leading the choir? And the application for adoption?

5. Her work as a saboteur, the various missions, a loner, in the countryside, the arrow and bringing down the lines? The arrow bringing down the drone? The police searching for her, helicopter surveillance? Going to the man on the farm, the discussion about cousins and people being inbred? His help, her cause, lending her the car? Her ordinary life and the adoption plans? The contact in the choir, discussions with him? His official position? Further missions, the manure and the TNT, getting dressed up, explaining to the authorities she was going to a party? In the night, the surveillance, the explosion, her covering herself with the sheep? Going to the farm, a cousin and his help?

6. The twin sister, yoga, her planning to go to India for two years, the backup for the adoption?

7. The media, the headlines, the television programs? Government reaction? The international contacts, the Chinese offer, Rio Tinto, the CIA?

8. Halla and her private life, concealing her plans? Yet her room, the causes?

9. The arguments against her sabotage, the arguments for Iceland and progress?

10. The information about the Ukraine, the photo of the little girl, discussion with her sister? Going to the airport, the sample of blood found, the DNA connection, the tests at the airport?

11. The taxi, returning, being sick?

12. The foreigner, his presence, his being mistaken for the saboteur, in prison, released, the coincidence of his presence when Halla was arrested?

13. Prison, the interrogations, her sister visiting her, the change of clothes? The sister going to prison – and two years of meditation?

14. Halla, going to the Ukraine, meeting the little girl, her drawings, friendship? In the bus, the breakdown, and everybody wading through the flood, musicians included? The future?

FIVE NIGHTS IN MAINE

US, 2015, 82 minutes, Colour.
David Oyelowo, Dianne Wiest, Rosie Perez, Hani Furstenberg, Bill Raymond.
Directed by Maris Curran.

This is a brief film about grief. It opens with some scenes of intimacy between husband and wife, Sherwin and Fiona. Sherwin is played by the versatile actor David Oyelowo, Fiona by Hani Furstenberg. There is love, there are some tensions seen in a karaoke scene, Fiona’s drinking, issues of pregnancy – then the phone call announcing her death in a car accident.

Sherwin receives an invitation to go to Maine to visit his mother-in-law. He is welcomed by Ann, Rosie Pérez, who acts as a considerate carer for the mother-in-law, Lucinda, a fine performance from Dianne Wiest. Lucinda has had a tense relationship with her daughter, upset at her daughter wanting to be special, marrying Sherwin, antagonism during a recent visit.

Which raises the issues at the back of Fiona’s accident, the tension with her mother, her relationship with Sherwin, her drinking, issue of pregnancy.

The film is strong on dialogue, the conversations between Sherwin and Lucinda, her bitterness, suffering from cancer, attitudes towards her daughter, towards Sherwin and her disapproval. (There is no explicit mention of racial difference.)

Sherwin has a mixed experience in Maine, walking in the woods and swimming, hearing shots and believing he was being shot at, cooking and making meals for Lucinda, the ups and downs of their conversations, her bitterness, but her final attempt at an apology and urging him not to remain closed in the past.

1. A film about grief?

2. The American city, the drive through the states and countryside, Maine, the homes, the woods, lake? The musical score? The final song and its tone?

3. The opening, the relationship between Fiona and Sherwin, love, the buildup of the flashbacks, the karaoke night, tension about pregnancy, her drinking?

4. Sherwin, the phone call, the shock, grief, his sister and support? The nature of the accident? The question as to whether Fiona was drinking? Depressed?

5. Sherwin, his age, character, the extent of his grief, alone, his having to be roused and to be active, the funeral director, bringing the ashes?

6. The phone call, the invitation to go to Maine, his attitude towards Lucinda, Lucinda’s influence on her daughter?

7. The welcome by Ann? her role in the house, care for Lucinda, genial, helping Sherwin, helping with the cooking, the cleaning, companion for Lucinda? Conversations with Sherwin? His finding her in the night to help with Lucinda?

8. Lucinda, age, cancer, her wariness of Sherwin? Bitterness, yet polite? Caustic comments? Her age, widow, not getting over her husband’s
death? The influence on Fiona? Her condemnation of Fiona’s wanting to be special? Her questions about Fiona, drinking, her death? Lucinda telling Sherwin Fiona wanted to become pregnant? The ups and downs of the relationship, her illness, lunches with Sherwin, his cooking, conversations? Her bitter criticisms? Her getting up, the final drive with him, her attempt an apology?

9. Sherwin, the five nights, the effect on him, grief, memories, tears? The conversation with George and the stories of the past? Lucinda telling George’s story and joke? His walk in the woods, the shots, his running, injury, Ann helping him? Swimming and going underwater? Time, conversations, the ashes and Lucinda taking the handful? His lying to her about the ashes?

10. Time to go home, the effect of the experience on Sherwin, his relationship with Lucinda? Her encouraging him not to be stuck in the past with Fiona?

DUMBO

US, 2019, 112 minutes, Colour.
Colin Farrell, Michael Keaton, Danny De Vito, Eva Green, Alan Arkin, Nico Parker, Finlay Hobbins, Roshan Seth, Lars Eidiinger.
Directed by Tim Burton.

Disney is remaking many of its classic animated films as live-action entertainments. 2019 alone sees Dumbo, Aladdin, The Lion King. The latter two will make an extraordinary impact given their popularity in the 1990s and since. On the other hand, Dumbo comes from 1941, a brief 64 minute animation, enjoyed and admired it its time, but lesser in memories than some classics like Snow White, Fantasia, Pinocchio.

For this live-action remake, Disney have called on Tim Burton as director, well-known for a wide range of fantasies from Beetlejuice, Edward Scissorhands, Alice in Wonderland.

For families wanting an entertaining film, Dumbo should fit the bill. But, there is some scepticism about a story of a baby elephant with extraordinarily long years but who, with his ears, is able to fly. In fact, the animatronics for Dumbo are very effective. And he has one of those endearing faces, large sparkling eyes that are hard to resist!
But, as with Tim Burton’s films, there is quite a lot going on. The opening credits are quite impressive, 1919, the circus train on tour through the American countryside, the special acts for the circus revealed on the sides of the carriages as they pass. And there is the master of ceremonies, Max Medici, the diminutive but very lively Danny DeVito?.

Alas, the circus has hit on hard times, money scarce, Max living in a railway carriage, others living in makeshift tents and accommodation. But, he has high hopes after buying a large elephant, Mrs Jumbo, who gives birth to the star of the film. Needless to say, Max is horrified by his appearance, bargains to sell Mrs Jumbo back for half price, puts the little elephant in a parade, the ears flapping down and the audience mocking him, even bumping the notice, J falling off, D taking its place: Dumbo.

But there is a strong human element in the film, two young children, their mother having died in the Spanish flu of the previous year, their father Holt (Colin Farrell) coming back from the war but with the loss of an arm. Given the financial situation, and his inability to do the riding stunts he previously performed, he is looking after the elephants.

The children see Dumbo fly, fascinated by a feather – but nobody believing them. When, they eventually do, Dumbo is a great success, delighting the audience with his flying, newspaper photographers snapping him, and, eventually, a millionaire Vandevere (Michael Keaton) avariciously wanting to buy the whole circus. With him is a trapeze artist, Collette (Eva Green).

Lots of adventures to keep the audience attentive (both adults and children). The smooth-talking Vandevere is a classic villain, selfish, exploitative, trying to get the help of a wealthy banker, Alan Arkin. While he has made a contract with Max, he demands that Max sack everyone else from the circus. And he runs an enormous theme park (foreshadowing Disneyland et cetera!). But we know he is set for failure.

So, there are the adventures of Collette training and riding Dumbo, Dumbo pining for his mother and finding she is part of a Dreamland attraction, the sacked circus performers all joining with Holt to find a way to reunite Dumbo with his mother. So, some flying, a burning marquee, Holt and the children trapped, Dumbo able to put out fires with the water that he has absorbed in his bunk…

The song from the 1941 Dumbo, Baby of Mine, won the Oscar – and here it makes a pleasing return, wistful.

So, Dumbo is an enjoyable example of the transition from cartoon to life-action.

1. The classic status of the original, Disney animation, 1941, 64 minutes? Oscar for best song, Baby of Mine?

2. Disney and the 21st-century remakes in live-action? Tim Burton as director?

3. The 1919 setting, the end of World War I and its impact, on soldiers returning from war, the 1919 Spanish flu and its effect, the number of deaths? America rebuilding after the war?

4. The outline of the plot from the novel, from the original film? Expanding the characters and themes? The introduction of more human characters?

5. The effect of the introduction, the circus and its range, the carriages with the advertisements for the characters, the attractions? The train journey, the map? Max Medici, Danny De Vito, his size, ringmaster? The tours, the trip and the range of the performers on the sides of the carriages?

6. Settling in Joplin, the train and the carriages, the circus out of money, Holt and his arrival, back from the war, meeting the children, the hesitation, the death of their mother, his loss of his arm? His past, skill with the horses? The poverty of the Circus, the one room for him and his family? The confronting of Max, looking after the animals?

7. The children, the characters, their place in the Circus, grief at the death of their mother, poor, Millie and her love of science – and the later exhibitions with the science, her notes and experiments? Caring for the elephants?

8. Mrs Jumbo, the harsh carer and his comeuppance, later his death after the taunts? Pregnant, giving birth, the song, Baby of Mine? Dumbo, in the straw, the revelation of his large ears, Max upset, his wanting to sell Mrs Jumbo back to the dealer, the bartering for half price?

9. Dumbo, the children looking after him, the episode with the feather, his trying to reach it, flapping his ears, flying? The children not believed? His further flying, put in the Circus, the parade, his being mocked and laughed at? The sign and his becoming Dumbo? The change, Holt and Max seeing him fly, part of the Circus? The act and putting out the fires, leading to some disaster, the tent burning? The journalist and the photo, in the papers?

10. The visit of Vandevere, his look, wealthy, confidence man? His proposal? Wanting ownership of the Circus? Max’s response? Transporting everybody to Dreamland, the prospects, everybody happy, hopes?

11. Vandermere and the presence of Collette, her background in Paris, her being rescued, the trapeze? Her silent attitudes?

12. The training of Dumbo, expectations from him, working with Collette, the act, the trapeze and flying? Remington and his money, the bank, his coming to watch? The challenge for Vandermere? Dumbo, Collette and the fall? Remington walking out?

13. Trying again, the children, training with Collette, the performance?

14. Vandermere, desperate for money, his attitude towards Collette, telling Max to sack everybody, their departure? His majordomo warning the troop about the plans?

15. Dumbo, yearning for his mother, her being amongst the fierce animals in Wonderland?

16. The plans for the rescue, the detail, the various disguises, the mermaid and pushing the guards into the water? The lights going, Dumbo altering levers? Holt climbing the ladder, cutting the hole in the marquee? The truck, avoiding the guards, getting Mrs Jumbo into the truck? The pursuit? Getting to the port?

17. Collette, flying with Dumbo to the port? The fire in the marquee, the children trapped, Holt rescuing them, Dumbo dowsing the fire with water? Back to the port, Holt riding a horse? Loading Mrs Jumbo and Dumbo onto the boat? The Indian and the return to India?

18. Vandevere, his anger, his warnings, pressing every switch, the explosions, the fire, the destruction of his circus?

19. Holt and the children, Colette, the happy ending?

20. And the sequences in India, the truly happy ending?

DESTROYER

US, 2018, 121 minutes, Colour.
Nicole Kidman, Toby Kebbel, Tatiana Maslany, Sebastian Stan, Scoot Mc Nairy, Bradley Whitford.
Directed by Karyn Kusama.

This is the drama that had everybody talking, not about its plot, about its star, Nicole Kidman. This is the film in which she is scarcely recognisable, a disturbed woman, beyond the verge.

The title obviously refers to her character, Erin Bell, a veteran of the LA police force. But it also can refer to a sinister criminal, Silas (Toby Kebbel), a man of great malice.

Basically, this is a police drama, the story of a detective and investigation. However, much of the plot is seen in a number of flashbacks, moments in the present sparking memories of Erin and her past. And, it is a rather ugly past. In the present, she is looking older, haggard, affected by too much drinking, unsteady even as she walks. In some of the flashbacks, while she is not glamorous, she is more immediately recognisable as Nicole Kidman, enabling the audience to make the connections with the older Erin.

As the film opens, and she tries to open her bleary eyes as she sits in her car, there is a call to go to a crime scene. She examines the body lying near a stormwater channel, ominous tattoos on his neck, killed by three bullets. She recognises the body and proceed then to investigate the killing.

Probably best to warn intending viewers to pay a great deal of attention to the timeline of the film, rather difficult to do because of the number of flashbacks – even flashbacks within flashbacks leading to a twist at the end.

The main part of the flashbacks show Erin undercover, interviewing her fellow officer, Charlie (Sebastian Stan) who is in love with her. We see them at Silas’s place, rather sleazy group, Silas taunting others with Russian roulette. The main victim of this sadistic game is seen in other flashbacks, working in a church, tracked by Erin in her investigation, giving her information for Silas’s contact with a girlfriend, Petra. This leads to a fight, both women suffering wounds.

The main part of the action in the flashbacks concerns a bank robbery, Silas and his group, Erin driving a getaway car – and a sequence in which she discusses with Charlie the possibility of taking the money themselves. However, there is an unexpected thwarting of the escape, Silas shooting and killing.

The other complication in Erin’s life is her daughter. The daughter is now 16, avoiding school, mixing with an undesirable crowd, an older boyfriend. She resents her mother, not wanting to listen to her, relying on her stepfather with whom she lives. As Erin tries to do some kind of reparation, find some kind of redemption, she talks with her daughter, has plans her daughter having a better life.

And then, we are back at the beginning, seeing the murder through new eyes – and, speaking of eyes, there is a final focus on Erin, wanted, sitting in her car, pallid, and our gazing at her dying eyes.

If Nicole Kidman had not been the star of the film, audiences may have found it too grim and difficult to follow – but it does star Nicole Kidman, her different appearance and performance, making the experience more intriguing.

1. The title? With reference to Erin? To Silas?

2. The police detection film? A variation on the theme? The central character a failure, self-destroyer?

3. The American city, apartments, bars, clubs, police precincts, the exteriors and the canals, the countryside and the desert? The range of tones and styles in the musical score?

4. A grim film, the style of colour photography, reinforcing the grim? The perspective on Erin, her work, undercover, her different roles, becoming corrupt, deaths, her daughter, her drinking? Failure? Wanting to repair the situation and her life?

5. The screenplay, the focus on the present, Erin waking up in the car, stunned, her drinking, the call, the murder victim, the police, mocking her, the reprisal of this scene at the end? Flashbacks, flashbacks within flashbacks? The settings for the flashbacks and Erin’s memories?

6. Erin, in the present, her failure, her work, going to the authorities, the banknotes and the purple dye? Her decision to find Silas? The warnings? Her being a lone wolf and her work? The search, the contacts, finding Petra, the confrontation with her, the violent fight? Getting the information? Getting the note from Silas for the rendezvous?

7. The past, the relationship with Charlie, interviewing him for the undercover work, his willingness, the kiss so that he would recognise her if meeting her suddenly, the relationship between them, the birth of Shelby? The undercover work, with the group, the guns, the games, the sleazy atmosphere? The tattoo with dots on the neck? The plan for the robbery? The role of Silas, challenging people malicious play, Arturo and the Russian roulette?

8. Arturo, Erin tracking him down, the church, the information, his running, her catching up, getting the leads?

9. The robbery, the bright sunlight, the bank, Erin in the getaway car, the robbery itself, Silas and the exploding dye, his anger, returning to kill the cashier, Charlie going in, his being shot? The girl shot? Erin, leaving, stashing the money, not touching it?

10. The discussions with Ethan, Shelby in his custody, her failing with Shelby? The talk about the money, using it for Shelby?

11. The meetings with Shelby, her not going to school, insolent, the boyfriend, defying her mother? The later meeting, Erin and the attempts for reconciliation? Shelby listening to her? Erin getting the boyfriend, the offer to pay him off?

12. Erin, sorting out the past, the note for the rendezvous with Silas – and the twist with her killing him?

13. Erin, finally in the car, the wounds from Petra, her eyes, death?

14. An out of the depths film, and entered the void film? And traces of redemption?

DARKLAND

Denmark, 2017, 112 minutes, Colour.
Dar Salim, Stine Fischer Christensen, Ali Sivandi, Roland Moeller.
Directed by Fenar Ahmad.

Darkland lives up to its title. The setting is Denmark, Copenhagen. It opens with a bank robbery disturbed by a car accident, the robbery going ahead, the robber fleeing the police – and later turning up dead in a morgue.

The film then shifts to hospital, heart surgery, the central character, played by Iraqi born actor, Dar Salim, involved in an operation. His character plays a man whose family came from Iraq but he has lived in Denmark for 30 years. At various times, he has discussions with his father who has not integrated into Denmark society, opting out, not interested.

The doctor has an affluent lifestyle, the pregnant wife, guests at a meal – which is interrupted by his brother coming to get money from him, desperate. During surgery he receives the news that his brother is dead. His brother was involved in drugs, is the robber involved in the bank robbery. The doctor blamed himself for his brother’s death, not helping him.

He is where the screenplay challenges credibility. The doctor goes into the dark land of Copenhagen, make connections with drug dealers, tracking down the bosses, getting beaten up. The consequence is that he gives up his work, abandons his wife for a time, goes into physical training.

The lead also takes him to the manager of a martial arts arena, cage fighting, and he eventually participates.

There are some complications in so far as the manager of the arena, while criminal, is also supportive of the local Iraqi community.

A different perspective on migrants from Middle East, their lives in European countries like Denmark, integrating, not integrating.

THE BIRTHDAY WISH

US, 2017, 90 minutes, Colour.
Jessy Schramm, Luke Mc Farlane, Marcus Rosner, Yvonne Chapman, Barbara Pollard, David Lewis.
Directed by Peter de Luise.

Hallmark films made for television have a reputation for being sentimental, easy entertainment for undemanding viewers. This one fulfils those expectations but there is a charm and cheeriness that makes it more enjoyable – especially for a women’s audience.

Jessy Schramm plays Gwen, a television commercial director, very successful. After her father died when she was 13, she determines that her life will be completely planned and orderly, engaged by 30 – and the birthday fast approaching. She has been engaged to Alex, Marcus Rosner, a self-absorbed weatherman who is so concerned about himself, his appearance, his career, possibilities in Hollywood, that it does not dawn on him to propose, something which Gwen is always expecting.

At the time of her 30th birthday, she has a wish that she could see 10 years into the future – and does, not what she was expecting, even going to the optometrist to test her eyes! And she confides all this to her close friend and her assistant, Mia. She also keeps in touch with her mother – who, later, decides she will remarry. Mother and daughter are close, sharing a birthday cake at every birthday.

The complication is with the assistant director, Dave, played by Luke McFarlane?. The way the screenplay has been written he is perfect in every way, always direct, asking the truth, connecting with everyone, even difficult people onset. He is in love with Gwen, she responding to him but not wanting to admit it, checking her eyes with the optometrist again, discussing with Mia.

But Dave, seeing Glenn with Alex and his seeming to propose to her, goes off, but Gwen, realising the truth, seeks him out, a reconciliation…

The film, rather amusingly, goes to 10 years later, the vision the Gwen had at the time of her birthday, married to Dave, three children, happy married life…

The film raises the themes from the female perspective – as well as presenting Dave, handsome, as the ideal and idealised male!

 

 

 

 

BEACH RATS

US, 2017, 98 minutes, Colour.
Harris Dickinson, Madeline Weinstein, Kate Hodge.
Directed by Eliza Hittman.

The beach rats of the title are a group of young men from Brooklyn who hang around with each other, are drug users, idly go to the beach, mostly with each other, some with an eye on the girls.

However, the central character is Frankie, an ambiguous character. He is preoccupied with himself, with his body, looking at himself in the mirror¦ However, he goes online, connects with gay sites, looking at images, involved in chats, ultimately making decision to meet up with some of the men from the chat rooms, sexual encounters with them some explicit.

However, he keeps this a secret though he continues to pursue his online searches, but also becomes involved with picking up men and sexual encounters with them.

His mother is fairly permissive with his behaviour though she does not know the truth. But she is concerned about his being out late, no explanations. But, she is gradually reassured when Frankie becomes involved with a girl, Simone, goes out on dates, performs inadequately with her sexually, but always has an excuse. The screenplay spends quite an amount of time on the ups and downs of the relationship.

Ultimately, he uses promise of drugs to his friends as a cover for his activities. One of his pickups promises to get drugs but is treated roughly by Frankie's friends whose behaviour is definitely homophobic and violent. The man dies and his body floated in the ocean.

The end of the film is a challenge for Frankie, his relationship with Simone and whether it has a future, honesty or not with his mother, and acknowledgement of his sexual orientation and his behaviour or not.

Frankie is played by the British actor, Harris Dickinson, who played a similar role in Postcards from London, a young man from the provinces, gay but not able to admit it at home, going to London and becoming involved with a group of gay artists, especially getting him to pose in photos and films of Caravaggio paintings. Harris Dickinson then moved more mainstream with The Darkest Minds, Prince Philip in the sequel to Maleficent, a role in the third Kingsman film.

 

INGRID: IN HER OWN WORDS/ JAG AR INGRID

Sweden, 2015, 114 minutes, Colour.
Ingrid Bergman, Pia Lindstrom, Roberto Rossellini, Ingrid Rossellini, Isabella Rossellini, Sigourney Weaver, Liv Ullmann, Janine Basinger, Voice of: Alicia Vikander.
Directed by Stig Bjorkman.

This is a very welcome documentary about Ingrid Bergman. However, its main appeal is to older audiences who remember her and her films as well as to film buffs. For younger audiences, she is a part of cinema history – not so much part of their cinema going lives.

The film traces Ingrid Bergman’s life, both in Sweden, her career in theatre and in films in Sweden, and her going to Hollywood with a contract with David Selznick, her marriage and daughter, some separation from them during the war, her approach to Rossellini and going to Italy, the affair with him, her three children, Rossellini’s infidelity, her return to Hollywood, living in Paris, living in London.

There are some clips from many of her films but the history of her film career is not the focus of this documentary.

Her daughter, Isabella Rossellini, discovered trunks full of memorabilia which Ingrid Bergman had moved from country to country over the decades. There was a great deal of home movie material, Ingrid herself enjoying a great deal of filming. And, there were many letters to close friends. And the surprise was that the letters were not so much about her career but all about her children. Yet, as it emerges, she was not so successful as a mother but bonding with her children as a strong, charming and genial friend. Her children lived separately from her over the decades but relished her visits.

In the footage, it emerges how tall she was, a strong presence even though her children assure the audience that she was shy. Rather, she enjoyed taking on roles, taking on the characters that she portrayed. The film shows her in quite a number of Swedish films from 1932 to 1939.

She really wanted to go to Hollywood, was welcomed by Selznick, appeared with Spencer Tracy in Dr Jekyll and Mr Hyde, was coached by Hitchcock for Notorious (no mention of Spellbound or Under Capricorn), portrayed Joan of Arc on stage and then on film, some sequences included here.

At the time, she was married to Dr Lindstrom and had a daughter, Pia. They came to the United States but were in the New York State while she was in Hollywood, some visits, many absences, their eventually coming to Hollywood. However, she wrote a Roberto Rossellini, admiring his films about the war, went to Italy to film Stromboli, began a relationship with him, a son and twin girls, making films in Italy in the first half of the 50s – and denounced in the United States by political officials as well as church officials.

Eventually, she made Anastacia, winning her second Oscar (after Gaslight in 1944), and then settled in France. She then met the theatre producer, Lars Schmidt, eventually marrying him and his fostering her career in theatre. She lived in France for many years, then moved to England. There are scenes from various television interviews in English, Italian, French. There are scenes with her speaking her native Swedish.

The film has clips of various films that she made during the 1950s and 1960s. The main film in the latter part of this documentary focuses on her meeting with Ingmar Bergman, her filming Autumn Sonata with Liv Ullmann, the clashes with the director, a reminder that despite what she said, she could be very dominating.

There are interviews with Liv Ullmann about Autumn Sonata with Isabella Rossellini (who had a career not only acting in films but interviews on television). They are joined by Sigourney Weaver who acted with Ingrid Bergman on stage in England.

There is mention that she played Golda Meir in her last film and that she died of cancer.

As the letters were mainly about her children, a great deal of footage is given to interviews with each of her children. At the time, there was great sympathy for Pia Lindstrom and her being abandoned by her mother so it is very interesting to hear several interviews with Pia Lindstrom about her mother and her relationship with her. It is the same with her son and the twins.


The director is a prominent Swedish writer and director.

Interesting and enjoyable for those who welcome a tribute to Ingrid Bergman.

TWINSANITY/ DOWNWARD TWIN

US, 2018, 86 minutes, Colour.
Karissa Strain, Katie Strain, Yves Bright, Angie Everhart, Thaddeus Shafer.
Directed by Buz Wallick.

Over the decades, many films, thrillers, about rival twins, good twin, bad twin. This is yet another in that genre.

Real-life twins, Karissa and Katie Strain, very difficult for the audience to tell which is which because they are so similar, have grown up with memories of their mother, have money as an inheritance, have set up a program for teaching yoga.

One of the sisters has a talent for business. The other wants to be more independent. There are difficulties, other yoga centres, plans for amalgamation.

However, the sisters encounter another teacher, are attracted to him. The sister who wants to be free, Celeste, leaves home with her part of the inheritance, teams up with him, falls in love with him – and all seems to go well. She seems to be the heroine of the film. The other sister, Leann, comes across as less personal, more practical, somewhat grasping.

While the film focuses on the lyrical aspects of Celeste enjoying her freedom as well is Leanne wanting to find her sister, in financial difficulties, as might be expected, Leanne turn out to be the more sane one, Celeste insane.

Ultimately, the two sisters fight, one going over a cliff – and, one of those twists, where Celeste assumes her sister’s identity…