VOX LUX

US, 2018, 114 minutes, Colour.
Natalie Portman, Jude Law, Raffey Cassidy, Stacey Martin, Jennifer Ehle, Christopher Abbott, narrated by Willem Dafoe.
Directed by Brady Corbet.

Unless you are a pop-concert aficionado, you may need some time to settle down after seeing Vox Lux. (Fans will be quiet revved up by the quite spectacular finale and may not want to settle down at all.) In fact, the final credits are in silence, so that is settling.

This is quite a strange film, a different kind of star is born. It opens with some home videos showing the talent of Celeste as a little girl, with a voiceover narrator, Willem Dafoe. That seems rather nice, even cute. Then the title comes on screen, Prologue 1999. At first night and darkness, cars on the road, a solitary walker – then a transition to music class after the new year’s break, a genial teacher, eager students – and then a shocking experience in the school (memories of the killings at Columbine that year). It has a deep effect on Celeste who was in the class, knew the boy, is wounded, spinal difficulties.

Celeste is close to her sister, Eleanor, and in hospital they spend time creating a song, lyrics and music, to commemorate those who have died. They perform in a candlelight memorial. So far, so American, normal and abnormal.

The abnormality will tend to pervade the rest of Celeste’s story.

There are two chapters and a finale. The first chapter is called Genesis and is set in 2000-2001, New York City and the experience of 9/11. The second chapter is set in 2017, called Regenesis. The focus is on Celeste and her career which takes off more spectacularly than anticipated. Celeste is fourteen.

We are introduced to her sometimes snarling manager (Jude Law) and her rather smarmy agent (Jennifer Ehle). Appearances are managed. Celeste is able to manage dance lessons despite her spine. More music, trips to Sweden, meeting a local pop star (with consequences) – there is a certain fascination in how a star is born and how a star is created and a star is moulded.

The director of this film is actor Brady Corbet (Mysterious Skin) whose other directed film was the often eerie Childhood of a Leader, again the portrait of a young disturbed child and his growing into a fascist leader. In Vox Lux, we finish with Celeste at 31, something of a wreck of a woman, emotional and beyond, feuding with her sister, relying on her manager and her agent, imposing her erratic, sometimes collapsing, sometimes stage triumphant on her daughter.

While the portrait of Celeste is intriguing, it is the casting which contributes considerable to the intrigue. The teenage Celeste is played with initial innocence, increasing shrewdness, ambition-fulfilment by British actress, Raffey Cassidy. But, not only does she play the young Celeste, she also plays Celeste’s daughter, Albertine. She is most persuasive in both roles.

Natalie ortman is the older Celeste, a bold, sometimes brazen, performance, pitiable at one moment, repellent the next. It is a tour-de-force performance, very different from other Natalie Portman performances. And, in the glamour and glitz of the Finale, she is the supreme embodiment of the singer, dancer, performer (beyond-Madonna, for example).

At times, Corbet directs sequences of his films like installation pieces. At other times, he is realistic. In the Finale,he goes for broke in the lavish concert style.

It’s not exactly a recognised word, but at the end of the film it occurred to this reviewer, ‘bizarrity’.

1. The title? The songs? The story of a career?

2. The work of the director, limited films, his directing perspective? Some of the sequences like installations? His use of angles and editing? The performances?

3. The US in the 1980s, the home movies, the focus on Celeste and her family, her talent? The voice-over and the information about her and her subsequent life? The prologue in 1999, the school, the killings, the memorial? 2000-2001, Celeste as a celebrity, her manager and the agents? 9/11? Celeste and her life and tragedies? Sweden, the performer, her relationship with him? 2017, performances, hotels, meetings and diners? The staging of the finale, the concert, spectacular? The scope of the story?

4. The musical score, the songs and their range, the same songs after the massacre, Celeste and her style of song, writing the lyrics? Promotion, performance, recording?

5. The role of the voice-over, Willem Dafoe, his tone, the information, perspectives?

6. The home movies, Celeste as a little girl, her talent?

7. The prologue, opening in darkness, the roads, the lights, the sky? The person walking on the roads? The contrast with the music class, the students happy at returning, the music teacher and her enthusiasm?: Coming into the room, his introduction, shooting the teacher? His attitude towards Celeste, her standing at the back, the shooting of the students, the shooting and her injury? His killing himself? The police arriving on the scene? Celeste in hospital, the spinal injury?

8. The effect of the shooting, Celeste and Ellie, composing the song, the lyrics? It’s being used as the theme at the candlelight memorial? The effect? The promotion of the song, the response throughout the US, popularity? Celeste becoming an artist, icon?

9. The chapter called Genesis: Celeste and her physical disabilities, the performance by Raffi Cassidy as the young Celeste? Ellie, the collaboration, the beginnings of her career, at her age, the sensibilities, and a shrewd teenager? The agent, his gross style, giving advice, swearing? The meeting with Josie, her smooth manner, the agent reacting against her? Celeste going to the dance training, succeeding despite the injury? The arrangements, success, the effect of 9/11, Celeste and her career associated with tragedy? Going to Sweden, her success, the singing, the sexual relationship, Celeste on her way?

10. The chapter called Re-Genesis? 2017, the transition from 911 to 2017 the Trump era? The talk about the past disaster and its effect on Celeste’s career? The critique? The audience discovering her daughter, Raffi Cassidy and her performances Albertine? The relationship between mother and daughter, her knowing her father, Celeste and the picking up of her career?

11. Celeste in her 30s, the performance by Natalie Portman, her appearance, and manner of speaking, brusque, her manners? The moods? The antagonism towards her sister? Her motivations? The accusations, the role of her manager, liaison with him? Josie and her continuing with PR, the preparation for the concert? The drugs with the manager? Fit for the performance or not?

12. Albertine and her father, knowledge of her mother’s life and career, the discussions, the meal, Celeste hiding the winding, insulting the manager who asked for a photo? No apology? The effect on Albertine?

13. Her going on stage, the buildup to the finale, the spectacle and the staging, costumes, lighting, dancing, singing? The audience? Exhilaration and the audience and her sister, the manager, Josie?

14. Celeste and the United States and celebrities, but becoming something of a secular icon, secular goddess?

15. Critics and audience, and on the film – and asking whether it was pro-US or anti-US?

THE MULE

US, 2018, 116 minutes, Colour.
Clint Eastwood, Bradley Cooper, Andy Garcia, Dianne Wiest, Michael Peña, Laurence Fishburne, Clifton Collins Jr, Ignacio Serricchio, Taissa Farmiga, Alison Eastwood.
Directed by Clint Eastwood.

After what might have seemed a grand finale to his acting career in Gran Torino, Clint Eastwood also acted as a coach in Trouble with the Curve. However, with The Mule, he has added another grand finale. Of course, he continues directing – an extraordinary number of fine films over the last 20 years, the Iwo Jima films, the afterlife in Hereafter, race relationships and football in Invictus, the musical Jersey boys…

And, here he is in 2018, acting and directing as he turned 88.

The film opens and closes with beautiful shots of exotic flowers. Eastwood plays Earl Stone, a horticulturist who loves flowers – much more than his wife and daughter. In fact, he prefers to be with the flowers, going to conventions and winning prizes, drinking with his buddies, neglecting to go to his daughter’s wedding. She refuses to speak to him. His wife loved him but is exasperated. The two women are played by Alison Eastwood, Clint’s real-life daughter (raising curious questions in the audience about his relationship with her over the decades) and Dianne Wiest as his wife.

Just as Clint growled audibly at his granddaughter in Gran Torino using her mobile phone in church, he is upset here by the Internet which has deprived him of outlets for selling his flowers personally. He growls about people always on their phones but, in his new job, has to have a phone and learn to text – and even has a lesson or two.

So, what is an old guy a 90, Korean War veteran, deprived of his outlet with the flowers, to do to earn a dollar or two, even as the banks foreclose on his house? An enterprising young Latino chats to him at his granddaughter’s engagement party (he did go because he likes her). He is given a card, takes his battered old truck to a rendezvous with some very suspicious-looking types with guns and finds that all has to do is drive his truck to a hotel, leave the luggage that has been put in the back, return to the truck and find his payment. And, quite some payment it is, enabling him to pay for his granddaughter’s education as well as the refurbishment of an old club.

And the contents, drugs. He is a 90-year-old Mule, quite conscious of what he is doing, enjoying the drive, the stop offs, even flying down to the hacienda of the leader of the drug cartel (Andy Garcia). However, one of the underlings (Ignacio Sericchio) finds Earl’s lack of discipline irritating, becomes something of a chaperone, but comes to admire the old man who uses his wits to ward off a curious policeman when they stop at a diner.

So, how will it end?

The screenplay provides a look at the DEA in action, overall official played by Laurence Fishburne, two agents in the field, Bradley Cooper (would worked with Clint Eastwood in American Sniper) and Michael Peña. It is interesting to see the tactics they use, surveillance, listening into phones, car pursuits, helicopter pursuit…

One of the keys to the resolution of the film is that the granddaughter phones Earl to tell him that his wife is dying. He puts her off because he is on a trip but then decides to break free of the supervisors and spend time with his wife and attend her funeral.

The DEA narrows its surveillance, and…

The thing with the grand finale of The Mule is that it is not heroic, self-sacrificing, in the way that Gran Torino was, a dramatic, heroic and to a life. Here, Earl lives on, experiencing some reconciliation with his family, willing to answer for his actions, an old man experiencing some kind of redemption. So, if Clint does act in another film, it will be a postscript to his two career finales, Gran Torino hero, The Mule Everyman.

1. The title? The derogatory comments on mules and their stubbornness? The drug mules and their role in the dealers, the cartels? The true story?

2. The visuals of middle America, Illinois, homes, gardens, conventions? Markets? The variety of states travelled to through? The range of scenery? New Mexico and White Sands? The American roads?

3. The musical score, and the range of songs, Cool Water, I’ve been everywhere, man, On the road again…?

4. This film in Clint Eastwood’s career, his acting career, directing career, an old man, his adapting and directing in his late 80s?

5. The opening on flowers, the finale with flowers? The beauty, exotic, the range of flowers throughout the film, weddings, funerals?

6. Clint Eastwood as Earl Stone, his work, with the flowers, relationship with the workers, his saying he loved flowers? Going to the convention, winning the award, wanting to go to the bar? The comment about the Internet and sales online, the threat to the ordinary worker? 2005? His daughter and his ex-wife, wanting him to be at the wedding, his not going, their angers, his daughter not talking to him? His granddaughter?

7. 2017, the dominance of the Internet sales, the foreclosure on his house, his letting go workers? Going to his granddaughter’s engagement party? His daughter not talking? Mary and his relationship with her? Her being hurt in the past? The young Hispanic man, the discussions about driving, giving his card?

8. Earl taking him up, his old truck, his not having anywhere to go? Going to the contacts, the men with their guns, the drugs? His driving and the listing of all his trips? The phone, texting, the delivery, finding the money and the truck? The texting lesson? The difference in each drive? And the money, his paying for his granddaughter’s education, the renovation of the club and the celebration and its restoration?

9. The cartels, their role, drug dealing, from Mexico to the United States? The cartel chief, firing his gun, welcoming Earl, the party, the women, the dancing, the drugs? Earl enjoying himself? Women, his past with women? Julio, the underling, his anger at home, the boss, his being forced to be a chaperone, his associate, wanting Earl to obey the rules? The listening to Earl’s music? The stopovers, his freedom? The restaurant scene, their standing out amongst the white population, the police interrogation, Earl saving them by his story, the bribe of the fruit to the policeman?

10. The cartel boss, his being shot, the new head, strict rules and orders?

11. The presentation of the DEA, the agents, the man in charge and his expectations, pressure from Washington? The two new agents, the international success, the local and his family? The interrogations, the visiting the Filipino, the threats to him, the meetings with him, the information and their acting on it? The range of surveillance, knowing the details of what was happening, going into action? Phones, cars,
helicopters?

12. The irony of the agent and having the meal with Earl, discussions about anniversaries, regrets, bringing the thermos?

13. Granddaughter phoning, Mary and her being sick, at first his refusal, then going? The talk with Mary, 10 years of happiness in their early marriage, his moving away, her being hurt? The death? The funeral, the flowers, the reconciliation with his daughter? The possibility of gathering at Thanksgiving?

14. Pressure of the big drop, Earl taking it with him to the funeral? The cartel young men searching for him? The DEA, narrowing the information, the people, tracking it? The cartel wanting to kill Earl? The listening in, the helicopter, on the road, taking Earl?

15. The irony of the agent in the previous discussions with Earl? The trial, everybody there, his pleading guilty? The family response?

16. Prison, his sense of justice, his atonement, the possibilities of some redemption? At his working with the flowers? An ending not without hope?

AT ETERNITY’S GATE

France, UK, US, 2018, 111 minutes, Colour.
Willem Dafoe, Rupert Friend, Oscar Isaac, Mads Mikkelsen, Matthiue Amalric, Emmanuelle Seigner, Neils Arestrup, Anne Consigny, Amira Casar, Vincent Perez.
Directed by Julian Schnabel.

Vincent van Gogh on screen again.

Van Gogh must be the most popular artist to have feature films and documentaries made about him. Vincente Minnelli made Lust for Life in 1956 with Kirk Douglas in the role. Since then Robert Altman made Theo and Vincent, Paul Cox made a documentary with John Hurt reading Van Gough’s letters, Vincent, recently an animated film of van Gogh and his life and art, featuring the voice of actors who resembled the characters in his paintings, Loving Vincent.

Directed Julian Schnabel is an artist himself and also made a portrait of the American artist, Basquiat. Here he wants to take the audience inside the consciousness of the artist who, at one stage, tells us that his life was like standing at the edge of a field, looking out on its beauty, in the sunlight, at the edge of eternity.

Willem Dafoe is quite convincing as van Gogh, receiving an Oscar nomination for his performance. He looks weatherbeaten by age and his personal problems. He has a compulsion to paint even though the public response to his work is minimal, not selling a painting during his lifetime. He comes from a religious background in Holland, his father a minister, and supported financially by his loving brother, Theo (Rupert Friend). He has found the weather and light in Holland too trying and his friend and associate, Paul Gauguin (Oscar Isaac) has advised him to move to the south of France. He does.

The director uses a great number of devices, a great deal of handheld camera, intense and long close-ups on particular characters during their dialogue, sweeps of camera that resemble brushstrokes, playing with the styles of light. For those who like their biographies of artists straightforward in narrative and traditional film styles, they will have to make quite an adjustment to the style of At Eternity’s Gate.

Most audiences are familiar with many of the aspects of van Gogh’s life and work. Fortunately, this film shows him not only at work, but walking through fields, immersed in the colour of the landscapes, the beauty of nature in sunlight, and then his working – with a strange interlude where he is painting the vast roots of trees and a school teacher with a group of children pass by, the children curious, playing up, disturbing the artist who rouses on them as they flee (and his later being asked whether he was cruel to children).

Then there are the questions of his mental state, his being institutionalised, the cutting off of his ear and its motivation (not visualised in this film), the experiences in the institution, sitting in cold baths and being hosed, communicating with the other inmates who are less able to cope with their situation than the artist is.

Particularly poignant and meaningful is a long conversation with the priest who has the task of deciding whether van Gogh should stay in the institution or be freed. The sequence is filmed quite straightforwardly, focusing on the two men and their conversation, the priest, a somewhat traditional 19th century French priest (played, surprisingly and sympathetically, by Mads Mikkelsen) who has a series of questions to put to the artist. van Gogh draws on his religious background, responding to the petition of the people of Arles that he never come back there, by likening himself to Jesus before Pilate, rejected by the people, accepted by Pilate. The artist sees himself as a Christ figure.

The film offers a strongly emotional experience, an identifying with the artist and his life, his traumas, his achievement, and the lack of recognition – although there is a fine scene where he paints the doctor (Mathieu Amalric) who gives him shelter and tends him after the episode with the young boys, the gun and his being wounded, his death.

Obviously, a must for those who love 19th century art, who love all art, and who want to know and appreciate more about artists.

1. The status of van Gogh as an artist, his life and reputation?

2. The cinema tradition of biographies and documentaries?

3. This film as supported by an artist with an artist’s experience and insights?

4. The cinematic style, the subjective experience of van Gogh? The handheld camera, the intense close-ups of characters, the gaze of van Gogh? Visual brushstrokes like the paintings? The contrast with realistic situations and interviews? The piano accompaniment, the musical score?

5. Audience knowledge of van Gogh, presuppositions about him and his art?

6. Willem Dafoe’s performance, Oscar nomination, Venice acting award? The international cast?

7. The title, van Gogh’s explanation of his being at a field, looking out at nature, looking at eternity, on the threshold?

8. Vincent in Holland, the background of his father as a minister, his knowledge of the Gospels, reading the text? His talent for painting? The exhibition, not being appreciated? His moods? The discussions with Gauguin and his affirmation of van Gogh? Recommending that he go south, to Provence?

9. Vincent in Arles, his life there, the accommodation, and the various personalities, Gaby and relationship? The meagre lifestyle? Theo and his visit, the bonds between them, the physical affection, Theo and his being a businessman, the financial support?

10. The paintings, the scenes of Vincent in nature, in the fields, the beauty of the sun, the light, with his equipment? The range of subjects – and the initial sequence of his painting boots, so dark? Some of his paintings being considered ugly by his contemporaries?

11. The episode with school children, the teacher, the children in the countryside, coming to watch Vincent painting, their being troublesome, his reaction and sending them away?

12. Vincent going into the institutions, the sequence of people and the vats, the water, their being hosed, his discussions with the military man? Mental conditions? His being able to talk about himself? His cutting of his ear – its not being shown visually, his explanation of his motives?

13. The interview with the priest, sympathetic, but his responsibilities about Vincent’s freedom, his considering the art ugly? The religious reflections? Vincent talking about Jesus before Pontius Pilate, the people against him, Vincent seeing him as innocent?

14. His leaving the institution, staying with the doctor, the doctor’s welcome, the doctor sitting for the portrait, their discussions?

15. The youngsters, the gun, the shooting, Vincent being wounded, struggling, his dying? The speculation about his death, some thinking that he
killed himself?

16. Vincent and his achievement, not during his lifetime? Subsequently?

THE BOOK OF HENRY

US, 2017, 105 minutes, Colour.
Naomi Watts, Jaeden Lieberher, Jacob Tremblay, Sarah Silverman, Dean Norris, Lee Pace, Mandie Ziegler, Tonya Pinkins.
Directed by Colin Trevorrow.

The title sounds somewhat pretentious. However, this is quite a different and interesting film.

The Henry of the title is a young lad, about 12, a very gifted boy. We see his drawings and calculations, physics and maths, and we appreciate that he is able to do collaborative accountancy work as well. However, he also wants to be ordinary in his dealings with his mother, his younger brother, with students at school.

He is played by Jaden Lieberher who appeared in Midnight Special and It. He gives a very persuasive performance. And, he is matched by Jacob Tremblay as his younger brother, who was so effective in Room and Wonder. Naomi Watts plays their mother.

Henry is concerned about the little girl who lives next door and the possibility that she is being abused by her stepfather. He concocts an elaborate plan after he has spoken with the school principal who has rejected his ideas. We see him in process – but he writes down all the steps, buying a gun, training in shooting, getting rid of the gun, all in a book which he bequeathes to his brother to show to their mother when Henry has died. He has seizures, spends some time in hospital, but his condition is fatal.

The second part of the film shows the mother reading the book, challenging the father of the girl, persuaded to follow through the exact plans in Henry’s book and some tapes that he has bequeathed her.

The final drama and the confrontation occurs during a school talent show where her younger son is performing.

The film was directed by Colin Trevorrow who made Safety Not Guaranteed.

1. The title, the focus on Henry? The second part, Henry and his book?

2. The American city, the home, the boys’ rooms reflecting their interests, the house next door, the paths and leaves, classrooms, principal’s office, the concert? Hospitals and rooms? The exterior sequences, the woods, the water? The score?

3. The two boys, the introduction, their ages, the strong bond, the absent father, the devoted mother, her care, their friend, Christina, the hostility towards her father, at school?

4. Henry, his age, his saying he was precocious, yet wanting to be ordinary? His educated language, vocabulary, his drawings, his knowledge of physics? His keeping the accounts, expenditure? The speeches at school about their legacy? His reaction to the boys and their limited objectives? Life at home, in the house, meals, the special house outside for his experiments and work?

5. His brother, his age, small, intelligent but ordinary, at school, bullied, Henry and his defence? Their sharing together, communication with the walkie-talkies, the bonds at home?

6. The portrait of the mother, at home, her loving care, the meals? Her going to work? Her friend at work, Sheila, their talking, drinking? The issue of the leaves, Glenn as the neighbour, his criticisms? The concern about his daughter?

7. Henry, his seizure, in hospital? His mother and concern, his brother? The range of tests? The opinion of the doctors? Henry and his eyes, the prognosis, Henry preparing to die, the plans to rescue Christina, his visits, the tapes for his mother? His preparing all the accounts for the bank, the house, his mother’s reluctance?

8. The sympathetic doctor, reassuring, friendly, later? Sheila and her sympathetic visit to him in hospital?

9. Glenn, Henry watching Christina with his binoculars, the father downstairs, the daughter upstairs, the rooms? The awareness of the abuse? Henry and his phone call to the police? Henry studying the situation, bequeathing it to his mother, going out, buying the gun, his blackmailing of the shop owner, the target practice, in the woods, throwing the gun over the bridge?

10. Henry dying, audience response, the effect on his family?

11. His mother, her grief, his brother, being told to give his mother the book, their reading it, the shock, calling the police about Glenn? The confrontation? His reputation, his brother and the police, the challenge and defines?

12. Henry’s mother listening to the tape, following the steps, buying the gun, the target practice, the intention to kill Glenn?

13. The younger brother, his magic, for the talent show at school, the doctor and his friendship and coming to the performance, Tina, her dance performance? The principal watching her, her grief, remembering the interview with Henry and his accusations? Calling the police?

14. His mother, the tape, following the directions exactly, a kind of dialogue conversation with the tape, confronting Glenn, the gun, the discussion, the effect of the talk with Glenn, going to the river, the exposure, getting rid of the gun, the mother not being able to shoot? Glenn and his suicide?

15. The performance of the talent show, the boy bringing Henry to life in the equivalent of the snow shower and the sense of his presence, the
applause of the audience? His mother returning and greeting him?

16. A different kind of film and story, and the kind of audience involvement in characters and issues?

THE FRONT RUNNER

US, 2018, 113 minutes, Colour.
Hugh Jackman, Vera Farmiga, J.K.Simmons, Mike O’ Brien, Molly Ephraim, Alfred Molina, Mamoudou Athie.
Directed by Jason Reitman.

For audiences who remember the 1984 and 1988 campaigns for presidential nominees, this will be an interesting retrospect film – especially from the point of view of 2018, the change in the expectations of the American public about the moral behaviour of nominees, the Bill Clinton era, the George Bush era, the change with President Obama, the experience of Donald Trump and a divided America. For those who do not remember or who are too young, this could be a tantalising case study of standards for both Democratic and Republican nominees.

Hugh Jackman, always a screen presence with great charm, has to play a more ambiguous character, Democrat nominee, Gary Hart. However, the screenplay presents him as, generally, a man of principle, who may or may not have been a womaniser but who, most imprudently to say the least, becomes entangled in an affair during his campaign – and, from front runner, to poor runner, to non-runner and pulling out of the race. A mighty political fall.

The film opens with the buzz (literally, a lot of the conversation being indistinct, finally becoming clearer) of the 1984 campaign, the issue of the re-election of Ronald Reagan or the Democratic candidate, Walter Mondale. Reagan was successful. Then there is a transition to 1988, the significance of Senator Hart from Colorado, his decision to run – and, very quickly, emerging as the front runner.

2018 also saw the release of Vice, a very clever satire on Donald Cheney, the Republicans, the election of George W. Bush, the influence of Cheney as vice president, and so many fiascoes associated with the invasion of Iraq. It was a powerful film, both serious and often hilarious at the same time. The Front Runner is much more straightforward, not so much of the subtlety that there was in Vice. Somebody remarked that as a film, it was interesting and “serviceable�.

We are taken into the hectic nature of a candidate’s campaign, focusing on three weeks, at the end of which Gary Hart is no longer running.

Dramatically, he goes to Colorado, climbing a mountain with the press corps to announce his candidature. He also visits Kansas where he lived. But most of the action is in and around Washington DC with some excursions to Miami.

J.K.Simmons, always effective, is the head of the campaign, cynical and sardonic, brusque remarks, criticisms of planning. He does his best with the enthusiastic younger aides and volunteers, not always understanding or agreeing with them. So, when the scandal breaks, he and his staff try their best to handle the situation, an impossible task; they are finally seen receiving envelopes with their severance pay.

And, in the background, is Gary Hart’s wife, Lee, played with some sympathy by Vera Farmiga - the Colorado house surrounded by the press, pressure on her and her daughter. She comes to Washington to be with her husband during the scandal, standing in the press conference to support. (There is a note in the final credits that after all these decades, the couple are still together.)

Gary Hart is something of an idealist, very serious on policies, forward-thinking, even prepared in 1988 to invite President Gorbachev from the Soviet Union to his inauguration. There are a number of sequences of his being interviewed on television, declaring his policies. He is not always so personal regarding his private life, thinking that the public had no right to know anything about it.

Of course, this is part of his downfall. While Ben Bradlee (Alfred Molina) and Bob Woodward are amongst those discussing how they would handle stories about him in the Washington Post, journalists from the Miami Herald don’t have scruples, get wind of the affair after Hart goes on a whim-trip on a society boat during a visit to Miam. They stake out his house, get the information they want, question him in the street, photograph him – and the pursuit of the issue is on.

It is interesting in retrospect to look at the moral standards expected of the candidates in 1988 – and to look forward to Bill Clinton and his impeachment, to Donald Trump and many of the crass statements he made during his election campaign. Times have changed – although the tagline for this film is “the week America went tabloid�.

For audiences not interested in American politics, certainly not for them. However, with election campaigns emerging in so many countries around the world, America anticipating 2020, Brexit complications in the UK, Australian elections in 2019, there is plenty of material here to illustrate the past and to present moral challenges for the present.

1. American political films released in 2018, during Donald Trump’s presidency? Perspectives on politics?

2. The 1980s, American politics, presidential nominees? The traditions of the presidents? Post-Nixon? During the Reagan era and at the end of his era?

3. Looking at the Gary Hart crisis from the 21st century perspective? In the light of the Bush presidencies, Bill Clinton, Obama, Donald Trump? Standards and values, presence, cameras, policies and vision, respect?

4. Washington DC in the 1980s, a presidential nomination campaign, offices, sequences in Colorado and in the mountains, homes, Kansas, scenes in Miami, the boat, newspapers and their offices? The musical score?

5. Audience memory about Gary Hart and the campaign? The scandal? Those not remembering? The impact the younger audiences?

6. 1984, Hart and the campaign, the presence of Hugh Jackman and his style, the senator from Colorado, working for Walter Mondale and his nomination, television news, the speakers, clips, the results?

7. The end of President Reagan’s term, the waiting of the Democrats for so many years, nominees? Gary Hart as the front runner? His credibility?

8. Gary Hart and his family, his relationship with Lee, the support, his daughter? Rumours of his being a womaniser? (And the final credits information that the couple were still together after the decades?)

9. Gary Hart has a personality, politician, his record, in the Senate, his policies, series presentations, the economy, the environment, the range of topics, Russia and Gorbachev, inviting him to the inauguration? The TV interviews and discussions? An idealist with a vision?

10. His not being personal, keeping his privacy, his personal behaviour? The relationship with Donna Rice, the shock with its publicity, whether he could cope or not? The media, tabloid mentality and reporting, before the 24 hours news service?

11. The campaign, the focus on three weeks, close attention to the detail, his appeal to the people, going to the mountains and climbing, the announcing of his candidature? The episode with his clothes and throwing the axe, the press scepticism, is genial overcoming them?

12. The range of staff, advisor, his sardonic perspectives and comments, arrangements, the planning? The young associated with the campaign, their ideas and plans, ideals, motivations? The arguments and discussions? The impact of the scandal, trying to cope? Dealing with the press, the answers for the press? The failing of the campaign, receiving their severance checks?

13. The action in Washington, the Miami reporters, discussions of the Washington Post? The reputation of Ben Bradlee? Bob Woodward? The discussions, suspicions, how to handle the situation in the press? The contrast with the Miami Herald, the staff, but the press conferences, the tips, the information, the decision for the stakeout, the photographer and his awkwardness, observing Gary Hart, Donna Rice, falling asleep and Hart seeing them?

14. The episode in Miami, on the yacht, the social people, Hart and his reaction, encounter with Donna, her being followed? Glimpsed? The Hart campaign taking her into custody, the declarations about her reputation, the scenes at the airport with the Hart associate, her disappearance?

15. The behaviour of the press, the behaviour of paparazzi, the stakeout, the numbers, the cameras, the shouting, photographing Hart at his house in the street, interviewing him? Surrounding his home in Colorado, the pressure on his wife and daughter? The press conferences, his entering the questions – and the Washington post reporter, African-American?, the previous questions, sitting next to the plane, his fear of flying, Hart and his reassurance? His directly asking Hart about adultery?

16. Hart thinking the public had no right to his private life, his comment about his moral expectations, inviting journalists to follow him – and the consequences?

17. Finding Lee, his confession, her going to Washington, the press conference, the phone call to her daughter? Her being upset, not making a decision instantly about leaving, but perhaps at some time? The end, the couple watching his speech on television? Their staying together?

18. The American presidency and politics in retrospect? Had Hart won? Changes in the US? And the comment that the public got the leaders that they deserved?

ANTONY AND CLEOPATRA

UK, 2018, 160 minutes, Colour.
Ralph Fiennes, Sophie Okonedo, Tim Mc Mullen, Tunji Kasim, Nicholas le Prevost, Hannah Morrish, Sargon Yelda, Fisayo Akinade, Gloria Obianyo, Georgia Lenders.
Directed by Simon Godwin.

This is the film version of a performance of Antony and Cleopatra by the National Theatre, London.

Ralph Fiennes plays Antony, with great power and passion, with more than a touch of madness and declining, his decline and fall, after his experiences with Caesar, the aftermath of his assassination, the battle against the assassins, Philippi, war in Egypt and his infatuation with Cleopatra.

Sophie Okenado plays Cleopatra, sometimes wild-eyed, wild-haired, caught up in passion, a woman of moods and whims, dependent on her two maids, infatuated with Antony.

Much of the impact of the play will depend on how convincing the audience finds Sophie Okenado and her interpretation of Cleopatra – a contrast to more a intensely interior personal passion to the range of moods here. It is interesting to speculate about the power of Shakespeare’s words and how strong they are in comparison with the actress’s performance.

The setting is a rather lavish, palace aspects for Egypt, a water pool (in which some of the characters find themselves at times), a contrast with the austerity of the Roman headquarters (and, since this is meant to be a contemporary interpretation of the play, although it is not quite necessary in such detail as seen here with screens coming down, filmed battle sequences). At times, the Roman leaders are at sea, the discussions on stage as if on the deck of a contemporary submarine.

Which sometimes means that the politics are more interesting than the love and passion. This is the history of the long aftermath following the death of Julius Caesar, the beginnings of Empire, the various ambitions of the players in the time of Caesar and in the next-generation. At the head of this next-generation is Octavius, who will become Caesar Augustus – played, with an American style accent, by Tunji Kasim. There is also the son of Pompey who was part of the triumvirate with Caesar. There is also the older general, Lepidus.

There are scenes in Rome, away from Cleopatra, where the future of Rome is being discussed, where there is initial collaboration, a turning against Pompey, and hostilities set up between Octavius and Antony despite their initial camaraderie.

On his return to Egypt and to Cleopatra, Antony’s judgement and military instincts seem to collapse, his being willing to fight Octavius at sea, rely on Cleopatra ships, which are not so reliable, while his strength is in fighting on land. He has many loyal followers, especially Enobarbus (Tim Mc Mullen). And, while Antony has some victories, he is doomed, urging his followers to go over to Octavius.

Dramatically, it would seem that Shakespeare’s play should end with the rather prolonged death scene for Antony, to which Ralph Fiennes devotes an enormous amount of energy. But Cleopatra has her final moments, the news about Antony, her pretending that she is dead and his coming to find her, Octavius wanting to take her to Rome in defeat – and, then, the scene with the asp, the death of her maids, and the thwarting of Octavius’s plans.

The stagecraft and the costumes are certainly well worth seeing, the musical background with tones of the Middle East - and it can be noted that the large cast is made up of a wide variety of actors of different ethnic backgrounds

Charlton Heston made a film version in 1972, playing with Hildegard Neill. Criticised at the time, it has not been much seen since but would be a very interesting comparison performance. In the meantime, this is the 21st-century opportunity to see Shakespeare’s play.

LET THE SUNSHINE IN/ UN BEAU SOLEIL INTERIEURE


Juliette Binoche, Xavier Beauvois, Josiane Balasko, Nicolas Duvauchelle, Laurent Grevil , Bruno Polydades, Gerard Depardieu, Valeria Bruni Tedeschi.
Directed by Claire Denis.

This is very much a French story geared towards a French audience, its sensibilities about relationships, women, middle-age, searching. It is very much a talk and discussion, conversation film. (This reviewer was taken by the comment by Sandra Hall in the Fairfax Press, that the central character, Juliette Binoche’s Isabelle, inhabits her talk but not her life.)

Juliette Binoche, of course, is one of France’s, even the world’s, best female actors. Here she is a divorced middle-age woman with a 10-year-old daughter. We see her in a variety of relationships, we and she wondering whether they could be called love. The opening sets the tone, her relationship with a rather gross banker, Vincent, not enhanced by his aggressive attitude towards a waiter. We also see her flirting with an actor, his playing the game, talking about his own relationships, then their moving into a temporary relationship. There are several other men, finally a man about town, Sylvain, with whom she is initially comfortable but then she asks, where to?

Isabelle is also an artist and the screenplay, by noted director Claire Denis, somewhat based on her own experiences and those of her co-writer, Christine Angot, is also loosely based on the book by Roland Barthes, A Lover’s Discourse: Fragments.

Isabelle moves in her own society, has a number of friends who offer advice, act as sounding boards. And she also has the 10-year-old daughter who is concerned about her mother. Isabelle has another meeting with her former husband, spending the night, but this relationship does not last either.

So, a film of a middle-age woman searching for relationships and love (and as a song notes “in all the wrong places�).

The final 15 minutes are a bit taxing. In fact, Isabelle consults a clairvoyant played by Gerard Depardieu of all people. It is very much all talk, his talking, prognosticating about her future, and Isabelle sitting there as if he might be infallible in his observations and suggestions.

Then, wondering about the title and whether it is somewhat ironic? What sunshine? And where does it, or could it, come in?

1. A French film? Director, writer, the book by Roland Barnett? The cast?

2. Appreciation of the film in France? By French-speaking audiences? Beyond friends? Sensibilities and sensitivities? Perspectives on women, age, relationships? Marriage, family and children? Career? Out? Midlife search and experiments?

3. Paris, the city settings, homes and apartments, the art world, social life and restaurants? The interview with the clairvoyant? 21st-century city? The musical score?

4. The title, Isabelle, her age, her art, her career? Separation from her husband? Yet friendship with him? Spending the night with him but not remaining with him? The concerned about her daughter, her age? The daughter’s saying her mother cried during the night? The opening with Vincent, the banker, her disdain of him? The encounter with the actor, flirting, conversations, the night? Leaving him? Her friendship with the grease and his advice? The encounter with Sylvain? His character, her retraction, their time together, outings, dancing? And leaving him? Where to?

5. The men, interesting? Not? Attracted? Not? Vincent the married banker, the flabby man, his aggression towards the waiter? The actor, performance, his friends, the circle? The conversation, flirting? The relationship, not lasting? Her husband and his personality? Isabelle not remaining with him? The character of Sylvain, the tractable not? In himself?

6. Isabelle and her women friends, the characters, advice, the meetings and discussions?

7. Isabelle and her search, dissatisfaction, depression? The effect of moving on? Continual search?

8. The conversation with the clairvoyant, Gerard Depardieu, 15 minutes, his speculations, her attention – and his simply telling her and expecting her to follow…?

9. The critic comment that Isabelle inhabited her talk but not her life?

LOVE ON THE SIDELINES


US, 2016, 84 minutes, Colour.
Emily Kinney, John Reardon, Hayley Sales, Luisa d’Oliveira, Patric sabongui, Victor Zinck Jr.
Directed by Terry Ingram.

This is enjoyable romantic fluff, the lightest of romantic comedies, but entertaining for those who delight in this kind of film and its feelings.

As the title suggests, the focus is on football, but on an injured star player, Danny, played by John Reardon, who needs PA. He is irritated by the shenanigans of his current PA – but the agency can send him only a woman. This is unthinkable for him, his being a complete male chauvinist. The PA is Laurel, Emily Kinney, who has a degree in fashion design.

Clearly, in a genteel kind of way, this is a battle of the sexes, Laurel having not much idea about football, making quite a number of faux pas, but likeable, helpful, appreciated for efficiency by the footballer but, when he gets better, it is out with Laurel and the request for a male PA again.

There are a lot of other characters, the footballer’s parents have been married happily for 35 years, his overshadowed sister. Laurel has roommates, one of them with her fiancee, the other a PA to a pushy model who has eyes on the footballer.

Lots of expected comedy with Laurel and her mistakes, the footballer and his having to learn, and, ultimately, what else but love!

1. A light romantic comedy? Television style? American-style?

2. The football background, audience familiarity or not? Scenes of play, discussions, locker room, fans, watching television play?

3. Laurel and her story, family, training in fashion, her apartment, her roommate getting married, making the dresses, friendship with her and her fiance? The interview for the new roommate, her work as a PA? The discussion with Laurel about being a PA, putting her name on the books? Laurel and the interview – but not getting a job?

4. Danny Holland and his story, star footballer, his friendship with Ron, with the other players, the team doctor, his injuries and treatment? Rehabilitation? His self-absorption? Elliott, firing him as PA? His antics and public relations? The agency, sending Laurel?

5. Laurel, not knowing anything about football, diligent, the treatment by Danny, his wanting a male, knowing the sport, able to going to the locker room? His preoccupation with the being out of the game? Laurel, the continued demands, her making mistakes? Yet her charming the friends, Ron, making the football jerseys – and later getting orders for more? Danny relying on her but not appreciating her?

6. The photo opportunities, the model, his relationship with her? The roommate being the model’s PA, the model and her tantrums, coming onto Danny, her return, more photo shoots, Laurel’s reactions? The PA giving her notice? The model coming to the house, ordering Laurel around? The breakup?

7. Danny, his parents, 35 years married, the preparation for the party, his admiration for his parents? The meetings with Laurel, helping with the party? Ava, the friendship? Ava and Ron? Ron and his friendship with Laurel, Danny misinterpreting? The final revelation and his being upset?

8. The work over the months, Laurel and her learning, at Danny’s beck and call? At the bar with her roommate and fiance, the talk, the fiance and his love of football? Danny, his insensitivity, upset at Ava telling him off about his self-centredness, his phoning Laurel during the wedding? Her going, telling Danny what she thought of him?

9. Laurel, the possibilities, the sweaters, having to get the franchise from the football league, her achieving this? Her future?

10. The family party, Danny and his speech, reconciliation with Ava, discovering her relationship with Ron, his misunderstanding Ron and Laurel? The father’s speech, his mother holding out, the marriage? Danny and his hurrying to see Laurel – and a happy ending?

ORDEAL BY INNOCENCE/ AGATHA CHRISTIE’S ORDEAL BY INNOCENCE

UK, 2018, 165 minutes, Colour.
Bill Nighy, Anna Chancellor, Morven Christie, Matthew Goode, Luke Treadway, Alice Eve, Morven Christie, Anthony Boyle, Christian Cooke, Crystal Clark, Ella Purnell, Eleanor Tomlinson, Brian Mc Ardle.
Directed by Sandra Goldbacher.

Ordeal by Innocence had been filmed in the 1980s with a very strong star cast led by Donald Sutherland, Christopher Plummer, Sarah Miles and Faye Dunaway in the role of the murdered mother. It received poor reviews. This version had mixed reviews – Agatha Christie devotees upset that the screenwriter had taken title and characters and developed different aspects of plot, ordinary audiences, on the other hand, thinking that it was quite effective.

The film has the advantage of three episodes for a television series, having time to develop most of the characters, filling in their backgrounds, using the technique of flashbacks and brief suggested glimpses of the past to give more information about the characters and their motivations.

The film begins with the murder of the philanthropist mother of adopted children, played strongly by a haughty Anna Chancellor. At her death, the maid, Morven Christie, is consoled by the dead woman’s husband, Bill Nighy. Almost immediately, the youngest adopted son of the family is blamed, arrested, interviewed by his father in prison who denounces him, but is then found dead in prison and returned home for burial.

After year and a half, the husband is about to marry again (a very bossy and offputting Alice Eve) and the young accused is given an alibi by Dr Calgary (Luke Treadway) who claims to be a scientist. While, it emerges that he has not been telling the exact truth, he does give the accused an alibi – which means, of course, the various suspects, all of whom could have good reasons for the murder, the husband, his new wife, the devoted maid, the local policeman, the former adopted children, the husband of the oldest. Plenty to choose from.

The screenplay diverts some attention from the actual killer – but there is a chilly final sequence with the killer unmasked and punished.

Director, Sandra Goldbacher made two features, The Governess and Me Without You but has spent most of her career directing television.

1. The popularity of Agatha Christie novels, film and television adaptations? This film’s title, the names of the characters – the screenwriter developing plot differences? For devoted Christie fans? For the ordinary audience?

2. The 1955 setting, the mansion, the grounds, the interiors, bedrooms, offices, the bunker? The roads, mental institutions, cafes in town, the background of the Korean War? The background of World War II? Postwar England? The musical score?

3. The screenplay, the narrative of the murder, the opening, the visuals, suggestions? The recurring scenes of the murder? The third act and the whole development of what happened on Christmas Eve, all the characters, their involvement, the secrets, truth and lies?

4. The Impressionism of the narrative? The focus on characters, glimpses of flashbacks, punctuating the narrative, giving more indications of characters, gradual revelations?

5. Rachel Argyle at the centre, Anna Chancellor’s screen presence, tall, demanding, private emotions, not wanting to be touched, yet adopting the children, wanting them to fill an emotional hole? Educating them, disciplining them, disappointed in them? Each in a different way? The portrait of a philanthropist but very demanding woman? The credibility of her being murdered?

6. Leo, the introduction, finding the body, comforting Kirsten, the discussion with the police, the arrest of Jack, his going to visit him in prison, accusing him, Jack spitting at him? The marriage to Rachel, her not having children, the adoptions, his relationship with the children? His relationship with Gwenda, the decision to marry her, the preparation for the wedding? The arrival of Arthur, his ousting him, the family disturbed by all the claimants? Arthur’s return, Leo’s being more gracious, listening? The buildup of his character, the revelation of the relationship with Gwenda, the children lining up, Kirsten with the instrument of death, the accusations? The final irony of Kirsten imprisoning him in the bunker, his seduction of her when she was young, the mother of Jack?

7. Kirsten, always present as the servant, going about her work, with the children as they grew up, diligent, the revelation about Jack, Leo’s seduction, Rachel promising to keep the secret, her revelation? Her finding Rachel wounded, screaming? Her presence at Jack’s funeral, tending his body? The confrontation with Leo, her imprisoning him?

8. The children, the scene of the younger three being adopted? Happiness, resentment? The growing up, going out to play with Kirsten? The classes, Michael and his inability to read? Hester at the piano? Jack and his being cheeky? Tina, the racial issue? Mary, the oldest, her continued resentment, wanting to be the only child, the consequences?

9. Jack, the police chief, the implication of sexual abuse? His wife, Jack and the seduction? His scoffing at people? Leo revealing the truth about Kirsten? Taken aback, going to the kitchen, with Kirsten, going out? His alibi with the anonymous driver? The importance of the time – and the visuals of the clock and the blood? Leo talking with the police chief, the delete forced taking of the fingerprints, his arrest, Leo talking in jail, the police chief and his revenge inventions, Jack being murdered in jail? The scene with the family at his coffin?

10. Michael, career, the effect, is injuring himself, the relationship with Tina, his harsh reaction to Arthur Calgary, seeing him in the hotel and threatening him? The revelation of his relationship with Tina? Jack spying on him? Rachel, her condemnation of him, Tina? Tina wanting the flat to live by herself? Her work? Rachel proud of her then turning against her? Hester, the piano, her leaving home, the affair, her pregnancy, Rachel coming to get her, paying off the man, bringing her home?

11. Mary, her marriage to Philip, his war record, marrying her for her money, his recklessness, drinking and gambling, the accident, breaking his back, exercising at home, his wheelchair, not joining the family gatherings, his seeing Arthur Calgary, the bribe and the suggestion to expose the family? His morphine? The ambiguities of Mary’s devotion to him? Mary, trying to plot with Michael to alienate Leo from Gwenda? His refusal? Mary, her resentment, wanting to be the only child? The impact of the death of her husband?

12. Philip, his war record, injury, cynical, the meal with Arthur? The overdose – and his being murdered?

13. Gwenda, imperious, criticising the servants, demands, the preparation for the wedding, her relationship with Leo, the revelation in flashback about Rachel serving for divorce, Leo impoverished, his action?

14. Arthur Calgary, the forlorn look, arriving, his explanation, the family upset, Leo ousting him, going to the hotel? The visit from Michael and threats? The dinner with Philip? Michael putting him on the train? His wanting to do the right thing, getting off the train, returning? The story about the Arctic, the fact that he wanted to go to the Arctic, had worked on the atomic bomb? Wanted to redeem himself? The asylum, his escape, driving the car, giving them a lift to Jack, being his alibi? The family supporting him, wanting to help him escape, Leo calling in the authorities and his being taken back to the asylum? The fact that the brothers and sisters came to see him in the asylum?

15. A portrait of a completely dysfunctional family, the control of the mother, the hypocrisy of the father, the difficulties with each of the children? Setting up all the possibilities for the murderer? The final unmasking? The image of the search for Leo in the water, Gwenda dressed for the wedding, the children in wedding dress? The irony of his being imprisoned?

BEN IS BACK

US, 2018, 103 minutes, Colour.
Julia Roberts, Lucas Hedges, Courtney B.Vance, Kathryn Newton, Rachel Bay Jones, David Zaldivar, Michael Esper.
Directed by Peter Hedges.

Ben is Back takes place over 24 hours, Christmas Eve into Christmas morning, the background family involved in the Nativity play at the local church, rehearsals and performance, but this being just an emotional background to a much more emotional experience.

Ben, played effectively by Lucas Hedges (continuing a successful career from Manchester by the Sea, Three Billboards, Boy Erased and here directed by his writer-director father, Peter Hedges), suddenly returns to see his family for Christmas. His mother, Holly, is delighted, sweetness and light in the Julia Roberts style, huge grins and laughter. However, it is the opposite with his younger sister, Ivy (Kathryn Newton) who is very wary of his arrival. There are two younger children from Holly’s second marriage to a businessman, Neal (Courtney B.Vance).

What is the trouble?

Ben has been in drug rehabilitation, an addict from his early teens, involved in dealing and the death of a close friend. Ben states that he has the support of his sponsor to visit his family for Christmas, assures them that he is being off any drugs for 77 days, that he wants to be with them. Neal, who has been paying the fees for his stepson’s rehabilitation, is very firm in dealing with him. Ivy is reluctant but the younger children are delighted with his presence. Holly, realising the seriousness of the situation but delighted to have her son back, starts to take more serious stances (and, by the end of the film, is desperately loving but seems to have taken strong influence and language from her performance and is Erin Brockovich!).

The action takes place over only 24 hours. There are some very happy scenes, especially in the young children’s rehearsals for a Nativity play in the local church in the family going to see the performance. Ben goes shopping with his mother for gifts for the children.

However, the family are tense – which means that we, the audience, are increasingly tense as to whether Ben will take more drugs (but there is an engaging and moving sequence where he goes to a group meeting and talks frankly about himself, Holly being very proud of him). And there is always the problem of the truth, whether he has his sponsor’s approval for the visit on not, what are his contacts in the town.

In fact, the plot becomes more desperate as it continues – the family returning home from the Nativity play to find their beloved pet dog missing. This leads to a dramatic search, Holly becoming more desperate as they look for the dog, Ben making contacts because he knows who took the dog – and risking the consequences.

The film is effective in its drama, it involving its audience in the seriousness of the problems. Those who have seen the film which is similar in theme, Beautiful Boy, with Steve Carrell and Timothee Chalamet, will be on familiar ground. Interestingly, these are two films which are geared towards middle American families, that statistics reminds us that more Americans die from opioid overdoses then car crashes, that drugs are not problems of the ghettos or particular ethnic groups, but the addicts and challenges in their ordinary suburbs.

And, as with Beautiful Boy, the point is made that, despite the good intentions of parents, their earnestness in trying to help their children, the seeming helplessness, that ultimately, it depends on the antics decision as to whether they can be helped or not. Beautiful cowboy was based on memoirs by father and son. Ben is Back leaves the audience with uncertainties.

1. A film about drugs and addiction? Teenagers? Parents and coping? Rehabilitation, relapse?

2. The ordinary American town, homes, church, the streets, pawnshops, drug areas near the river, drug dealing headquarters? Authentic feel? The musical score?

3. The drama with the action taking place over 24 hours?

4. This kind of film for middle America, middle class families and children with addictions, rehabilitation, coping, the importance of the addict making the decision and being able to be helped?

5. The family, Holly, her first marriage, Ben and Ivy as her children, bringing up Ben, his accident, the medication, too much, leading to addiction? The powerful scene in the mall, with Holly confronting the doctor and his wife, the doctor with dementia, her attack on him because of his overprescribing? Ivy, at home? Holly’s second marriage, a relationship with Neal, the two young children and her love for them? The household? Preparing to celebrate Christmas? The rehearsal for the Christmas play, at the church, the children participating? Holly encouraging them?

6. Ben, his age, in rehabilitation, his sudden return, Holly’s response, Ivy and her wanting to call the authorities, the two children? Neal, severe? The fact that he had financed Ben’s rehabilitation? His expectations, demands?

7. Ben wanting to be home for Christmas, his explanations? His manner, seeming to be a gentleman, deferring to his family? His saying he had permission from his sponsor? Clean for 77 days?

8. The later revelation of how many lies he told, the sponsor trying to dissuade him, his finding the drugs in the attic, the pressure on him, but his wanting to be home for Christmas?

9. Holly, her strict demands, her move from sweetness and light to severity with her son? The speeches, his agreeing? His wanting to buy presents for the children, his own personal gifts? In the mall, his friend seeing him, spreading the word that he was back in town?

10. Holly accompanying him to the meeting, his speech, the response, her pride? The memories of Maggie, Ben’s contact with her, getting hooked, her death, the grief of her mother? His sense of guilt?

11. The scenes at home, meals, play with children, searching the Attic with ivy?

12. Ben sensing the threats, but going to the church, the celebration of the Nativity play?

13. The return home, the ransack, the disappearance of the dog and all that it meant to the family?

14. Ben, deciding to search for the dog, making the contact, threatening his friend and blaming him for everybody knowing? Working out who talk the dog? Going to see the drug dealer, Ben and his dealing, his agreeing to carry the drugs to get the dog back? His success with the mission, getting the dog?

15. The mother of the girl who died, the talk in the church with Holly? Holly becoming desperate, going to see the woman, borrowing the car, searching for Ben? Going to the pawn shop, the old woman talking about the addicts at the river, her going there? The threats?

16. The phone calls, lying to Neal, her continued search, growing desperation?

17. Her going to the police, initiating the search? Desperate, saying that Ben had stolen her car?

18. Ben, his desperation, putting the dog in the car, the dilemma about taking the drugs, in his hand? His having told the truth to his mother?
Taking the drug?

19. Holly finding her son, holding him, willing him back to life – and the film with an uncertain ending, the impact for the audience?