TALLULAH

US, 2016, 111 minutes, Colour.
Ellen Page, Alison Janney, Tammy Blanchard, Evan Jonigkeit, Felix Solis, David Zayas, Uzo Aduba, Fredric Lehne, John Benjamin Hickey, Zachary Quinto, Maddie Corman.
Directed by Sian Heder.

Tallulah is quite a striking drama. Ellen Page, an actress with considerable talent from Juno as an emerging star through a number of films and television series. Here she plays a young woman from a very uncertain background, in a relationship with a young man who leaves her. She decides to go to meet his mother in New York City. She has a great capacity for inventing stories and lying.

The mother of the young man is played by Alison Janney in yet another fine performance (winning her Oscar for her mother of the skating star, Tonya Harding in I Tonya).

The screenplay has many unexpected and unanticipated turns. While Tallulah is stealing meals from outside rooms and hotel, she encounters a young woman, Tammy Blanchard, who assumes she is working on the staff and wants her to look after her little baby while she goes out. Tallulah agrees and then absconds with the baby, taking it to Margo, the mother of her boyfriend, pretending that it is theirs.

This provide some complexities of drama, Tallulah and her erratic behaviour, not able to look after the child properly, inventing stories about it, realising that the police are after her and finding ways of avoiding the police, Margo solicitous for and loving the child, dismayed when the truth is revealed.

A further complication is that Margo is separated from her husband who has come out as gay, John Benjamin Hickey with Zachary Quint. Margo and Tallulah visit them but the husband sees through Tallulah and her story.

There is a great deal of pathos when the mother, who is clearly unable to look after her child, is scorned by her husband, not believed by the police, goes out searching for Tallulah and the baby.

While the baby is restored to its mother, Margo takes it on herself to be supportive of Tallulah, especially when her son returns.

An unexpected drama, touches of wry comedy, excellent central performances.

1. The original title, The mother? The three central women and their roles as mothers?

2. The focus on Tallulah, Ellen Page, her age, background story, her mother in the celebration, the father, the mother’s disappearance? Growing up, her problems, grievances? Her relationship with Nico, the two years, travelling round, dependent on each other, and his decision to leave, her reaction, in the car, living out of the car?

3. The New York City locations, streets and hotels, taxis, vehicles? The parks? Hotels and departments? The visit to the country? Police precincts? The musical score?

4. Tallulah, the decision to contact Nico’s mother, her eluding the receptionist, getting upstairs, Margo’s reaction? Leaving, the return? Margo more sympathetic?

5. Tallulah, stealing things, exploiting people? In the hotel, the food from the plates outside the doors? The encounter with Caroline? Caroline’s assumption that she was in the staff? Her not denying it? Fascination with the baby? Playing with it caring, taking it, the CCTV in the elevator? The interactions with Caroline, the judgement? Criticising her way of life?

6. Bringing the baby to Margo, as her granddaughter? Her plausible explanations, an explanation for everything? Tallulah not knowing how to be a mother, yet the bonding with the child? Margo, the threats, to oust Tallulah? Yet caring for the baby, the meals, the clothes, the discussions with Tallulah? Going out into the park, enjoying it? The enquiries about Nico and the way of life? Her apartment, wealthy, carpets, paintings, ornaments? Her criticism of her husband?

7. The story of her husband, the pregnancy, his leaving, the later revelation that he was gay, living with his partner? Margo and her resentments? The visit to the couple, the meal? Her husband and his cross-examination of Tallulah, his not believing her?

8. Caroline, her character, wanting to impress her husband, even becoming a mother, yet not attached to her child? Going out, provocative clothes, make-up? Assuming that Tallulah was on the staff? The return, the missing child, the police? The police and child welfare and they’re not having much time for Caroline? Judging her? Calling her husband, his antagonism towards her, condemnation? The effect on her, wanting to search for the child herself, actually seeing Tallulah and the baby in the subway? The police scanning the TV, identifying Tallulah?

9. Nico turning up, wanting to see his mother, his revelation about the child taking place offscreen? His meeting Tallulah on the wharf, her previous encounters with the young man and his offer to run away with her? Her imagining leaving the baby and diving into the water?

10. Tallulah, concerned about the baby, take into the hospital with Nico, no insurance, not able to fill in the forms? Running away, at the subway? Her decision to return, going to the hospital, her phone call to Margo, the police tracking it?

11. Her holding the baby, the police blocking exit, Caroline arriving, Margo arriving? Giving the child back? Handcuffs, arrested, sitting in the car and looking at the city? The future?

12. Margo, Tallulah having freed her up, the episode with the baby and taking down all the paintings and Margo succumbing? The funding going to the park, levitating – free?

WALT BEFORE MICKEY

US, 2015, 110 minutes, Colour.
Thomas Ian Nicholas, John Heder, Armando Gutierrez, David Henrie, Taylor Gray, Kate Katzman, Conor Dubin.
Directed by Khoa Le.

Walt Disney is still a well-known name although the films are introduced from the Disney Studios, and there are such institutions as Disney World in the US and in Europe.

This is an opportunity to learn something about Walt Disney before the creation of Mickey Mouse. Disney had a severe reputation in his later life and there are indications of driving impatience here but, on the whole, this might be called a rather sanitised interpretation of Disney’s early life and career. It is based on an admiring biography with an introduction by Disney’s niece.

In many ways, this film is like a tele-movie of the week or a Reader’s Digest biography of a prominent person.

However, we see that Disney like to sketch, had a severe father, moved from the farm to Kansas City, did some voluntary service in World War I, decided to become an animator setting up in Kansas City with friends, achieving some short animation features, especially visual commentaries on news headlines, Laugh-O-grams?. And he began work on visuals of fairytales, especially Alice in Wonderland.

The film traces the ups and downs of his career, some success in exhibiting films, collaborating with friends, the joining as a team to produce the animation. However, he was not good at finance and, despite donations and setting up a studio in Kansas City, he failed.

Walt was dependent on his brother Roy for business acumen (and there is a strong tribute to him in the final credits).

Disney then went to California, observed work at the studios, wanted to direct, got the opportunity to continue with Alice films, working with a rather talented little girl showing audiences how live action could blend with animation. However, despite interstate contacts, he came under the influence of an entrepreneur, Mintz, who intended to take over Disney’s work and sent a rather sinister brother-in-law to achieve this.

In the meantime, Disney had met Lillian who had come to work for him and married her. While he wanted his name on the studio and the productions, he had to confront Mintz in New York, rejecting his proposals.

During his time of depression, he came across a mouse and walked, hungry, through the city, with the mouse in his pocket. He finally wanted some inspiration for a new animation character, he thought of Mortimer Mouse – but, everybody was far happier with Mickey Mouse. The film ends with Disney and his family and associates watching audiences laughing at a Mickey Mouse cartoon in the cinemas.

The interesting thing in the final credits is the listing of his associates and their achievements.

1. Audience interest in the story of Walt Disney and his origins and career?

2. From a biography, introduction by Disney’s niece, a Disney approved biography?

3. The early years, Walt and his sketches, the reaction of his father, the horses, selling the farm, moving to the city? His interest in drawing? The possibility of being an actor? His service in World War I, ambulance service?

4. The status of animation in the 1920s? The artists, the studios, the programs in the theatres, Felix the cat? The silent era?

5. Disney, his personality, determined, his relationship with his brother, Roy, Roy and his illness? The visits? Walt and his setting up work in Kansas City? Getting money? Getting the associates, the programs, the Laugh-O-grams? Persuading exhibitors to show the films? The interstate contacts? Alice’s stories? Ambitions?

6. The ups and downs, selling the cartoons but not getting any profit, UB as his friend and working, Fritz Freling, the Harnans? Disney and his not being able to pay? Evicted from his apartment, sleeping in the office?

7. The failure, the decision to go to California, with his uncle, his paying his way? Studying at the studios, wanting to direct? Getting his friends again, the connections, the work? The productions?

8. Mintz, his power, his plans to absorb the Disney workers, sending his brother-in-law, George and his sinister behaviour? The demands for the little girl to act – who couldn’t? After using the little girl who could? Getting deeper into debt, the bouncing checks, the reactions of his staff? George and his insinuations, winning over members of the staff? Walkouts?

9. Roy, Walt asking him to join him, practical management, business sense?

10. Walt and his wanting his name on the studio, the productions? Going to New York with his wife? Going to the other studios, their not being able to make contracts? His refusal of Mintz’s control?

11. Lillian, the meeting, her friend, getting the job, not a good secretary, Disney falling in love, the marriage?

12. Wanting a creative idea? The memories of being with the mouse, feeding the mouse, their being hungry? The intrusion of the policeman and the mouse getting away? Mortimer Mouse? Mickey Mouse? The production of the first cartoon?

13. The screening, everybody present, everybody happy? The extraordinary story – after Mickey?

14. Disney and his reputation of being a disagreeable person – indications in his younger days? A very pleasant portrait of the young Disney?

15. The final information about those who worked with Disney and their successful careers?

MAPPLETHORPE

US, 2018, 104 minutes, Colour.
Matt Smith, Marianne Rendon, John Benjamin Hickey, Brian Stokes Mitchell, Mc Kinley Belcher III, Mark Moses, Brandon Skelener.
Directed by Ondi Timoner.

Robert Mapplethorpe is not exactly a household name. However, he has a considerable reputation in the American art world and in the world of successful photographers.

In some ways, his initial reputation had a kind of notoriety. He began by sketching, intending to be an artist, but became more interested in photography, especially when given a camera, finding that he had an eye for composition, for creativity with light and darkness (not using colour).

The notoriety concerned his interest in the male body, the naked body, male sexuality. While there were many changes in American society in the 1970s and 1980s, and Mapplethorpe’s photographs were admired and sold during those decades, there were still difficulties in their exhibition, raising the continued issue of the distinction between pornography and the obscene, the distinction between what is sexually arousing and what is more objectively considered human images of behaviour considered sexual.

The film offers a quick opportunity to understand Mapplethorpe and his background, some home movies excerpts, with a religious emphasis, his first communion, the staunch Catholicism of his parents.

After leaving the Navy in the late 1960s, he had a chance encounter with Patti Smith (Marianne Rendon), later to become the well-known singer, living with her, telling his parents on a visit to them that he had married her.

Patti Smith asks Robert at one stage whether he is gay and he says that he is not. However, his awareness seems to have been a late emergence and he becomes more curious, going to a gay club. When Patti Smith moves out and begins her successful career, he has the opportunity to take photos with the gift camera, finds more and more supporters, develops his talent with the camera.

Mapplethorpe begins to have sexual relationships with some of his photography subjects, encounters a benefactor, collector, Sam Wagstaff (John Benjamin Hickey) who supports him as well as having a relationship with him.

The film shows his gradual development of talent and his becoming better known during the 1970s, his success in the 1980s, his increasing frankness, the number of models and poses, some rough sexual behaviour.

Mapplethorpe’s brother, Edward, comes for advice, works as his assistant, is advised not to use the Mapplethorpe name. While Edward is hurt, he supported his brother during his final AIDS illness and his death.

The screenplay includes a religious dimension with the visit of the parish priest who gave him his first communion, the discussion about belief in God, Mapplethorpe saying that beauty and perfection were his solace instead of a God – and then his taking some photos of the priest.

It is interesting that in 1989, an exhibitor was prosecuted because of the subject matter – and here is a film of 2018, explicitly frank and watched by a wide audience.

The director has had a long career in documentary films, winning many awards. This is her first feature film.

1. The art and photography status of Robert Mapplethorpe? His life and career? His visual style? New York photographer and New York Art Society of the 70s and 80s? HIV positive, his illness and death? Controversies about his subject matter?

2. The home movie scenes indicating his childhood and growing up, especially the Catholic influence, his first Communion? His parents as staunch Catholics? Schooling, adolescent? Navy reserve?

3. New York in the late 60s to 1989? The visuals of the city? The insertion of stock footage of the city? The glimpses of personalities like Andy Warhol?

4. Matt Smith, his screen presence, impersonation of Mapplethorpe? Marianne Rendon and her impersonation of Patti Smith? The range of supporting characters, Robert and his visit to his parents with Patti, the strict father, the mother’s response? Edward, place in the family, wanting to be a photographer, coming to New York, Robert’s assistant, Robert not wanting him to use the family name? His upset, his work, talent, Robert’s opinion? Supporting his brother as he died?

5. Robert, leaving home, leaving the Navy, his sketches, trying to sell them, the chance encounter with Patti Smith in the park, their time together, bonding, her asking whether he was gay, his denial, the relationship with her? The emerging homosexual curiosity? Pretending to his parents that he was married, the visit with Patti, her leaving? Her personal career, singing? Her return presence when he was dying?

6. Sketches, stealing the sketches on the street, male physical images? His curiosity about gay clubs? Patti and Robert and trying to get into the Chelsea Hotel? The encounter with the woman with a camera, her gift, encouraging him? His moving into society, his talent with a camera, his eye for composition, light and dark?

7. The film giving sufficient indication of his development as an artist-photographer? His visual style? And the range? The greater interest in male physical appearance? The range of subjects? Visibly explicit? The models, his relationships with them? His own prostitution to raise money?

8. Going around the galleries, admiration, non-acceptance? The various patrons? The woman with the gallery and her exhibition, selling his pictures?

9. His personality, the sexual drive, yet a certain objectivity in his male gaze at male bodies? His increasing interest in sexual subjects?

10. Sam Wagstaff, collector, interest in Robert, support, the relationship? His personality, his age? His finding Robert with the other models, his disappointment? Yet his later support?

11. Milton and the other models, photography, sexual explicitness, personal anonymity? Sexual relationships? The feeling of being exploited, angers, walking out, destroying photos?

12. Robert, the changes through the 70s and his becoming better known, his reputation during the 1980s? The glimpses of celebrities in his photos, like Gregory Hines, Arnold Schwarzenegger…?

13. His final illness, on the park bench his brother, the hotdog, his illness? His brother supporting him? Patti Smith’s visit? The sending of the flowers and the nurse thinking they were from his father, but in fact flowers for a neighbouring patient?

14. The visit of the parish priest, Robert’s mother sending him, the conversation, Robert at ease, asked about it belief in God, his not believing, the priest asking where he got solace, his answer in beauty and perfection? And the priest G nearly being photographed?

15. The final information, the Mapplethorpe foundation for HIV, the controversies about exhibiting his photos, prosecutions?

16. The film made in 2018 – with the explicit presentation of many of his photos? And audiences able to deal with the explicitness of the subjects? Enhancing his reputation as an artist?

SYSTEM CRASHER/ SYSTEMSPRENGER

Germany, 2019, 118 minutes, Colour.
Helena Zengel, Albrecht Schuch, Gabriella Maria Schmeide, Lisa Hasmeister.
Directed by Nora Fingscheidt.

This is a strong drama, and drama about a young girl who cannot be controlled – she seemed to continually fall through the structures of the system for childcare.

The film is worth seeing because of the performance by Helena Zengel as Benny, a girl at nine turning ten, hyperactive, narcissistic, prone to rage and tantrums. The actress is completely convincing.

The film shows how various organisations within Germany try to cope with such difficult children. The little girl is unable to live with her mother who cannot cope, is in a variety of relationships, has two younger children whom she cares for and does not want them to go the way of her older daughter, though the young son seems to be moving in that direction. While she collaborates with authorities, she is unable to keep the promises she makes about her daughter (who is absolutely devoted to her) and literally runs away, although she does come to her daughter’s hospital bedside after she suffers exposure to the weather.

There is a sympathetic official who tries to place her in foster homes, only temporally successful, who listens to her and offers her support. The other members of the staff move from the sympathetic to the hard-headed, the doctor concerned about her mental health, and ideas that she should go on a program for such children which is held in Kenya.

The most significant person in her life is the official who is designated to accompany her to school. He bonds with her, is able to deal with her tantrums, gets permission to take her away for a holiday to his hut in the countryside, a hut without any amenities. Commentators note that this would not be lawful in Germany for a man to take a child away on such an excursion.

For a while, this is successful, but again tantrums ensue. The man takes her to his home for a night where she meets his pregnant wife. This is significant because after other outbursts, she runs away to the house, seeing the man as a father-figure, but taking the newborn baby, holding it and becoming possessive – which leads to disaster.

There is no solution to the problems leaving it to the audience to assess their reactions to the girl, her character, situations, and the ways that the authorities have tried to deal with her.

1. The title? Reference to difficult children? Problems, ability to cope, help, possibilities for improvement/not?

2. The German locations, the town, apartments, the institutions, hospital, homes, the hut in the woods, the farm, the airport? The musical score?

3. The young actress’s performance, real, powerful, consistent? The dramatic impact?

4. William’s response to Benny, not likeable, angers, the management, in a rage, explosive? Are being self-centred, her whims, instant enmities, avoiding responsibility, and response to the way she was treated, turning against people? A desperate love for her mother, despite the unhappy memories of the diapers? The absent father? Her mother’s partners? The younger brother and sister? Her not being able to live at home? Her mother not being able to cope? The various interactions with the staff, pro and con? The test in the hospital, trying to diagnose her? Her behaviour in classes, and dominating, wanting to watch television? The prospects?

5. Her mother, not being able to cope, the children and fears that they would turn out like Benny, her partners, the situation at home, Benny visiting and the issue with the television, and bashing her mother? The mother not turning up at the meetings, not able to have Benny at home despite the promises, running away? At the end, in hospital with her daughter, her genuine love for her but unable to handle her?

6. Mrs Bafane, her age, appearance, her skills, profession, nice, helping Benny, trying to find places for her, the constant rejections, the foster mother and her taking Benny in, Mrs Bafane and her desperation? The final foster mother and yet Benny attacking the little boy on the skating rink? Mrs Bafane sitting and weeping, Benny consoling her?

7. The staff, those in favour, those against? Professional work, Benny’s insults, wearing them down? The medical tests?

8. The character of Micha, in himself, his being present with the staff, his role to accompany Benny to school? The bond, yet to be detached? His later having “rescue fantasies�? His observance, his treatment of Benny, experiencing her tantrums? The game and the wages? Going to the farm, her promising to return?

9. His idea, going to the farm, no electricity, television, the outhouse? Her initial reaction, having to get the milk, the incident with the dog, her violent reaction, tantrum, Micha rescuing her? The holiday, going into the woods, the owls? The good experiences? Always yes to response in the now and in being negative?

10. Birthday celebration, the gifts, everybody present, the song, and the cake?

11. The night, Micha, his age, experience, his wife and her pregnancy? Benny staying the night? Returning to the school? Her escaping, lying at the door, and wanting to stay, calling Micha dad, the morning, taking the baby, possessing it, her running out into the woods? The night in the woods, tired, sleeping cold, her imagination, the owl, the dog, going into the kennel? The collapse, in hospital, recovering, her mother’s presence?

12. In desperation, the suggestion of going to Kenya? The getting ready, the farewell, going to the airport, the tent and trying to take the Dragon, her tantrum and running away?

13. What hope for her? The open end of the film? Could she recover, not be so self-centred, not bursting into rages?

OUT STEALING HORSES

Norway, 2019, 122 minutes, Colour.
Stellan Skarsgaard, Tobias Santelmann, Jon Ranes, Bjorn Floberg, Danica Curcic, Sjur Vatne Brean, Gard B. Eisdvold.
Directed by Hans Petter Molland.

This is the story of an elderly man, Trond, played by Stellen Skarsgaard, who retires to a hut in the Norwegian countryside after the death of his wife. He prefers to be alone, managing, but encounters and neighbour with whom he begins discussions – and finds that he is someone he knew when he was young.

In fact, the main action takes place in 1958 (with some flashbacks to the war period as well as some flash forwards). At this stage, the old man is 15, on a summer holiday with his father with whom he is bonding. They have activities together, go fishing. His father is also involved in logging, cutting down the trees, stripping the bark, loading the logs onto the water to carry them to their destination.

He goes on and outing, to steal horses, with a friend and neighbour, Jon, who is rather taciturn. It emerges that the day before Jon was supervising his younger brothers when there was an accident, one of them dying. The survivor was Lars – and suspicions that he was responsible for the death of his brother, not just an accident. This brings the boy’s mother back for the funeral, the audience seeing the tension between her and her husband, discovering that she had a relationship with Trond’s father. Trond himself becomes infatuated with her – distracting his father’s attention leading to the injury of the woman’s husband and his disappearance.

There are complications from the war and shielding Resistance members and getting them to Sweden.

Trond is upset as his father never returns home although he leaves money for he is wife and son.

A complex Scandinavian drama exploring relationships and Lars is the neighbour in the 1999 sequences.

The director also made the thriller, In Order of Disappearance, which he remade in the United States with Liam Neeson, Cold Pursuit.



1. The Scandinavian world? Norway, Sweden? In past decades?

2. The title, the events, the boys, the horses, the accident? Symbol?

3. The time structure: the present events in 1999, flash back to 1958 and the core action, back to 1943, two 1956? The effect of this mode of storytelling?

4. The film as a memoir, from 1999, the press and setting off memories of the past? Trond and his dealing with the past?

5. Trond, saying that he was lucky? In what sense? His status as a widower, memories of the accident, the death of his wife, his driving? His hiding, living solitary, the winter, driving in the snow, the truck with the logs, his lack of concentration, the crash, going to the garage to get it fixed, his talking about ambitions with the technician?

6. His seeing Lars, hearing him calling for the dog, the conversation in the night, the introductions, the later encounters, the meals together, Lars helping with the work, the sharing of stories?

7. Trond and his admiration for his father, practical? 1958, at 15, the bonds with his father, the holiday with him, work together, the sauna and the snow? The father talking about knowing when it hurts? His friendship with Jon, going rowing, standing on the log, searching for the horses, riding, his fall, the barbed wire injury? The puzzle about Jon?

8. Going to the day before, the two boys playing in the house, Jon and his lack of supervision, one boy shooting the other? The father hearing the shot and running? Travelling to get the mother? Her reaction? The funeral, the prayers and sadness, Lars and his behaviour?

9. Trond’s father, the logging work, the felling of the trees, the help from Franz, the mother coming to help, the hard work, felling the trees, the bark? Trond and the attraction to the mother? His father’s distraction, Jon’s father breaking his leg, bitterness, and Jon gone to sea?

10. Trond, his moods, different moods with his father, their sharing, the tensions?

11. Franz and his story of the war, Trond’s father and his escape, the liaison with the wife, rescuing the man who was shot by the Germans? His staying for two years?

12. Trond, the lumber, the logs jammed, the hopes, father and son writing, Trond diving and freeing the logs?

13. Going home, the end of the summer, at the station, his father not returning? The mother at home, his sister, receiving the letter, reading it out? The issue of the bank, the money? Travelling to Sweden, the small amount of money, the mother buying the suit, pride in her son? Trond and liking the suit?

14. Trond and Lars, Lars telling the story of the farm, Jon coming back from sea, his leaving at the age of 20, never seeing his mother again? Never going back to the farm?

15. The visit of Trond’s daughter, searching for him, breaking his solitary life?

16. The theme of luck, Trond’s perspective on his life was lucky? Whether he was a hero of his own story – and the opening of David Copperfield? The issue of choices, his not hitting the man in Sweden angrily, making his own life?

MY DINNER WITH HERVE


US, 2018, 110 minutes, Colour.
Peter Dinklage, Jamie Dornan, David Strathairn, Andy Garcia, Mireille Enos, Harriet Walter, Daniel Mays, Oona Chaplin.
Directed by Sacha Gervasi.

Older television viewers and those who catch up with older series will be familiar with the American program, Fantasy Island, starring Ricardo Montalban and the French actor, dwarf actor, Herve Villechaise.

This is partly a biography of Villechaise, partly a portrait. He is played by the very well-known dwarf-actor, Peter Dinklage, star of many films but famous for Game of Thrones. His performance is very strong, the tormented man, rejected by his parents, going to the United States, seizing opportunities yet becoming envious, with tantrums, marrying and the marriage collapsing, losing his career and his finally killing himself in 1993.

The film is set in 1993 with quite a number of flashbacks, to Paris during World War II when Villechaise was born, the ensuing years and his growing up, the alienation from his mother, the medical concerns of his father. There are flashbacks to his arrival in the United States, his watching television to learn English, watching John Wayne (in Rio Bravo), confronting an agent (David Strathain) who gets him a job in the Bond film, The Man with the Golden Gun and on Fantasy Island. He became very popular, with some catchphrases, but fell out with the producer, Aaron Spelling, with Ricardo Montalban, becoming erratic and undependable.

He did have some success with television commercials but otherwise let go of his life.

This is all revealed when a British newspaper, with journalists Harriet Walter and Daniel Mays, send recovering alcoholic journalist, Daniel, played by Fifty Shades Jamie Dornan, to interview Gore Vidal and, incidentally, Herve Villechaise for a short amusing piece. The character of the journalist, Daniel, is based on the actual experiences of the director, with a photo of himself and Villechaise during the final credits.

The film shows the interactions between the two, the journalist losing his interview opportunity with a rather surly Vidal, somebody sent in to substitute, but his following Villechaise, to a womanising night on the town that was a mark of Villechaise’s life, to the house of his agent, to the sets of Fantasy Island.

So, it is rather a sad story. The journalist resigns because of his treatment by the newspaper – but begins to write up the story of his dinner with her today.

1. Herve Villechaise, his life, career? Audience knowledge of him? His reputation for James Bond film, Fantasy Island?

2. The opening in 1993? The British paper, the editors, Daniel being commission to interview Gore Vidal, his coming back from rehabilitation alcoholism, his reputation, the other journalists, his ambitions? The remit also to interview Herve Villechaise?

3. London, his apartment, the restaurant and then going to see his wife, their house, rejection? The offices and world of the newspaper? The musical score?

4. The transition to Los Angeles, the hotels, the streets, the clubs? The dinner? The interview with Herve? The conversation, Daniel running late? His going to see Vidal, Vidal and the precision of time, walking out? The possibility for further interview? Checking with London?

5. Herve, his telling his story, the flashbacks, Paris, during the war, his mother and father, the doctors? Herve and his growing up,

6. Daniel Tate and his story, the dramatic figure for the writer-director of the film, his interview with Herve, the photo of the two in the final credits? Daniel, drinking, womanising, wrecking his marriage, his relationship with his wife, son, her refusal to contact? The later phone calls, the long call and his expressing his sorrow, her satisfaction and hearing him say this? The irony of his trying to keep sober, the phone call about clearing the alcohol from the minibar, the hotel neglecting this, as throwing it out into the corridor?

7. Herve as an artist, in Los Angeles, watching television, learning English, watching John Wayne in films like Rio Bravo, his deciding to act, going to the agency, his agent, drawing the knife? Bonding with the agent? The Man with the Golden Gun, his role, the talking with Roger Moore? The premiere of the film, the crowds, his parents visiting, pleased at seeing them, his looking round and their disappearing? Never seeing them again? gaining a standing ovation?

8. The agent, the role in Fantasy Island, meeting the dresser, her continued support for him, the white suit?

9. Herve his womanising, the lascivious lifestyle, going to the clubs, meeting so many women, the sexual encounters?

10. His work on the series, Ricardo Montalban as the star, his statement about the plane coming? The attraction to Cassie, on set, marrying her,
her being shown looking away from him? His treatment of her, the divorce?

11. Ricardo Montalban as the star, Andy Garcia’s presence, the star, his work, the success of the series? Herve and his decline, upset about the divorce, going to pieces, the envy of Ricardo Montalbano, wanting the same salary, the reaction of the agent, his not turning up for being late, the comments of Aaron Spelling, the director the director producer, Ricardo Montalban and his plea to Herve, the work, the crew?

12. His finishing on television, the waste and losing his role, yet his popularity, the commercials, the continuing relationship with women?

13. His decline, calling Daniel, the different episodes and meetings, Daniel losing his interview with Gore Vidal, the rival journalist coming from London?

14. Continuing to return to Herve, his taking Daniel to the club, the sexual behaviour, Daniel resisting, trying to phone his wife, the connection with London? The visit to the agent, getting into the house, the discussions, the agent and his information? Their finally going to the set of Fantasy Island?

15. Daniel, not getting the interview, rival journalist arriving from London?

16. The last talk with Herve, the taxi waiting, the memoirs, the photos, the letters for advice? Herve giving Daniel the box? Going into the corridor, the visitors seeing Herve, getting in to do his line to the plane, and Herve looking back, his final shrug?

17. Herve at his final dinner, shooting himself?

18. Daniel and his return to England, the editor and praising his work, but wanting it cut, two pages not in the centre of the paper? Daniel trying to edit it, submitting his letter of resignation, knocking down the rival journalist, scene at his typewriter, beginning the typing of his memoir of Herve?

REFLECTIONS IN THE DUST

Australia, 2018, 75 minutes, Colour/Black and white.
Sarah Houbolt, Robin Royce Queree.
Directed by Luke Sullivan.

This is a small budget experimental drama, for a specialist audience.

Mainly filmed in black-and-white, there are colour sequences, however, with the two central characters speaking to camera, explaining themselves and their motivations. One of the characters is a younger woman, blind, disfigured teeth, wispy hair, talking about wanting to be loved and not having had the experience of love. The other character is her father, a paranoid schizophrenic, made up as a clown, talking quite frankly and directly to camera, erratic with his daughter, discussing love and her not being married, intimations of his own attraction towards his daughter and trying to deal with her, a mixture of moods and a mixture of gentle and violent behaviour.

Some of the characters move in and out, somewhat anonymous – although there is a doll, male, with the father pulling off its head, and a glimpse of a young man lying on the ground and the daughter’s attraction towards him. There is also another old man who makes comments about the girl and her parents in the past.

There are suggestions that there has been some kind of disaster, a touch of post-apocalyptic, a few survivors out in a kind of wilderness.

The film depends on the performances of the central actors and their creating figures who are sufficiently intriguing for the audience. With the sequences in colour, it means that the black-and-white photography is all the more impressive.

I WAS AT HOME, BUT…/ ICH WAR ZUHAUS, ABER…

Germany, 2019, 105 minutes, Colour.
Maren Eggert, Jacob Lasalle, Clara Moller, Franz Rogowski.
Directed by Angela Schanelec.

The director won the Berlinale 2019 director award for this film. It is personal for her, a reflection of her own life and marriage, her husband having been a theatre director like the husband in this screenplay.

While there is an overall narrative to the film, the disappearance of the 13-year-old Philip and his mysterious return a week later and the mother having to cope with new situations in her life with her son and daughter, there is much more philosophical reflection in the screenplay.

In fact, this is an existential questioning of the meaning of life, of relationships, of trying to cope with life. Which means quite an amount of intellectual dialogue in the screenplay.

There are some other narrative elements, the young son developing an illness, poisoning, his time in hospital and recovery, the impact on the little girl and her place in the family, the mother and sibling an advertisement to buy a bike, testing it, but later finding it breaking down and taking it back to be fixed by the seller.

Interspersed throughout the film are rehearsals by the school students with quite a number of scenes from Hamlet.

Not a film for those who want a straightforward narrative – but rather for those who like story elements but also provocative questions, existential angst, reflections on the meaning of life.

LES CORPS IMPATIENTS/ EAGER BODIES

France, 2003, 94 minutes, Colour.
Laura Smet, Nicolas Duvauchelle, Marie Denarnaud..
Directed by Xavier Gioannoli.

A very French film in its perception of characters and portrayal of them and their relationships.

Laura Smet (daughter of Johnny Halliday and Nathalie Baye) is Charlotte, a young woman with a terminal illness, going to hospitals for treatment, dealing with doctors, assisted by her mother.

Nicholas Duvauchelle is a young man who is in a relationship with Charlotte, supporting her during her illness, seemingly in love with her.

Marie Denanrnaud is Charlotte’s cousin, not having seen Charlotte for some years, coming at the time of her illness, attracted towards Paul, he to her. They begin a relationship, seemingly surreptitiously but, perhaps, encouraged by Charlotte – leading to a ménage a trois.

The first film by the director who went on to make the very entertaining The Singer, the French version of the off-key singer, Florence Foster Jenkins, Marguerite, as well as the drama about a priest exploring visionaries, Apparition.

1. The title? Illness? Sexuality and relationships?

2. The French city settings, apartments, homes, hospitals, treatment? The musical score?

3. The focus on Charlotte, her age, her illness? Her mother? Doctors and treatment? Her relationship with Paul? Love or not? His supporting her?

4. Paul, his character, age, experience, love, fidelity? The interactions with Charlotte?

5. The arrival of Ninon, the cousin, not seen for a long time? Her relationship with Charlotte? The growing relationship with Paul? Charlotte supporting this? Paul and his reactions, fidelity, honesty or not?

6. The effect on each of the characters? Charlotte – and the experience of the ménage a trois?

7. The overall effect of the film, French portrait of characters, illness and life, relationships and sexuality?

SWIMMING WITH MEN

UK, 2018, 96 minutes, Colour.
Rob Brydon, Rupert Graves, Thomas Turgoose, Adeel Akhtar, Jim Carter, Daniel Mays, Charlotte Riley, Jane Horrocks, Nathaniel Parker.
Directed by Oliver Parker.

This is an entertaining small film written and directed by Oliver Parker (Othello, Importance of Being Earnest). He is not to be confused with writer, Ol Parker (the Marigold Hotel series, Mama Mia, Here We Go Again.)

In many ways this is a familiar story and can be traced back to such films as Brassed Off, The Full Monty, Finding Your Feet…

It is a story of a group of men, frustrated in their lives, personal dissatisfaction, personal griefs. The therapy is swimming. The central character is Eric, played by Rob Brydon in his familiar hangdog style, an expert accountant, suspicious of his wife who is running for local office and is constantly attended to by her boss. He also has a teenage son. His therapy is private swimming – but he finds the group at the swimming pool who practice synchronised swimming. He gives them some advice based on mathematics, pivots for their movement… They see him drinking at the pub and decide to ask his advice as well as inviting him to join the group.

A strong group of character actors portray the group, led by Rupert Graves, supported by the older Jim Carter, the quarrelsome Daniel Mays, the Middle Eastern man, Adeel Akhtar, and the youngster, in trouble with the police, played by Thomas Turgoose. There are two other members of the team, one being always silent, the other being beginning hefty, get very little attention from the screenplay. At the pool, there is a coach, Susan (Charlotte Riley) who encourages the men, gets them an opportunity to work at a children’s pool party, accepts the task of being their coach when a member of the Swedish team suggests that they are competitive.

There are scenes of training, scenes of bonding, rehearsals for movements, going to Milan for the competition, seeing the work of various teams – and finding that Great Britain comes second to the Swedes. Obviously, an enormous morale booster for the men – especially as they demonstrate outside the local council buildings and their swimming trunks with an appeal for Eric’s wife to reconcile with him.

Obviously, a great film candidate for men’s groups to see and discuss.

1. The title, the many swimming sequences, the men’s group and their therapy, their skills, training, competitiveness, the competition?

2. The British setting, homes, workplaces, swimming pools, pubs? Public offices and local welfare? The competition in Milan? The musical score?

3. The focus on Eric, Rob Brydon and his screen presence, age, experience, an ordinary Everyman, going to work, greeting people, his relationship with his wife, with his son? Supported by his boss but is finally resigning because of tax evasion suggestions? His therapy in going swimming by himself? Late for his wife’s party, her election, career, her boss and Eric’s suspicions? Heading for breakdown?

4. Heather, her relationship with Eric, her relationship with her son, her election to public office, the campaigns, parties, meetings, causes? Eric and his suspicions of her boss? Her reaction? Puzzle? Eric moving out? Her meetings, news about Eric? Her disbelief? Not confident in him? His giving her the tickets to Milan, her not going?

5. The meeting with the other members of the group, their not revealing much about their backgrounds, their personal problems? Their swimming, once a week, a drink afterwards? The bonding? Luke, the centre, his enthusiasm, the attraction towards Susan, his living on the boat, taking in Eric, sharing with him? Ted, older, working in the garden, the story of his wife’s death? Taking on Tom giving him an opportunity? Tom, younger, in trouble, drugs, ingenuous, chased by the police, the ankle bracelet? Colin, worrying, friendship, interactions with Tom, exasperated? His fears? The silent man, the big man – and their not get much attention from the screenplay?

6. Susan, training the children, admiring a man, getting them the gig at the children’s party and the reaction? The meeting with the Swede, his telling them about synchronised swimming, competitiveness? His having an eye on Susan? Her being asked to be their coach, the strict training, the planning, the movements, the difficulties and exasperation?

7. Heather’s boss, concerned for her, his presence in the house, Eric finding him, taking all the wine, the bottle that he had brought?

8. The decision about competition, the discussions, phone calls, everybody going in? Submitting to the training, the rehearsing, Thomas and his awkwardness? Thomas and the police, the ankle bracelet?: And his fears?

9. Going to Milan, the flight, the arrival, Eric hoping his wife would come? Seeing the other teams? Their performances? Swedes and the excellence? Their own performance, the crowd excited, the judges and their acknowledgement? The announcing of the places, Great Britain coming second, the delight? The congratulations of the Swedes?

10. The return home, in swimming trunks, in the open space, the song and the movement, the appeal to Heather, the boss and Eric punching him, the reconciliation – and his son reassured that swimming with men did not mean that they were gay?

11. The popular kind of story about underdogs, combining, training, competing and being successful? In the sport? Personal affirmation and morale boosting?