SEPARATED AT BIRTH

Canada, 2017, 90 minutes, Colour.
Paige Turco, Dominique Provost- Chalkley, Brittany Allen, Jayne Heitmeyer.
Directed by Jean- François Rivard.

At the opening, this film purports to be a true story. However, it is a melodrama about the abduction of a twin and her disappearance, the consequences for the other twin Terri, with her mother.

The abduction takes place in 1990 but in 2017, the mother is standing for the governorship of Pennsylvania, assisted by her daughter, well-educated but reckless, working in a fashion shop. Then, her abducted daughter, Lucy, appears, is the genuine twin after DNA tests.

The screenplay shifts in sympathies several times throughout, initial suspicion of Lucy, affirmation of Lucy, Terri’s resentment and her vindictiveness, Lucy is victim, a twist with Lucy as the manipulator, Terry instrumental in exposing her, and Lucy’s real motivation, stirred on by her mother who brought her up, trying to get revenge on her birth mother.

One of those guilty pleasures, melodramatic television movie from Canada, telling an American story.

1. The title? The initial information? The events in 1990? Influence in 2017?

2. Pennsylvania, Harrisburg, the capital, political campaigns, the press, homes and apartments? The musical score?

3. Elizabeth Marshall, the abduction of her daughter in 1990, the effect, her bringing up the other twin, Terri? Running for governor? Her campaign manager? Continually assessing the points and differences? Her personality? Exasperation at Terri and her expensive education, not being able to settle, drinking and police arrests, job in fashion?

4. Lucy, sitting in the office, wanting to talk to Elizabeth? Audiences thinking she might be a con-woman? The earnest discussions, the willingness to have the DNA test, the test, the results? Her being welcomed by Elizabeth, into the house, the press conference, part of the campaign, popularity going up? The bonding with Terri, Terri and her resentment, being left out by her mother?

5. Lucy, as a teacher, reputation? Out on the town with Terri, drinking, the sexual encounter, Terri filming it, online, the students are school and their reactions, the authorities, Lucy being suspended?

6. Elizabeth, the reaction, political advice, Terri and her influence, the discussions with Lucy, cutting ties with her, press statements? Terri at work, the journalist and the interview, wanting to trap her – and her later getting information from the journalist and trapping her?

7. Lucy, with the authorities, being fired? Going to see Terri? Terri helping her – and finally admitting that she had done the filming?

8. The role of the police, Terri and her being held? Lucy, the accusation of the affair with the student, the email messages, the role of the officer, checking on the sources, forgeries, the fake nude photos? Are being released?

9. Elizabeth, her reaction to Terri’s behaviour, accusations? Trying to make peace with Lucy, the offer to pay her tuition fees?

10. The melodramatic entanglements, Terri at her mother’s side the campaign, then disowned? Lucy and the reconciliation?

11. Elizabeth and Lucy, the discussion, Terri recording it, evidence against Lucy, her life, with the woman who abducted her, the mothering, telling the truth, the hostility towards Elizabeth, wanting to get revenge, going to the opposition, sabotaging the campaign?

12. And an ultimate vindication for Elizabeth?

13. Melodramatic characters in dealings – credible in real life?

ANNIHILATION

UK/US, 2018, 115 minutes, Colour.
Natalie Portman, Jennifer Jason Leigh, Oscar Isaac, Gina Rodriguez, Tessa Thompson, Tuva Novotny, Benedict Wong, David Gyasi.
Directed by Alex Garland.

Annihilation was written and directed by Alex Garland who earlier had written such screenplays as The Beach. He moved into science-fiction with Sunshine, 28 Days Later, and Dredd. He received acclaim for his film about scientific and genetic engineering, Ex Machina.

With Annihilation he continues science-fiction interest, alien invasion, a kind of body snatching scenario, apocalyptic and post-apocalyptic themes. While it is reminiscent of Body Snatcher films, there are also echoes of Arrival as well as of Bird Box (where the menace, described as beautiful, is not actually visualised as it is here with strange mutations in plants and animals, monstrous and destructive animals, an eventual parallel to be human creature).

Natalie Portman portrays a scientist, expert in cell development, formerly military, married to another military man who has been absent for a year. She has been grieving – and audiences later discovery she has been repenting of an affair. The husband, Oscar Isaac, suddenly reappears, is vague as to where he has been for the year, suffers convulsions, taken to a military hospital and his wife, Lena, interned.

The bulk of the film is an expedition into what is called the “Shimmer�, a mysterious colourful cloud coming down on and consuming all those who venture inside. An expedition is to be led by the psychologists, Dr Ventress, played by Jennifer Jason Leigh. Lena, not telling the other members of the expedition about her husband, becomes part of the expedition, venturing into the Shimmer, finding the mutations of plants and animals, menaced also by monsters, their feeling that their minds were disintegrating.

There are some horror movie moments and a climax where Lena sees her husband in a video, conflicts with Dr Fentress – but returns home and the framework of the film consists of scientists interrogating her.

There is no real explanation as to how the Shimmer took over, who are the aliens and what are their intentions, what is the nature of the annihilation, of individuals losing their identity as well as earth being transformed.

1. An apocalyptic narrative? An alien invasion? An experience of body-snatching?

2. The settings, contemporary, the military installation, interrogation rooms, nursing wards? The contrast with the “Shimmer�, the colour cloud from a distance, the ordinary terrain, the wrecks of buildings, the lighthouse and the subterranean cabin? The musical score?

3. The special effects, the Shimmer, appearance, the strange and colourful plants, the monstrous animals, action sequences and shooting, the finale in the subterranean cave, the parallel creature?

4. The title, as spoken by Dr Ventress, the intentions of the aliens, the taking over of humans, the taking over of earth? The nature of annihilation?

5. The opening, Lena in protection, her being interrogated, audience interest in what had happened to her? These sequences recurring? The flashbacks and the cumulative effect?

6. Lena, age and experience, scientist, her lectures about cells, the students, Daniel and his invitation to the meal – and the later flashbacks to her affair with him and breaking it off? Her husband’s absence, her grief, painting the bedroom, his sudden presence and return, his not being himself, not being able to say what happened to him, the bleeding and the convulsions, the ambulance, the police escort and his being taken? Lena herself being taken?

7. Lena in seclusion, the interview with Dr Ventress, psychologist? Discussions about her husband, her being shown the Shimmer, explanations? Her meeting the other members of the team, the characters, friendship, trauma that they had suffered? Her not telling them about her husband?

8. Dr Ventress, her personality, leading the mission, her terminal illness? Her career in vetting those who were to go into the Shimmer? Lena wanting to go, her motivations?

9. The expedition, the military garb, the weapons, the compass, the uncertainties, the mission to go to the lighthouse (and the audience seeing it struck by lightning initially)? The travel, the terrain, the puzzles about the cells, the plaints, the alligator and its menace, looking into its mouth, the same processes going on? Seeing the human outlines and the vegetation and colour?

10. The characters of the women, sharing their stories? Sharing their fears and uncertainties? Finding traces of the past expeditions? The threat of the alligator? The monstrous bear and its taking the member? Its coming back, the threat, with the dead woman’s voice, the sense of menace to the other women?

11. The tensions amongst the women themselves, sharing their stories? Seeing the video of Lena’s husband, cutting the flesh of the other soldier, the creature inside? Lena understanding more and more of what happened to her husband?

12. Shepherd and her anger, tying the other members up and gagging them? The threats? The scenarios on what was happening, their losing their individuality, her losing hers? The role of the beast, destroying her?

13. Josie, her background, pessimistic, unwilling to face death in the expedition, her going off by herself?

14. Dr Ventress, going by herself, being discovered inside the lighthouse, her alter ego? The conversation with Lena? Her transformation, the bright lights, the new creature?

15. Lena, continuing, going to the beach, going to the lighthouse, the seated skeleton, the video camera, her watching, her husband, the grenade in the explosion? The pursuit of Dr Ventress? The confrontation, the new creature, paralleling her in every movement?

16. Lena getting out, leaving behind the other self, going to the safety of the plant, the interrogations, the scientists wanting to know, to understand?

17. Her going to see her husband, his not being herself, her not being herself, the embrace? The transformation? Their annihilation – but who they would be?

ALTITUDE

US, 2017, 88 minutes, Colour.
Denise Richards, Greer Grammar, Kirk Barker, Dolph Lundgren, Jonathan Lipnicki.
Directed by Alex Merkin.

One of those many B-budget action shows that are continually churned out for the less discriminating audience!!

The film is directed by Alex Merkin, who specialises in such shows. He also draws on actors like Dolph Lundgren and Eric Roberts. Lundgren here is one of the villains, who spends most of the time piloting a plane, but who is part of a team which is to hijack the plane in order to take possession of diamonds – a plan that has been seven years in the making but is being betrayed by the suave front man, played by Kirk Barker. Greer Grammer plays his ex-wife, a rather steely villain character, though not necessarily persuasive as a mastermind of such a scheme.

However, the film opens with a hostage situation, Denise Richards as the agent trying to talk down the perpetrator, disobeying orders to try to save the life of the perpetrator and arrest him. She is angrily fired by her superiors. She finds herself on a plane to DC – clashing with a rude passenger who sits in her seat and won’t budge, being taken to first class and put next to the front man who tries to buy her off to protect him.

So, a lot of shenanigans, the passengers, fortunately, seeming to be rather passive and not intruding. However, there is a flight marshal on board but is in the pay of the front man.

A flight attendant who sings and dances the safety instructions is soon murdered. The pilots are then disposed of. However, Denise Richards becomes alert, conceals the front man in the hold. Various strategies, various manoeuvres, the plane finally landing in a secret airfield to prepare it for a crash in which everyone will be killed – but everyone accounted for and a false black box recording.

Amazingly, all the passengers are freed in record time, just the main protagonists left on board, an open door which the villainous ex-wife will go through, Dolph Lundgren in a crash landing, the other two escaping by parachute with an uncertain moral ending!

TAU

US, 2018, 97 minutes, Colour.
Maika Monroe, Ed Skrein, Gary Oldman.
Directed by Federico D' Alessandro.

While Tau is the 17th letter of the Greek alphabet, the film’s title is also based on the initials of the young millionaire scientist, experimenting with artificial intelligence, a latter-day Dr Frankenstein, Thomas Alex Unger.

This is an American production, made in Serbia.

Initially, the audience is introduced to a redheaded young woman walking through darkened streets, pickpocketing her way to the pawn shop. The audience sees that she is probably being stalked by an anonymous man. She returns to apartment but is then seized and abducted.

She wakes to find herself bound and gagged in the most elaborate building, luxurious, multi-rooms, laboratories, living spaces, and a glance at a cover of Forbes to explain the sinister character, Alex (Ed Skrein), an inventor working on extracting knowledge from subjects and developing lucrative international contracts. There have been several failed experiments.

The young woman, Julia (Maika Monroe), becomes the subject of experimentation, finally seeing Alex who is a young man, dapper in his manner, living in isolation, self-contained, dining well but abstemiously, no relaxation to be seen. Julia at times gets free, enlists the aid of some of the other victims but they are killed and she is re-imprisoned.

The audience is also introduced to a master computer, Tau, voiced by Gary Oldman, at times sinister, at other times subservient to Alex, gradually mellowing as he engages in conversation with Julia. Tau manages Alex’s life completely, greeting him, providing meals, giving information. He is also the instrument for Alex’s administering punishment – and, as Tau’s attitude changes when he and Julia engage in conversation, his learning what a person is, becoming friendly with Julia, her reading books to him and their exchanging knowledge about prehistoric times, and his drawing on his computer file of music that Alex has given him, his voice becomes more humane.

The production values of this film are very high, a very expensive look for the layout of Alex’s mansion and laboratories.

Alex is put under pressure, daily reminded of the deadline by Tau, under pressure, making demands of Julia with tasks which will give him information, Julia resisting, attempting escapes. Alex also has a mechanically constructed monstrous creature to put down any rebellion on Julia’s part.

As expected, there is a buildup to a strong climax, Julia with Tau helping her to escape, the confrontation with Alex and her severing his hand to use as a code to escape, the control taken from his building and the literal collapse and downfall of Alex and the building, and the screenplay reminding us of humanity with Tau and his confusion in the crisis, the removal of his memory, his powers surviving in a small grenade-like mechanism – and the question as to whether Julia will survive, whether Tau will survive – and will he recover his memory and have a future?

An above-average contribution to science-fiction about artificial intelligence.

1. The title? Symbol, Alex’s initials? The technical acronym?

2. Science-fiction, technology-fiction, futuristic, artificial intelligence?

3. The visual design of the film, the dingy streets, the pickpockets? The pawn shop? The contrast with Alex’s house, vast, beautiful, the laboratories, the cells, the machines, the mechanical monster? Tau and the visuals? Action, experiments, punishment and torture?

4. The pace of the film, the development of the plot, the atmospheric score?

5. Alex and his plan, the cover of Forbes Magazine, young, billionaire, his experiments and inventions, machinery, computers? Artificial intelligence, his experiments, contracts and the holograph meetings? The pressure of the timeline?

6. The initial stalking of Julia, Julia and her dress and wig, the pickpocketing, going to the pawn shop, her resentment? Going home, taking off her wig, relaxing? Her belief in her creating herself? The abduction?
7. The audience sharing Julia’s terror, waking, bound and gagged, the other members of the experiment? The confrontation with Alex? The attempted escape, the deaths of the others, her survival?

8. Alex, in himself, the solitary life, prim and proper, his relationship with Tau, the talk, Tau administering his life? His interactions, his work, his arrogance, meting out punishment?

9. The experiments and his seeking human knowledge, the connections into the victims’ necks? Connections to the computer? His allotting tasks and monitoring them?

10. Tau, the machine, artificial intelligence, a complex computer, the voice, the manner, love of music? Julia talking to him as a person? His beginning to change, understanding person, communication, her reading the books, the knowledge, prehistoric times? Love of music, his music store? Alex and the threats to delete this?

11. Tau and his eventual defiance, Alex’s anger, Julia and her promises? The threats, the timeline, Julia escaping with Tau’s help, the escape route? The mechanical monster?

12. The return, the fight with Alex, Alex interrogating Tau, punishing Tau?

13. The final threat, extracting his music, Tau submitting?

14. The issues of the nature of person, the purpose of persons, communication, creating oneself, being for others, not wanting to be annihilated? Meaning for life, not an insignificant life?

15. The buildup to a climax, Tau and Julia, the attack, the fight, Julia severing Alex’s hand, using it to affect the codes and open the doors? The pursuit of the monster? The chase, Alex confronting Julia, the rubble falling on him? The collapse of the whole plant?

16. Tau, closing down, the small mechanism, Julia turning him on, gradual coming to life, the music, Julia instructing him again?

17. The freedom of getting out into the world, a bigger world, survival and life?

FAMILY VANISHED

US, 2018, 86 minutes, Colour.
Kelly Packard, Jennifer Taylor, Madison Dirks, Todd Cahoon, Megan Hitler, Elise Luthman, Butch Klein.
Directed by Robert Malenfant.

A television film, something of a potboiler – and, if an audience is identifying with the target family, an emotionally enraging experience!
The film opens with the family in a luxury home in California, suspicious because they are all wearing black gloves in bed. It soon emerges that they are a home invasion family, parents and daughter, making themselves at home while the owners are in Hawaii.

The family returns, bewildered by what is happening in the house, tied up and gagged, subjected to all kinds of humiliation. The wife in the family, Jennifer Taylor, seems to be in charge. The husband, Todd Cahoon, has something of a roving eye. The daughter is very surly. The attacking family are continually criticising the owners for their wealth, their arrogance, presumption against workers…

The husband, who suffers from asthma, is kept in the attic in the heat for some time, the aggressive wife finds the owner’s diary and reads aloud her response to a one night stand with the neighbour.

They pressurise the wife, who is an art dealer has had a success selling a painting for hundreds of thousands of dollars in Hawaii, to phone the bank and arrange for a cash withdrawal the next day. After a day of humiliation, the family is left alone, the plan being for the wife to go to the bank, withdraw the money, her having an earpiece, being filmed all the time with the warning that, if anything goes wrong, the other members of the family will be shot.

On her return, everybody is placed in a van and taken out into the countryside, blindfolded, where they kneel and there is the beginning of the digging of graves. However, the neighbour has been curious and has followed them, the wife being shrewd and loosening her bonds and hitting the woman with the shovel and the family escaping, getting a lift back to the city and going to the police. In the meantime, the neighbour is pursued and is killed (with audience empathy less towards him because of the information about the one night stand).

The police have investigated and suspect the owners to have engineered the whole situation. However, vengeance sets in and the couple remember a clue about the diner and apple pie. The thieving couple also check into the wife’s computer and so they have a location, identify the restaurant, go out into the countryside, follow the daughter to the hideout – and an eventual confrontation, including their own daughter tracking them down.

Life resumes – in the hope it will be better, the police suspicious of what has happened but allowing the family to go.

A television movie to get the blood boiling and identifying for revenge while sitting in the lounge chair watching.

FIRST REFORMED

US, 2018, 113 minutes, Colour.
Ethan Hawke, Amanda Seyfried, Cedric Antonio Kyles, Victoria Hill, Philip Ettinger, Michael Gaston, Bill Hoag.
Directed by Paul Schrader.

Definitely a film written and directed by Paul Schrader. Schrader has told stories about himself, his growing up in a Calvinist family in Michigan, first seeing a movie, a Disney, at the age of 17. The strict and sometimes puritanical principles of his Calvinist upbringing have been incorporated into the moral dilemmas of his dramas. This was true of his 1976 script for Taxi Driver, directed by Martin Scorsese.

The dramatic chemistry between New York Italianate Catholicism from Scorsese along with middle American Calvinism with Schrader was very well illustrated by The Last Temptation of Christ, an interpretation of a very human Jesus, struggling with his relationship with the father, his sacrificial destiny, support from and betrayal by his disciples.

30 years on from The Last Temptation, each filmmaker has returned to his roots. In 2016, Scorsese made a profound film on Catholicism in his picture of Jesuit missions in Japan in the 17th century. Schrader looks at a contemporary minister, his personal history, theology and spirituality, faith struggles, ministry and support of others, social critique of today’s society. It is there in his title, First Reformed.

In introducing his central character, Reverend Toller, he shows him writing a journal, reflecting on the power of words and the effect of expressing oneself in words. One of the books on the shelf is by Trappist Thomas Merton (later quoted in the film), A Life in Letters. The voice-over of the Journal continues throughout the film, commenting on the action, but Toller questioning himself as to understanding what he is doing, its effect on others.

This is particularly important when a young woman, Mary (Amanda Seyfried) asks him to talk with her husband (Philip Ettinger), an environmental idealist who has been in prison, he does not want a child (she is pregnant) to be brought into the contemporary world and its disaster-bent future. In fact, Toller is a listener, sensible (he has been a military chaplain), but cannot foresee the terrible consequences. Mary also finds a suicide vest with bombs in their garage. Toller takes it, hides it, not wanting Mary or her husband to be caught up with the police.

The conversation between Toller and the young man expresses current anger and anguish about climate change and denial. This is important because the situation of the film is the celebration of 250 years of the historic first Reformed Church, a second consecration, presided over by the city minister (audiences may not recognise the former Cedric the Entertainer using his actual name, Cedric Antonio Kyles). And the celebrations, the fixing of the organ, the publishing of the souvenir program and history, are all being financed by the local capitalist engineer whose factory produces all kinds of allegedly environmentally-friendly products.

In the meantime, Toller struggles with issues of prayer, the nature of prayer, discernment, the depths of faith, issues of belief, stating that wisdom is the ability to have two contrasting ideas in one’s mind, that reason will not provide solutions for problems. What is needed is courage.

Before the culmination of the film at the ceremony for the second consecration, Schrader shifts his perspective from detailed realism to a kind of magical realism, Toller and Mary, one prostrate on the other, are seen floating over the landscapes of the United States, audiences thinking environment, and their final destination, close-floating over dumps, refuse, the flotsam and jetsam of progress.

Which does prepare the audience for the finale – with audiences hoping that it will not go in the direction where it seems to be heading, dreading this. And then the film stops, black on the screen, pause, final credits.

A number have complained that this is too sudden, that they wanted a resolution. Of course, Schrader is saying that there is no conclusion, that there is the range of experience, good and bad, and the challenge to his audience to reflect, accept the challenge.

1. The title, the opening with the church as an icon, the exteriors of the church, the interiors, an 18 century church? Historical churches compared with modern assembly churches? Ministers, congregations, those working in the churches? Choirs?

2. The Calvinist traditions, the Dutch tradition, Protestant theology and spirituality?

3. Paul Schrader and his personal background, Calvinist, his upbringing, his life and career, later in life exploring belief, faith, prayer, moral issues and social issues?

4. Ethan Hawke as Toller, his age, in the house, at the desk, writing his journal, by hand, for one year, his aims? The plan to destroy the Journal after a year? The influence of Thomas Merton, the book on the shelf, A Life in Letters, the later quotations? Toller articulating his experiences, his comment on them, description and assessment? The use of the voice-over throughout the film, from the Journal?

5. The background Toller’s life, his father, the military background, his marriage, his son, urging his son to enlist, his son’s death in Iraq, the grief, the divorce? His sense of blame?

6. The administrating pastor, Toller being given the tourist church, the visits and conducting the tours, the history, the souvenirs, the young children and the Underground Railway? The issue of the re-consecration of the church and the commemoration of 250 years?

7. The leader of the choir, the members of the group, their rehearsals? Her concern about Toller, the sexual relationship, her wanting to meet his needs, his distancing himself from her, pushing her away?

8. Mary, the phone call, organising the meeting, telling her story, her husband and his idealism, causes, the environment, being in prison, in Canada? The pregnancy? Her husband not wanting a child born into a dangerous world? Toller and his visit, calm, listening, talking, allowing Steve to speak? His explanation of wisdom, having many ideas in one’s mind? The challenge and the comparison between reason and courage? Open to further discussions, listening to the explanation of environmental issues? Mary and the discovering of the suicide jacket, the explosives? Toller coming, taking the explosives, not contacting the police? The change in rendezvous the appointment? Toller discovering Steve dead? The funeral, the social concern, the leader and the choir and their singing, the Neil Young song and its social issues? The ashes? The subsequent grief for Mary, pregnancy, going to stay with her sister?

9. Toller upset, writing his experiences, reflecting on the issues, becoming more socially concerned?

10. The supervising minister, his helping Toller, the lunch with the industrialist, the discussion about the environment, the issue of politics, rebuking Toller for making the funeral political? Cautioning him about the re-consecration? The industrialist, personality, the repair of the organ, printing the brochure?

11. The plan for the reconsecration, the various introductions, social dignitaries, the rituals? Televising in the new church?

12. Mary, the meeting, the bond between herself and Toller? The surreal sequence of their floating, each on the other? The range of scenery, terrain, finally floating over the contamination?

13. The issue of Jihad, the suicide vest, Toller warning Mary not to come to the reconsecration? Her arrival, his seeing her, his dilemma? Everyone waiting, the minister going to the
house, trying to get him to come?

14. Mary seeking him out, his taking off the vest, the kiss and the abrupt ending and final credits?

15. The film just stopping, leaving the audience to speculate on its meaning, Toller’s future?

THIS CHRISTMAS

US, 2007, 117 minutes, Colour.
Delroy Lindo, Idris Elba, Loretta Devine, Chris Brown, Keith Robinson, Laz Alonzo, Columbus Sharon Leal, Lauren London, Lupe Ontiveros, Jessica Stroup, Mekhi Phifer, Regina King.
Directed by Preston A.Whitmore II.

This is an American family reunion at Christmas, a theme popular in so many films. But, this one has an appeal to an American- African audience. There are a very serious family problems, of course, but there is also a sense of joy, and an ultimate exuberance with all the cast doing creative dance moves, almost encouraging the cinema audience to get up and dance in the aisles!
Loretta Devine is the matriarch of the family, her husband having walked out on her to pursue a music career, and her constant support and companions for many years, Delroy Lindo, a deacon in the local church which the family attends.

The film shows various of the children, especially Regina King as the older daughter who did not go to college, married, has children, her husband a philanderer mismanaging money, her really knowing but unwilling to face it until challenged by her younger sister, college-educated, career-oriented, rather free in her relationships, Sharon Leal. There is also much smaller subplot with another sister and the boyfriend she invites for Christmas.

As regards the sons, the youngest, played by singer and musician, Chris Brown, stays at home with his mother, but secretly sings in a nightclub, not telling his mother because of her experience with his father. However, the deacon invites him to sing at the church at Christmas, opening up possibilities for him. By contrast, the older brother, Idris Elba, is a musician who has left home, has not returned for many years, has gambling debts, resents the deacon and his place in the family – this brings the most dangerous of the subplots but, again, it is the deacon who makes the resolution. He also does this for another son, Claude, Columbus Short, who is in the military, is discovered to be AWOL for Christmas, is further discovered to have married a white wife who is pregnant.

Plenty of family plots, a great deal of singing – and that exuberant ending.


1. An American Christmas story? A family story? Bombs and love? Family quarrels? Family secrets?

2. The focus on the American family, an African- American family? The range of characters, men and women, different walks of life, hopes? Coming together to celebrate Christmas?

3. The cities, Chicago, San Francisco, Los Angeles, New York? The family home, the clubs, shops, the streets, police precincts?

4. The musical score, the wide range of Christmas songs throughout the film? Enthusiasm of the company dancing to celebrate Christmas? The finale of the film, everybody dancing, the different moves, the joy and enthusiasm, audiences dancing in the aisles!

5. Ma’dere as the dominant presence in the household? Her age, experience, love for her first husband, his walking out for his music, and managing, the presence of Joe in her life, her love for him, dependence? Her children? Son-in-law and grandchildren? Girlfriends and boyfriends?

6. The days of Christmas, arrivals, Christmas Eve, meals and celebrations, meetings, church? Departures? Conflicts?

7. Joe Black, his age, experience, deacon in the church, his belief in God, the grace before meals? His living with Ma’dere, love for her? His care for all the children? The buying of the Christmas tree, the installation? Supporting Michael and his singing, inviting him in the church? The care for the daughters and concern? The conflict with Quentin, his return, Quentin trying to avoid him – and yet Joe paying his debt? Joe’s stances against the gamblers and their money demands? Quentin’s return to the dinner, everybody reconciled?

8. The focus on Lisa, her support of her mother, the dry-cleaning company, her not being educated, her two children, her philandering husband and her knowing, his advising her to urge the sale of the dry-cleaning business? The arguments with Kelli, the comparisons, rivalries? Supporting her other brothers and sisters? Her attempts to be seductive – and her husband resisting, travelling, unfaithful? The long discussion with Kelli, her decision, crashing the car, her husband’s return, the baby oil on the floor, hitting him, filing for divorce? Support from her family?

9. The contrast with Kelli, glamorous, commercials, educated, flirtatious? The arguments with Lisa, with Lisa’s husband? Going out, with Gerald, spending the night? His being Santa Claus, coming to the house, gifts for the children? Her promise, his return, after the squabbles? His story about seeing her at school? Her change of heart, inviting him to New York?

10. Michael, at home, the youngest, supporting his mother? The surprise of his singing in the club? So well? Unable to tell his mother? Her resistance to his singing because of her husband, Quentin? Wanting to leave home and do something for himself? Her hard response? Joe inviting him to sing in the church, the reconciliation?

11. Quentin, the oldest, away from home, like his father, career, gambling, in debt, the gamblers pursuing him, punching him, coming to the home, invited to the dinner? Quentin and his antagonism towards Joe? Supporting his father? The interactions with the rest of the family, the issue of the selling of the company? Leaving home, the bus station, Joe coming, rescuing him, paying the money? His leaving, reflecting in the bus, returning?

12. Claude, military, out on the town, the rendezvous with Sandi, leaving her at the hotel? His situation, AWOL, the marriage, the secret, his not knowing that Sandi was pregnant? Her being welcomed into the home, everybody shocked, adapting, Sandi explaining that her parents were against Claude because he was black? Joe, the military connection, getting Claude to visit home before going back to base?

13. Mel, her place in the house, boyfriend, visiting? The sequence in the cupboard and their getting his name wrong?

14. The children, little focus on them, the situation with Lisa, their father, the divorce?

15. The film ending with the churchgoing, Joe as the deacon, the Christmas singing, reconciliation?

16. And the final exuberance music and dance moves and the audience loving the singing and dancing?

THE IMPERFECT LADY

US, 1947, 97 minutes, Black-and-white.
Ray Milland, Teresa Wright, Cedric Hardwick, Virginia Field, Anthony Quinn, Reginald Owen, Melville Cooper, Rhys Williams, George Zucco, Miles Mander.
Directed by Lewis Allen.

A little-known star vehicle for Ray Milland and Teresa Wright, the year before they made The Trouble with Women. She had won an Oscar in 1942 for Mrs Miniver. He had won an Oscar in 1945 for The Lost Weekend. This film has a strong supporting cast, led by a stern Cedric Hardwicke, and a far less stern showgirl, Virginia Field. Reginald Owen is Teresa Wright’s shopkeeper father, critical of his daughter in the theatre. Melville Cooper is a political dandy, Rhys Williams a detective, George Zucco a prosecuting lawyer.

However, there is a rather different performance from Anthony Quinn as a Spanish musician who becomes involved in a murder case compromising Teresa Wright, leading to a dramatic court case.

The setting is 1892, London, the theatre, class distinctions, politics. It is the period of Oscar Wilde – and this story is not unlike aspects of his The Ideal Husband.

Ray Milland is at home in this kind of role, the progressive politician, in love with a commoner, advised against the marriage by his severe brother, caught up in her being compromised in the murder case. The screenplay takes stances in favour of liberal changes in British politics, the Irish question, rights for workers and even introduces suffragette issues.

Entertaining in its way.

1. Period drama, romance, melodrama? London, England in 1892, the status of society, class distinctions, the theatre and its reputation, politics, courts and justice?

2. The re-creation of the period, costumes and decor, the theatre, restaurants and tearooms, political campaigning, homes and shops, the courts? The musical score?

3. The title, the focus on Millicent, the good young woman, compromised, love for her husband and her moral decisions?

4. The world of the theatre, rehearsals, Rose and Millicent and their friendship, touring the country towns, poor and hungry, Millicent and the estrangement from her father, going to his shop, hoping for a meal, the clash and the lecture? Millicent later returning to him? And his later mellowing?

5. The political campaigns, Clive and his first campaign, his speeches, the workers ridiculing him because of his status, throwing things at him? His advisers? The encounter with Rose and Millicent, the initial attraction? Going to tea, his being called away, the women paying the bill? Millicent going to hear him again, the warning about the train, her missing it, the fascination with Clive, giving up the theatre, her father?

6. Rose, the return to the theatre, the men accosting them, the police not believing them, the chase, Jose Martinez and his charm, inviting Millicent, their discussions, the Chopin and his performance? Her staying the night? His being accused of the murder of the landlord? The testimony against him? The detective, the search for the actresses, the visit to Clive and Millicent, her denial?

7. Clive and his brother, his warnings to Millicent, her disappearance, Clive finding her? The wedding, the honeymoon in Paris? The party and her charming the guests, meeting Gladstone?

8. Martinez, in jail, desperate, his tracking down Rose and her saying she did not know him?

9. Lord Belmont, going to the Court, listening to the testimony, superstitions, 17, the Chopin music, Martinez’ testimony? At home, his cross-examining Millicent? Her being upset, her leaving the house, taking refuge with Rose, Rose turning Clive away? The issue of Millicent’s conscience?

10. The court case, the accusations against Martinez, the witness, the testimony and the timing? The finding him guilty? Millicent coming to the court, the demands, the testimony? Clive present? Martinez and his gratitude?

11. Millicent returning home, the quiet of the town, reconciled with her father? Clive, the Parliamentary comments about him, wanting him to be expelled from the party, losing his seat? His previous declarations of Millicent being the most important thing for him, seeking out, the reconciliation – the future?

I LOVE A MYSTERY

US, 1945, 69 minutes, Black-and-white.
Jim Bannon, George Macready, Nina Foch, Barton Yarborough, Carole Matthews, Lester Matthews.
Directed by Henry Levin.

This is a short feature based on a radio program of the same name written by Carlton E.Morse.

The film focuses on the detective, rather stolidly played by Jim Bannon, and his associate, nicknamed Doc, Barton Yarborough. They come across a case taken to the morgue, victim of a road accident, his head missing, who turns out to be a well-known socialite.

The film contains flashbacks (and flashbacks within flashbacks) featuring the murdered man and his story, Jefferson Monk. He is played in a familiarly sinister manner by George Macready (soon to be with Rita Hayworth in Gilda). He initially appears as a very nervous man in a club, getting into a fight, embarrassing his companion (Carole Matthews). He then tells his story to the detective.

He and his wife (Nina Foch) have toured the east but Jefferson has been accosted by a mysterious man who explains a secret society from ancient times and the resemblance of an ancient ancestor to Jefferson. There is talk of a ritual where he is to be decapitated and his head taken for ceremonies. He is conscious of a man with a wooden leg, carrying a black bag, following him.

The audience is not sure what to believe. The wife is in a wheelchair. There is a sinister doctor. There is an antiques dealer. As it turns out there is a plot against Jefferson because of a clause in a will – and its being necessary that he committ suicide in order that his wife inherit the fortune. She has set up the group – but, the mysterious wooden legged man and the mysterious woman, his daughter, are killed.

The detective persuades the police to blame him for the crimes, imprison him, that he will escape, work out a system to unmask the killer. Jefferson also then confronts his wife whom he finds standing at the window.

The twist in this plot, quite ingenious in its way, is that the initial victim of the car accident turns out to be the killer himself, maddened, paying off the doctor and his plot, getting rid of the other members of the plot and, finally escaping after confronting the detective and Doc, only to be killed in a car crash (and his head disappearing).
Director Henry Levin was to go on to a long series of commercial films with the major studios.

BUMBLEBEE

US, 2018, 114 minutes, Colour.
Hailee Steinfeld. Jorge Landeborg Jr, John Cena, John Ortiz, Glynn Turman, Len Cariou.
Voices of: Dylan O'Brien, Peter Cullen, Angela Bassett, Justin through.
Directed by Travis Knight.

From Hasbro toys and animation feature films and television series in the 1980s, the Transformers have become a staple of popular entertainment. A decade ago, when director Michael Bay brought his somewhat overwhelmingly extravagant style to what became a franchise of Transformer films (loud and brash), the Transformers got a new lease on life.

Which means that Bumblebee might be surprising for audiences who have not kept close tabs on the Transformer adventures as they moved more and more into a desperate future, conflict between humans and machines, attacks from outer space and human efforts in defence as well as attack.

So, Bumblebee? And why not Transformers in the title of the film? Just to reassure the fans, the film does open with some Michael Bay-type action, the Decepticons trying to take over on their planet, the Autobots being chased and persecuted…

In fact, this is an “origins story�. We are being taken back into the 1980s, literally, looks, clothes, cars, musical excerpts (except for a long tribute to Unchained Melody). The Decepticons powers that be are searching for Optimus Prime. Bumblebee (that is his Earth name rather than his letter and figures scientific name, voiced by Dylan O’Brien) is a smaller Autobot but is sent to Earth to find a refuge. Needless to say, two fierce Decepticons track him down and bring the conflict to earth – on a comparatively small scale, two Decepticons versus one Autobot (no prizes for guessing who wins). The director of this film, Travis Knight, has worked for some years in animation.

Bumblebee is named because he can turn himself into a yellow VW – exceedingly quickly and with quite some agility. He is found by Charlie, Hailee Steinfeld being both strong and charming, mourning her father, hostile to her mother and brother, and her mother’s boyfriend. She has mechanical skills – and so, encounters Bumblebee.

While, as has been said, there are many Transformer moments, the film that Bumblebee most resembles (and there is Steven Spielberg here as executive producer) is ET. The parallels are considerable, the bonding between the extraterrestrial and the human, shared adventures, shared problems, shared triumphs, and quite an amount of cuteness.

And, as usual, there is a fierce hawkish American military -type, here played by solid and stolid former wrestler, John Cena, who takes every opportunity to attack Bumblebee but is persuaded by an earnest scientist (John Ortiz) to persuade an aggressive general (Glynn Turman) to collaborate with the Decepticons who offer all kinds of futuristic scientific advances – but, of course, are duplicitous, utilising earthly technology with their own to summon the evil forces.

And, along with Charlie, there is the rather shy and nerdish Memo (Jorge Landeborg Jr), attracted to Charlie and only too happy to become part of her ingenious adventures in saving Bumblebee. And, mother, brother and boyfriend all help to save the day.

The fans have liked the Transformer story, have liked the bonding between Charlie and Bumblebee – so, the best of both worlds.

1. From the 1980s? The animated cartoons and television series? The popularity of the Hasbro toys? The Hollywood developments, the blockbusters, plots, action, animation? The franchise?

2. The place of Bumblebee in the franchise? Presupposing audience interest? And origins story?

3. Introduction of the conflict between the Decepticons and the Autobots, their look, size, machines, voices, their planet? The dominance of the Decepticons, the revolution of the Autobots? The visuals and excitement?

4. The focus on the Autobots, the search for Optimus Prime? The small Autobot, name, character, voice? His ability to change? His being sent on a mission to Earth? To find a safe refuge? His journey?

5. The Decepticons, communication skills, following him to Earth?

6. His landing, his taking the form of the yellow VW? Surviving, hiding, finding a refuge?

7. The American military, force, the manpower, the leadership of Agent Burns? Gung ho and hawkish? A sense of mission? Fellow soldiers? His reporting to the General?

8. Introduction to Charlie, her age, the death of her father, photos, memories, his skills? Her resentment towards her mother, clashes with her brother, with her mother’s boyfriend? The surly interactions? Her going to the workshop, her old uncle? Wanting to repair the car?

9. The encounter with the Autobot, relating to him, understanding him, amazed at the transformations? His communication? The clashes with the Deceptive cons, they’re removing his voice?

10. Charlie and Bumblebee and their working together, renovating him? The amusement of the radios and his finding the lyrics of the songs to express his voice? Unchained
Melody?

11. Charlie and her ordinary life, the encounters with Memo, his awkwardness, shyness, thinking himself as something of a nerd? His approach to Charlie, her response, his becoming involved with her mission?

12. The parallels with ET? From the planet? Sharing life? Bonding? A sense of mission?

13. The series of adventures, the driving, the transformations, the Decepticons and the pursuit, their violence towards Bumblebee?

14. The Decepticons and their persuading the military about their good intentions? The promise of great communications and advances? Dr Powell and his enthusiasm? The work, Agent Burns and the general watching? The Decepticons achieving their end, destroying Dr Powell? Communicating with the other Decepticons, inviting them to earth?

15. Charlie‘s mother and her exasperation? Grounding Charlie? Charlie and her getting her brother to take responsibility? His giving the information? The pursuit in the car, the boyfriend and his skilful driving? Helping in the ultimate conflict?

16. Memo, his being involved, the driving, the attacks?

17. The buildup to the confrontations, the military, the defeat of the Decepticons? Burns changing his mind? Charlie and her achievement – and Memo and his help? The gratitude towards her family?

18. Laying a basis for further Transformer stories?