I TAKE THIS OATH/ POLICE ROOKIE

US, 1940, 66 minutes, Black-and-white.
Gordon Jones, Joyce Compton, Craig Reynolds, J.Farrell Mac Donald, Veda Ann Borg, Mary Gordon, Robert Homans.
Directed by Sam Newfield (as Sherman Scott)

Initially this film focuses on a court case, the jury discussion, and can exasperated policeman finding that a not guilty verdict has been given. He asks for permission to go on leave and to investigate privately. He is played by Robert Homans – and some engaging home sequences with his wife, played by Mary Gordon.

The policeman does the rounds, acquiring more information, telling his immediate superior that he is close to identifying the criminal. After a meal at home, he is blown up in his car.

His son, Steve (Gordon Jones) has resisted becoming a policeman but the death of his father persuades him to do the entry exams and he qualifies. While he attends a lot of classes, he begins to get more information and continues investigating. His best friend, Joe Kelly (Craig Reynolds) does not qualify and is asked by Steve to look after his girlfriend, Betty (Joyce Compton) whose father is in charge of Steve and threatens him because of his failure to turn up to classes.

His mother then gives Steve a little book that she had found in her husband’s coat. Steve pursues the clues, get information about a name in the book, goes to visit a club where he is proprietor, being waylaid by one of the hostesses at the club.

At one stage, Steve and Joe are driving and are run off the road and crash.

Finally, there is a revelation, corrupt police and official, leading to confrontation, guns, Joe being accidentally killed, reconciling with Steve who had been suspicious about seeing his behaviour with Betty.

A small, competent, police thriller investigation.

MARY RYAN, DETECTIVE

US, 1949, 68 minutes, Black-and-white.
Marsha Hunt, John Litel, June Vincent, Harry Shannon, William Phillips, Katherine Warren, Victoria Horne.
Directed by Abby Berlin.

This is the kind of film that could have been a supporting feature series. However, this kind of entertainment was popular on radio and moving towards television.

The film opens with an elaborate jewel robbery involving two women and a little girl. One of the women is arrested by the police who then set in motion procedures for tracking the thieves. But, the commanding officer, John Litel, wants to find the authorities behind the thieves and their smuggling operation. He asks one of the detectives, who had interviewed the woman in the shop, to go undercover, Mary Ryan.

This involves her training as a thief, going to prison, sharing a cell with the other woman in the initial robbery, getting her confidence, being surly at first but then agreeable getting confidences including an address for an agency to get a job after she was released. This leads to playing a maid at a party, stealing a necklace from a fellow policewoman undercover. However, she is immediately whisked away for security and the police lose her.

Actually, her destination is quite interesting. An elderly couple who are in charge of the whole operation are actually legitimate Turkey raisers and distributors, concealing jewellery in the turkeys, wrapping furs as if they were turkeys, sending them out, some ordinary sales, some to collaborating fences. Mary Ryan is able to sustain her position undercover but sends out a message in one of the turkeys (leading to a humorous character who buys the turkey, comes to the police to get his reward and do his civic duty, but is continually ignored by all the authorities).

One of the gang is wounded when the police come across them in a fur warehouse, Mary having to select the better furs, the security guard tied up and she slapping him so that he will report this to police – as he does.

The gangs doctor is not available to remove the bullet from the wounded man and Mary Ryan does it, he being very grateful (and overhearing the boss and his wife talking about his possible death and not seeming to care). Eventually, the authorities get the message, hurry to the farm, are almost too late because the initial thief has escaped from jail and is taking refuge and recognises Mary Ryan. There is a shootout but Mary Ryan saves the day.

She had been promised a vacation after her work, a trip to the country – which she immediately turns down, preferring to go to a nightclub!

It might have made an interesting series of short films, the career of Mary Ryan, expertly played by Marsha Hunt, an interesting interpretation of investigation, by a woman, her methods and style.

THE WILD PEAR TREE

Turkey, 2018, 188 minutes, Colour.
Dogu Demirkol, Murat Cemcir, Bennu Yildrimlar.
Directed by Nuri Bilge Ceylan.

A vivid picture of life in a contemporary Turkish city.

Director Nuri Bilge Ceylan has become a significant world director since 1997, his succession of films winning awards and nominations. In many ways, he is the cinema face of Turkey to the world.

On the other hand, his films are an acquired taste, well-respected at film festivals the world over, gaining release at arthouse cinemas. The Wild Pear Tree is a worthy successor to his previous films.

For an audience deciding whether to see the film, it is probably important to know that it runs for 188 minutes, a long time without a break, requiring constant attention and audiences ready for such concentration.

The director trained in photography and this is evident in the beauty of this film, the capturing of landscapes in bright colour, characters moving in the landscapes, the contrast with close-ups, especially for conversations, many very long takes during the conversations, contrasting then with rapid editing for interactions. And then the film moves towards winter, fog and darkness.

The narrative concerns a young man, Sinan, who has completed his studies and returns home, having to do a final exam for a position as a primary school teacher. He has written a memoir and is eager for it to be printed, especially in his hometown. It turns out that he is a somewhat bitter young man, repressing his angers, especially at his father who is a schoolteacher but has become an inveterate gambler, losing his house, always with a furtive and shifty look. Sinan says about himself that it is strange for writer but he does not like other people.

The narrative line is fairly basic, Sinan making connections back home with family and friends, going to his exam, having a discussion with a popular novelist, encounters with two young imams, the publication of his book and the consequences.

But the film is also strong on verbal communication. In fact, the action frequently slows down the action, intense conversations, about love and ambitions with his former girlfriend in the town, a firm call with a friend who has become a policeman, a visit to the mayor to ask for financial subsidy for his book, the challenge to the novelist and discussions about what makes great fiction, very long conversation most at some depth about religion, belief, morality and responsibility, interpretation of the Koran, with the two imams. There are also long conversations both with his mother and with his father.

However, the director brings most of the conversations alive by having movement throughout, Sinan walking throughout the countryside, through the town on his phone, in a bookshop, then the street, then across a bridge with the novelist, travelling on the road with the imams. This means that while the content is often challenging, the audience can move with it because the action is not static, but moving, enhanced by the background and the scenery.

As with all the films by the director, personal relationships are most significant. While we have the portrait of the discontented young man, his aggressiveness, his sympathy for his mother, trying to understand and appreciate his father despite his disgust and resentment about the gambling, there are interesting moments with supporting characters, a crusty grandfather, another grandfather who is an imam, a bookseller, neighbours…

Which means then that the audiences had a long immersion into the Turkish countryside, exposure to Turkish characters and their issues, and appreciation of particular questions as well as the universal aspects of human nature. And, after the three hours, a glimpse of a moment of despair, a glimpse of the moment of hope.

1. The reputation of the film, the work of the director, his perspectives on Turkey, by storytelling and narration, by visual contemplation, invitation to reflection?

2. The Turkish city, the settings, the countryside? The village? Homes, streets? The woods, Rivers? Mountains? The musical score?

3. The title, the tree and symbolism, prickly and ugly, standing out, surviving?

4. Turkey and the 21st century, changes in society, in between Asia and Europe? The role of religion? Secular Turkey?

5. The film as a portrait of Sinan, seeing him in the city, his graduation, travelling home, arrival, the shop and the proprietor and his father’s borrowing coins, the edge with his father, the relationship with his mother? At home? His room?

6. The later discussion in the film about writing and Meta-novels? Not ordinary novels, but going beyond in terms of characters, social observations, comment and critique? The screenplay for this film as the visual equivalent of a meta—novel?

7. Sinan, his ambitions, having written the book, its tone, as wanting a publisher, the visit to the mayor, the discussions, the seeming affirmation, no money available for him, the reasons, reserve? His being referred to the farmer, his love of books, the discussion, the refusal to publish? Sinan and his interest in novels, the encounter with the novelist, meeting in the library and his research, the discussion, walking and talking, the bridge, the clashes? The discussions about the meta-novel? The contrast with his intentions and the novelist’s popularity in sales?

8. Going to work, with his father, the digging of the well, no water, with his grandfather, the hut? With his other grandparents, the imam, friendliness and support?

9. The encounter with Halice, the talk, standing together, the long time focusing on her, Sinan’s reactions? The issues, love in the past, work in the fields, women in Turkish society, expectations to wives and mothers? Halice and the kiss, her later marrying?

10. Sinan at home, working in his room, computer, the radio, the posters and books?

11. Sinan and h the is talking with his friend on the phone, wandering through the town, the opportunity for the audience to listen as well as see the town and the variety of locations? His friend joining the police?

12. The visit to the bar, the pool players, the men, the situations?

13. Sinan and his prospects, going for the exam, to be a primary teacher, going to the east and the small villages, like his father? His mother giving the money? His father going to the bus, wanting to cadge the money, the cigarettes, Sinan seeing his father the gambling connections? His going to the exam, the effect, talking with the author afterwards before going home?

14. The money stolen, his attack on those who might have stolen it?

15. His father, gambling, not having the money, leaving home, the electricity failing? Going to the farm, Sinan going to visit him, confronting him, the talk? The wild pear tree, the hanging – the sudden shock, Sinan and his digging the well?

16. The story of the child, the ants, the tree, and Sinan and the ants under the tree?

17. The discussions with his father, the excerpt about his novel in his father’s wallet? His father having read the book, his comments?

18. The significance of the long sequence with the young imams, getting the fruit, Sinan and the conversation, the activities in the village, funerals and the ministrations of the imams? Walking back into the town? The range of discussion material? Reflection and ideas? The quotation from the Koran and interpretation? The significance of Islam and literal interpretation? Issues of career, conscience, belief and responsibility, conscience and free will? Faith, the backbone for morality, faith and controlling the masses of people? The cosmic perspectives, living in a universe where God exists – or not? Controversies, the absurdity of life? That religion defines the world – and people finding the truth?

19. The end of the film, seen only in his life and career – and the career of a writer loathes people?

WILD TARGET

UK, 2010, 98 minutes, Colour.
Bill Nighy, Emily Blunt, Rupert Grint, Rupert Everett, Eileen Atkins, Martin Freeman, Greg Fisher, Geoff Bell, Rory Kinnear.
Directed by Jonathan Lynn.

There is an increasing number of droll films about these days. These are smiling rather than laughing films which leave the raucous shenanigans of Hangover-like comedy behind and opt for some wit, some satire, some black comedy with touches of the absurd which is just that bit realistic so that we believe in the characters and what they are up to despite our knowing that it is all far-fetched. (To check on Wild Target’s veracity and realism, you would need a review from a full-time hitman, preferably British, who has eluded arrest and lives an elegant ‘good life’ in private, preferably on a country estate.)

Bill Nighy is the hitman here. Emily Blunt is his erratically and moodily wild target. Rupert Grint is an apprentice (but does not realise what for.)

If that cast is not good enough, there is quite a funny and ironic turn from Eileen Atkins as Nighy’s demanding mother (she gave him a Baretta for his 7th birthday – she is that kind of devoted mother with high expectations). Martin Freeman is the most deadpanly calm of deadly assassins, with Geoff Bell as his sadistic but dumb assistant (asking for Rembrandt’s address during at art forgery case) and Rupert Everett is obviously enjoying himself as an art connoisseur who is hoodwinked about the Rembrandt but has more than enough money left over to hire the best hitman to get rid of the swindler.

There’s enough plot to keep one interested and amused.

Bill Nighy is particularly good as the nearing-55, gentlemanly, impeccably dressed and spoken, expert at disposing of people, who is about to get rid of Emily Blunt, a skittish instant kleptomaniac if ever there was one (but not against selling off a fake Rembrandt for a million dollars) but finds he cannot. He finishes up accepting a role as her security agent – and this transforms his life and his ability to defy his mother. And Rupert Grint, on holiday from Hogwarts, gives a nicely judged performance as a young man who happens to be in the wrong spot (or the right spot depending on how you judge job opportunities) when the attempt is made on the Wild Target’s life.

Obviously, it’s a farce. In fact, it is a very British re-working of a French farce, filmed by Pierre Salvadori as Cible Emourvante, with Jean Rochefort in 1993. It is so British in its manners, its buttoned-up behaviour, its well-mannered and bad-mannered thugs, and its continually humorous spoof of British ways, that, even though it is really a very slight film, you enjoy it all the way through (unless you believe that justice must be seen to be done at the end, well police and legal justice anyway. It does not.)

Jonathan Lynn was one of the writers and the director of Yes, Minister. He has spent a lot of time in the US on more broadly comic movies. This is a welcome return home.

1. Remake of a French film was a very British setting, British character and tone?

2. The London settings, the city, streets, hotels, flats? The mansion in the countryside? The musical score?

3. The introduction to Victor Maynard, a Bill Nighy character? Appearance, manner, prim and stiff, 54? In the street, his clothes, going to the block of flats, the victim falling? His practising his French?

4. His visit to his mother, memories of his father, his mother’s determination, the gift of the Baretta at seven, the scrapbook of the exploits? Later being discovered by Rose?

5. Rose, thief, kleptomaniac, arranging the Rembrandt forgery, Jerry and his work, his later being killed by the assassins, the deal with Ferguson, bargaining about the price, Rose substituting the painting, Ferguson and the discovery, his humiliation, paint on his nose, phoning for Rose to be assassinated?

6. Victor, his reputation, unseen, his various attempts to kill Rose, following her through the market, the stealing, the changing room and the wrong death, in the street, people obscuring the view, keeping vigil outside her room, the sexual encounter, in the morning, following her to the car park? His wanting to back out of the contract, his mother upbraiding him, the alternate assassins, the death, Tony and his stealing the car and his presence?

7. The confrontation, Rose and her abrupt manner, paying Victor to be her bodyguard? Mike and his attempt to kill her, Tony and the gun? The three escaping, going to the hotel, the comedy checking in, the room? Victor and his proper manner? The issue of his attraction to Tony, Tony in the bath? Rose and her drinking, going to the wrong room, the irony of Ferguson inside? The boots, Mike discovering them, the pursuit?

8. The escape, the car chase, the crash, Ferguson and Mike in hospital? Checking out Dixon to do the assassination?

9. Life in the mansion, Rose and her silly behaviour, Tony enjoying the new life, becoming the apprentice, all the training? Sleeplessness, Victor massaging Rosa’s feet, her change of attitude, devotion? The celebration of his birthday, everybody loosening up? Rose and Victor’s mothers attack during the night? Rose and her discovery of the scrapbook, attempting to escape?

10. Dixon and his associate, tracking down Victor, abducting Rose, her giving them the information?, The guns, the irony of Victor’s mother and her shooting? Tony seizing the knife?

11. Dixon, tracking down Jerry, the discussion about Rembrandt’s address? The murder?

12. The resolution, everybody happy? Three years later, the family together, the little boy – and the disappearance of the cat and burying it?

13. Audience taste for British black comedy?

CHARLIE'S FARM

Australia, 2014, 93 minutes, Colour.
Tara Reid, David Beamish, Sam Coward, Madeleine Kennedy, Nathan Jones, Bill Moseley, Kane Hodder, Genna Chanelle Hayes, Trudy Ross, Allira Jacques.
Directed by Chris Sun.

This is one of several Australian horror films written and directed by Chris Sun. He also directed Boar.

The film is clearly targeting horror audiences, creating the situation with a haunted house, a demented killer roaming the house and countryside, urban legends about the house of the murders, two couples brashly investigating the house, another touring couple arriving, the buildup to the confrontation. The film does take advantage of storytelling by one of the couples, enabling elaborate visual flashbacks to the original story, murders and gore…

The framework of the story is effective enough, the story of the 1980s, the warning of the old men in the pub against going to the farm, the detailed flashbacks, the menace and confrontation, but there is a difficulty with the central characters.

David Beamish and Sam Coward portray two very ocker Australian men, brash (and too frequently stupid), deciding to go on and adventure to investigate Charlie’s farm, not taking any notice of warnings, telling the story with embellishments to frighten the two girlfriends who decide to accompany them – what exactly is still a bit of a puzzle!

The two women are played by Madeline Kennedy an American Tara Reid (in between her appearances in the number of Sharknado films).

There are sufficient warnings for the men not to go, only increasing their wilful determination, the women having bad feelings about the place and their experiences. Then, Nathan Jones appears, a giant of a man, the grown-up version of a young boy, mentally handicapped, witness to his parents’ murdering of backpackers (and cannibalism), saved by his mother from the rather vigil anti-policy confronting the parents.

Which means that the latter part of the film consists of eerie situations, pursuit of each of the characters and their deaths – all of them!

BLAST OF SILENCE

US, 1961, 77 minutes, Black-and-white.
Allen Baron, Molly Mc Carthy, Larry Tucker, Peter Clune, Danny Meehan. Voice-over: Lionel Stander.
Directed by Allen Baron.

Note: this reviewer was alerted to Blast of Silence by an article in the Catholic Herald, 2018, commenting on films about Christmas, reminding readers that It’s a Wonderful Life focused on a suicide, and alerting readers to Blast of Silence with its emphasis on Christmas, negative aspects of Christmas, and its portrait of a hitman.

The film is well worth seeing. It was a modest film noir of 1961, not taken up by distributors and little seen. It was rediscovered in the early 21st-century and praised as an excellent example of its kind. It is.

This is the story of a hitman from Cleveland, played by the director, Allen Baron, who appeared as an actor in some films (looking like a younger version of George C.Scott), who made another feature, Terror in the City, with Lee Grant, but who spent several decades as a television director, with episodes of many of the very popular series. It would have been interesting to have seen his career had it been boosted by Blast of Silence in the noir direction.

While the director also wrote the screenplay, there is a very effective voice-over commentary, spoken by veteran actor, uncredited, Lionel Stander. The attribution of the voice-over is to Mel Davenport, in reality, the veteran writer Waldo Salt (Midnight Cowboy).

The rest of the cast is little-known but there is a very effective performance by Larry Tucker as a rather large gun dealer. Molly Mc Carthy bring some tenderness to her role as Lori will, attracted to the hitman, actually putting him off his determination and course.

It is interesting to see and hear the pervading atmosphere of Christmas, the streets, shoppers, decorations, Santa Claus, the songs and hymns, the churchgoing. And in the context of the pessimistic downfall of a hitman.

The film is very effective in its portrait of Frank, the hitman, the voice-over explaining his inner life, motivations, behaviour, reasoning. But, while he has been alone and ruthless, the more personal encounter puts him off his control – and, while he achieves his mission, is under suspicion from those who hired him and it leads to his death.

1. A film noir of the early 1960s? Lack of success in its time? The career of the director? Its rediscovery and acclaim in the 21st-century?

2. A film of pessimism? A hitman and his work, defeat? Yet the atmosphere of Christmas, the emphasis on the Christmas season, Christmas Eve, Christmas Day, Santa Claus and the shops, shoppers and gifts, carols and hymns, churchgoing? The contrasting moods?

3. The black-and-white photography, the lighting, the framing, the effective picture of New York City, of the hitman pursuing his target, exteriors and interiors? Clubs? Apartments? Going outside the city, the open fields and water? The musical score – and the songs in the club, the bongo drummer, the band, their ironic lyrics?

4. The importance of the voice-over, the voice of Lionel Stander, the tone, the commentary on the central character, his inner life and feelings, his action? The ironies?

5. The opening in the darkness, the voice-over, the tunnel, the imagery of birth and Frank’s origins, parents, the orphanage? Emerging into the light of the subway?

6. The character Frank, as portrayed by the director? Age, experience, reputation, hitman, lack of conscience? Memory of family, of the orphanage, the nuns, the treatment by the nuns? Memories of Christmas, tones of bitterness? His later looking from the roof with the nuns organising the orphans?

7. Arrival in New York, winter, the overcoat, on the ferry, the meeting with the contact, half payment, the promise for the future? The photo of the target? His settling into the hotel for the week? Looking at the target, discovering that he was a gangster, following his routine, his collections? The discovery of his mistress? With the family at Christmas, religious, then with the mistress, at the club, drinking?

8. Frank, going to see Ralph, Ralph and his size, his apartment, the dealings about the money, the silencer? The contact for the gun? The later encounter with Ralph at the club, the scene in the toilet, Ralph and his threatening? Frank going to his house, the confrontation, beating him to death?

9. Frank, going to the contact with the gun, getting it easily, no contact made by Ralph?

10. The encounter with Petey, memories of the past, Petey and his genial insistence, meeting Lori and the Christmas gifts, insisting that he go to the party? Out of place, Lori welcoming him, the dancing, his change of attitude? Loosening his grip? His feeling lonely, going to the apartment, Lori welcoming him, the dinner and the gifts, dancing? His losing control, the sexual advance, Lori and her reaction, his apology? Going to the house the next day, seeing Lori with her boyfriend?

11. Is Not wanting to do the hit, the phone calls, the pressure on him to complete the work?

12. The surveillance of the apartment, the preparation for the hit, hiding, killing the target? The woman cleaning the floor, his having to go to the roof, getting down?

13. The drive, the phone call, the rendezvous, the abandoned area, the men following him, his going out onto the jetty, shooting him, death in the mud?

14. The irony of the life and death of a hitman? And the comments by the voice-over?

SPIDERMAN: INTO THE SPIDER-VERSE


US, 2018, 117 minutes, Colour.
Voices of: Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala, Ali, Brian Tyree Henry, Lily Tomlin, Linda Lauren Velez, Zoe Kravitz, John Mulaney, Kimiko Glenn, Nicolas Cage, Kathryn Hahn, Leiv Schreiber, Chris Pine.
Directed by Bob Persichetti, Peter Ramsey, Rodney Rothman.

There are all kinds of multi-verses in the Marvel Universe. But, audiences in 2018 were not quite expecting a Spider-verse. But, here it is – and quite some acclaim from the Spiderman fans.

This is an animated version from Sony Studios, bright and vivid colours, clearly delineated characters, and plenty of action sequences. There is a musical score, with songs that the various characters might have listened to. And there is an excellent voice cast, quite wide-ranging and some significant names (who would have suspected Lily Tomlin to be the new Aunt May!). Creator Stan Lee died at 95, just before the release of the film but, fortunately, his voice is there in an animated character who looks exactly like Stanley!

And plenty of repeats that with great power comes great responsibility!

Yes, Peter Parker is here (voiced by Jake Johnson) and quite some heroics, the admiration of the city, Spiderman costumes for sale. One is bought by a young student, African- American father, Hispanic- American mother. His name is Miles Morales (voiced by Shameik Moore). He is not going to be the only Spiderman – but, audiences will like him and Peter Parker is perhaps in danger of moving to 2nd place!

Miles lives at home with his policeman father, Brian Tyree Henry, his nurse mother, Linda Lauren Velez, but his ambitious father has booked him into an uppercrust boarding school where he has to spend the week. He is very reluctant to go. And is embarrassed on the first morning at the gate when his father, sitting in the police car, calls out to him for his son to declare out loud “I Love you�. Difficulties in the school, and classes, though he meets a nice young woman, Gwanda. He also escapes to visit his Uncle Aaron (Mahershala Ali), the black sheep of the family. In an underpass, Miles is bitten by a spider and strange things begin to happen (illustrated by animated diagrams).

While there is a whole lot of action, there is a powerful scientist working on an accelerator which can move people into various universes. He is voiced by Leiv Schreiber, with his insistent associate voiced by Kathryn Hahn. However, the scientist is also the arch-villain, a bloated character with a small head, Kingpin.

There are various tangles with Peter Parker, a USB stick that Miles has to mind but which is broken, a visit with Peter Parker to his Aunt May (a very tough-vocal Lily Tomlin), the visit to a basement with the variety of Spiderman costumes.

But, the effect of the accelerator is to move Miles into different universes, discovering all kinds of Spidermen, an older Peter Parker (voiced by Chris Pine) older, disillusioned, separated from Mary Jane (Zoe Kravitz). There is also a pig, Peter Porker, a Japanese variation Peni Parker, a machine Spiderman and, a black silhouetted figure from the 1930s, trenchcoat and reading, voiced by Nicolas Cage.

Needless to say, plenty of action ensues, the confrontation with Kingpin, a revelation about Uncle Aaron, Miles’ father still annoyed with all the Spiderman interventions.

And one of those Marvel universe trailers at the end, portending Spider-verse extensions.

1. The popularity of this film? Acclaimed by fans? The popularity of Peter Parker? The new popularity of Miles Morales? The tradition of the movies? The statement about power and responsibility? The filmmakers relying on the responses from the fans?

2. The animation style, vivid and colourful? New York City, the buildings, homes, schools, laboratories? The spider-verse? Comparisons with the actual world, differences? The musical score – corresponding to the listening habits of the characters?

3. The voice cast, varied and talented?

4. The variety of characters in the spider-verse? Male and female, ethnic differences, Peter Parker younger and older, Peter Porker, Peni Parker? Spiderman Noir? The machine? The audience delight in the range of characters and their adventures?

5. Miles as the main Spiderman character? At home, his relationship with his father, the policeman, delivering him to school, wanting the declaration of love? Miles’ embarrassment? His love for his mother, Spanish-speaking? African- American and Hispanic- American? Going to boarding school, his not liking it, the reception, classes, teachers, students, the friendship with Gwanda? His going away, meeting his uncle Aaron, his reputation, clashes with Miles’s father? The underpass, the spider, being bitten, the consequences, his feet sticking, his return to find the spider, its effect?

6. Miles and his admiration for Spiderman? Spiderman and his exploits? Seeing him in action, the public admiring? Selling of the Spiderman suits? Miles buying one, putting it on, the comments?

7. The laboratory, Wilson Fisk, his assistant doctor, their work? The machine, accelerator? Peter Parker and his getting help? Giving Miles the USB stick? Miles, protecting it, its being damaged, his embarrassment? Later using it?

8. The villains, Wilson Fisk as Kingpin, the doctor? The mission? And using uncle Aaron as their weapon? His pursuit of the new Spiderman, discovering it was his nephew?

9. The interactions with Peter Parker, the Museum of the various Spiderman characters, discussions about wearing the cape not? Later, the cape issue?

10. The parallel universe, the role of the accelerator, Miles and the USB stick? The role of Kingpin? The range of the Spider characters – Peter Porker and the jokes about his being a pig, the machine Spiderman and activities, the discovery of the older Peter Parker, his sad story, his separation from Mary Jane? The Japanese Peni Parker? And the Spiderman from the 1930s, from the Nazi era, reading the books, black shadow dress?

11. Peter Parker, taking Miles to visit aunt May, her tough stances, the basement, the equipment?

12. The buildup to the confrontation with Kingpin, his enormous appearance, small head and face? His ability and villainy? Henchmen? His being defeated?

13. Miles as the new Spiderman – and the joke for further developments in the post-credit sequence?

NORMANDIE NUE

France, 2018, 105 minutes, Colour.
François Cluzet, François- Xavier De Maison, Julie- Anne Roth, Pili Groyne, Toby Jones, Vincent Regan, Colin Bates, Arthur Dupont, Daphne Dumons.
Directed by Philippe Le Guay.

A film of current French concern. It was released in 2018, released in Australia during the vehement protests against the policies of President Macron, all over the France but especially in Paris and the Champs Elysee, the protesters disfiguring the Arc de Triomphe. The protests in this film are not quite spectacular but are heartfelt.

Farmers in Normandy are feeling the pinch, especially as regards imports and exports, international markets, the lack of intervention by the French government. They decide to barricade one of the main roads in and out of Normandy, the farmers and their wives and families all getting their vehicles, cars, trucks and tractors blocking the highway.

One of the unintended consequences of the blockade is that a car of Americans has to make a detour. The passenger is a famous American photographer (Toby Jones) who discovers a location in a paddock for a photo shoot. His specialty is getting groups out in the open, to undress, to photograph them nude. Hence the title of the film.

However the central character of the film is the hard pressed mayor, the always reliable François Cluzet. He has intervened to help in all the problems of the farmers and tradesmen for many years, over-devoted, his wife even leaving him. He is approached by the agents of the artist to get the inhabitants to pose for the photo. He is reluctant. Suspects that they would not be willing.

Then he gets a brainwave. What if they were to put all their efforts of protest into this photo? He gets things going, stakes out the field with posts, satisfies the whims of the artist who must have the exact mood, the exact light…. However, a lot of the drama and the comedy come from the man is interactions with the locals, some reluctant, some willing, most, however, not turning up on the day, the whole enterprise turning into a disaster.

He does have some support from a young man, sports car driver, who has been away from the town for some years. He has also inherited the photography shop from his father. Between the jigs and the reels, we know what is going to happen – and it does! The young photographer comes to the rescue.

There is a variety of objections, the observations of a family who have moved out of Paris for life of tranquility in the country but returning to Paris, also the mayor having threatened to hang himself, rescued by the inhabitants, a finale with joyful celebrations and his presiding at a wedding.

Very French.

1. A slice of French life? The provincial town? Social crisis, financial crises?

2. The title, expectations, the opening sequence of the nude people? The photographer, his career and reputation of photographing nude men and women in different situations? The challenge to the town? Linking the photo to social protest?

3. The Normandy locations, the countryside, inland, the coast, the grazing fields? The town, homes, square, official buildings and offices? The detail of the farms and the sheds and the equipment? The musical score?

4. The focus on the mayor, continually re-elected, genial personality, care for everyone, yet his wife walking out on him? His interactions with the locals? His work at home? His concerns, social and financial situations, his encouraging the protest, the road blockade?

5. The photographer and his associates, driving through the countryside, his photographing, interest in potential sites, held up by the roadblock, getting round, the country roads, his finding the right field, his decision to stay? His associate and his help, the businessman leaving him? His manner, eccentric, staying in the town?

6. The scenes of the demonstrations, the spirit amongst all the people, leadership? Particular characters, their farms, difficulties, to squabbling about centuries-old disputes? Wives? (The later issues with the document, the rival handing it over, the reconciliation?)

7. The voice-over from Chloe, her parents, moving from the city, her dislike of the countryside, the mother and making and selling the bread, her father and going to Paris, fewer and fewer times, yet his rashes and allergies? His partner coming in by helicopter to persuade him to come? His reluctance, going for runs? The experience of the townspeople? And his ultimately leaving?

8. The idea of taking the photo, the townspeople and their reluctance? The mayor, his brain wave, the possibility for promotion? The setting up of the office, making lists, the discussions with the various people, the signing up? Some of the farmers overcoming their reluctance? The former beauty queen,, her reluctant husband, the butcher, his tantrums and upsetting people?

9. The setting up of the venue, the sticks in the ground, the grand plan for the photo, the photographer and his checking the light?

10. The day itself, people not turning up, the various excuses, thinking that the others had gone? The photographer, his pique, leaving, getting out the stakes and burning them? His rebuking all those who did not turn up? There excuses?

11. Vincent, his returning to the town, talent as a driver, his former girlfriend and her marrying, his not contacting her? Her friend, the phone number, getting together with him? The relationship? Taking her nude photo? Going to the wedding ceremony, the mayor and the celebration? Supportive of the mayor? His decision to take the photograph – and the background of his father and the shop and all the photos from the past (even his girlfriend and her first communion)?

12. The mayor, his being upset, exasperated, his decision to hang himself, the townspeople discovering him, bringing him down, encouraging
him?

13. Everybody gathering for the photo, the number turning up, Vincent and his camera, the people stripping off their clothes, running up the hill, the exhilaration of the photo?

14. Serious French social issues – but tongue-in-cheek treatment of these issues, especially with the nude photo?

AQUAMAN

US, 2008 home, 140 minutes, Colour.
Jason Momoa, Amber Heard, Patrick Wilson, Willem Dafoe, Nicole Kidman, Yahya Abdul- Matellan II, Temuera Morrison, Michael Beach, Graham Mc Tavish, Leigh Whannell, voices of: Julie Andrews, Djimon Hounsou, John Rhys Davies.
Directed by James Wan.

While Aquaman came into being several decades ago, the premise of this “origins� story is that his mother, at Atlanna (Nicole Kidman) fled the kingdom of Atlantis and a forced marriage to take refuge with a lighthouse keeper on the coast of Maine (Temuera Morrison). The year is 1985. The narrative throughout the film comes from their son, Arthur, who tells his story, the story of his growing up and being considered a half-breed, trained by Vukru in martial skills, the plea from Atlantis that he should be the king – and his quest for the Golden Trident, his leading the various kingdoms of Atlantis to peace.

While the Superman and Batman films of the past have been triumphant for DC Comics, there have been mixed results in more recent years, especially with Superman films, Justice League films, with Suicide Squad films. Somewhere in there there have been glimpses of Aquaman.

But, with this new star vehicle, he has little to worry about except preparing for the sequel! (And, of course, during the final credits, there is a trailer.)

The great advantage of the film (with a budget of around $200 million) is the presence of Jason Momia as Arthur who becomes known as Aquaman. He is big. He is a commanding presence. But he is also a genial presence, rather more modest than many of the super heroes. And sometimes has a way with an amusing turn of phrase.

But, it also must be said, that the special effects are rather eye-boggling, almost too much of a good thing (this reviewer noting that it was the equivalent of two hours and more gorging on chocolate cake – with a fellow reviewer remarking as well, “while watching it in a sauna�).

We have never seen an Atlantis like this, vast kingdoms, vast sea creatures, let alone all the effects for vast storms, characters being able to walk and talk and breathe underwater, Aquaman lifting a submarine to the ocean surface and combating a group of father-son pirates (with the villain, mentor (Yahya Abdul- Matellan II)) making an unexpected reappearance to combat Arthur in a village in Sicily.

The reason that Arthur finds himself in Sicily is that the daughter of one of the kings of Atlantis, Mera (Amber Heard) has rejected an arranged marriage with the King Orm (Patrick Wilson), who is Arthur’s half-brother, insecure on his throne, relying on the sage advice of Vukru (Willem Dafoe), deciding to make war on earth because of its pollution of the waters but also wanting to consolidate himself as the leader of all the kingdoms of Atlantis.

Which means then that Arthur and Mera become something of a bickering romantic couple, leaping out of planes, trekking through the Sahara, experiencing the battles and special effects action in the Sicilian town. But, there is still plenty of action to go as Arthur pursues his quest, somewhat reluctantly, encouraged by the rediscovery of his mother, a dislike of Orm.

So, plenty of action – more than plenty of action – a sympathetic hero figure, romantic touches, battles in single combat and only confrontations (and the reassurance that 30 years of living underwater does nothing to harm an initially perfect complexion, though Nicole Kidman does have grey hair in the latter part of the film, but retains that flawless complexion!).

1. Audience expectations? The new DC hero? Exploits? Quest? Conquering?

2. The DC world, Aqua man in its place, the 1985 setting and his being more recent addition to the heroes?

3. The production values, the big-budget, Maine and the Lighthouse, the ocean, the ordinary world of main, the bar, the Boston aquarium? The contrast with the lavish production values of Atlantis, life under the water, the wide variety of kingdoms, the action sequences, the wide variety of creatures and their design? The musical score?

4. The action sequences, the strong Aqua man, the battles, the wharfie in Atlantis, echoes of Star Wars under the sea, individual combat fights, the choreography, the destruction?

5. Arthur and his voice-over, explaining his mother and father, recurring throughout the film? His father, the lighthouse keeper, the encounter with Atlanta, saving her, her fears and thrown the trident at the TV? Pacifying her with T? The falling love, pregnancy, domestic happiness, the attacks from the creatures from under the sea? At later and her fighting skills? Her decision to leave, to protect her husband and after? Promising to return?

6. Arthur, the little boy, the bullies, the aquarium, the sharks supporting him, the reaction of the people, the scenes of training with, is a boy, with The bulk oh, as a man? The discovery of being able to swim, breathe and talk underwater?

7. The episode with the Russian submarine, the pirates, Mentor and his father, vicious? Arthur, lifting the submarine, his attack, the fights, is not listening to Mentor, letting the father die? Mentor, love for his father, the application of World War II, African-Americans? and their service and then being dropped, becoming pirates? Mentor surviving, linking with in All, the weapons, vehicles, the disguise? His fighting with Arthur? His survival and the credit sequence in the preparation for his vengeance on Arthur?

8. Arthur, at home, with his father, going to the bar, the joke with the big men and their wanting a selfie?

9. Arthur and his reputation, the frequent comments about mixed race, half-breed?

10. The crisis in Atlantis, Orm as king, claiming to be the rightful heir, his relationship with his mother and father? The inheritance? His
personality? His reliance on Vulku for advice? His anger at the humans, the pollution of the sea? Declarations of war? Summoning the various kings, the consultations, their loyalties to him, amassing an army, preparing the attack?

11. Mera, betrothed to Orm, unwilling? Her relationship with her father? Her wanting to get the assistance of Arthur? Seeking him out? The protection of Arthur’s father with the tidal wave?

12. Mera, the appeal to Arthur, his consideration, his experience of underwater life, with Mera, the confrontation with Orm? Fight, imprisonment? Defiance?

13. Mera and Arthur and the escape, coming to earth, their plan to seek the trident, the explanation from Mera’s father, the vision of the trident?

14. In the plane, Mera leaping out, Arthur following, their landing? The Sahara, the search for the origins of the trident? The transition to Sicily?

15. The adventures in Sicily, the pursuit across the roof, the Italians themselves, food and customs, the Italian experience? The attack of Manta and his disguise, on behalf of Orm, the creatures and the attack, the fight with Mera, with Arthur? Arthur discovering who Menta was? On the cliff, Menta falling to the sea? (And later revelation of his survival?)

16. The return to the sea, the various kingdoms, the different creatures in the different kingdoms, aggression, soldiers on seahorses? Eluding pursuit? Arthur and the discovery of his mother, her being alive? The reunion? Her bonding with Mera? Urging Arthur to search for the trident, his unwillingness, the issue of whether he was a real king or not?

17. The quest for the trident, going through the barriers, the hostiles, the final confrontation, the old king with the trident in his hand, Arthur seizing it, the custodian backing down? Arthur, armour, emerging victorious?

18. The buildup to the confrontation with Orm, Arthur proven to be the right king, the changing of loyalties, the building up of the combat?

19. Orm, the continued presence of Vulku, loyalty, advice, yet in league with the opposition, his being exposed, all exiling him?

20. The buildup to the confrontation between Orm and Arthur, Arthur’s victory, sparing him?

21. Peace restored in Atlantis? Arthur and Mera and their ruling? The future?

22. Arthur’s mother, going back to the jetty, reunited with her husband?

23. The credits, Menta and the scientist, the plans for the future?

MORTAL ENGINES

New Zealand, 2018, 128 minutes, Colour.
Hera Hilmer, Robert Sheehan, Hugo Weaving, Jihae, Ronan Raftery, Leila George, Patrick Malahide, Stephen Lang, Colin Salmon.
Directed by Christian Rivers.

It is surprising to learn that mortal Engines was not successful at the box of this, given the continued popularity of this kind of adaptation of graphic novels and speculations about futures on earth. The lack of success is also surprising with Peter Jackson as the producer and the screenplay written by his collaborators Fran Walsh and Philippa Boyers, and the director, Christian Rivers, as a crucial contributor to the special effects of Peter Jackson’s successful trilogies.

So, once again, we are in a post-apocalyptic world. There is an intriguing presupposition, the towns and cities are on the move, lumbering their way through the upper atmosphere. In fact, the film opens with the large city of London pursuing a small industrial town, menacing it, overcoming it, then slicing it to pieces. The inhabitants take refuge in London, London which seems a mixture of the future as well as the present, some modern aspects, fashionable streets and cars, and a great interest in the history of the city and its museum.

However, the city of London in the air is running out of fuel. The leader (and pilot of the roving city) is Valentine, played with a mixture of relentlessness and genial charm by Hugo Weaving. His aim is to complete a transforming vast weapon, built inside a cathedral, finding the means to put the finishing touch on the creation after so many years. However, he is also challenged by a young girl, Hester (Hera Hilmer) who is determined to avenge her dead mother, a previous collaborator with Valentine.

A young man with a historical bent, Tom (Robert Sheehan) pursues Hester and finds himself a target of Valentine. They decide to take refuge beyond the last wall, reminiscent of a huge dam barrier – and the population beyond the wall consists of a blend of racial characters.

Valentine becomes ever more relentless, despite the rather renting orders of the Mayor of London (Patrick Malahide in mayoral robes), having the assistance of a white-clad scientist. On the other hand, there is a resistance group beyond the wall which means that the climax of the film will be a confrontation, planes flying, guns shooting, Hester trying to stop the deadly machine, the rebels confronting Valentine…

In its way, what’s not to like?

1. A futuristic film, post-apocalyptic? Look back to history, the look to the future survival?

2. The target audience, action plans, adventure bands? Themes of conflict, themes survival?

3. The landscapes, the picture of the earth, the fields, mountains? The artificial wall? The city’s, floating, the visuals, interiors and exteriors, the ordinary, the modern, the emphasis on technology? The musical score?

4. The title, technology and engineering?

5. The introduction to Hester, her watching, her getting onto the small floating city, London in pursuit, the local pilot, evading tactics, the cliff, the city being taken?

6. London, superiority, looking down on smaller cities? Valentine and his being in charge? His leadership, the pursuit, exercise of power and decision-making, the mayor, in his ropes, moody, making demands? The capture of the city, the population coming to London, the lifestyle in London? London and its energy needs?

7. Hester, in London, her attack on Valentine, her scarred face, memories of her mother, Legend’s? Valentine Tom a genial, the discussion with Tom about history and objects? The museum? Valentine and his daughter, Katherine and her presence, belief in her father, Tom and is observing the situation?

8. Hester, the ninth attack, the fight with Valentine, the running away, Tom in pursuit, Valentine and his confronting Hester, Tom trying to hold on, her falling into the abyss? Valentine, pushing Tom, Tom shock?

9. Valentine in his plans, for 15 years, the power, the engineering needs? The relationship with Hester’s mother, her death? Valentine and his assistant, her white clothes and look? The building in the Cathedral? The developments, the mayor’s arrival, his objections, his being overthrown? The success of the plan, the nature of the attack, breaking down the wall, the populist cheering the attack?

10. Katherine, the friend, observing the situation, changing religions towards her father?

11. Tom and Hester, survival, on the tracks, deciding where to go, beyond the wall?

12. The visuals of the East, the racial blend, surviving, the dignified leader, the rebel group, and are and her leadership, the other members? Receiving Hester and Tom? The parents of the Shrike, the background, the attack, death, giving Hester the emblem from her mother? The key to the rebellion?

13. The visuals of the attack, the energy from the Cathedral, the Dome opening, the wall collapsing? Guns, planes, the special squad? Amber and her leadership, the other members of the squad, the flights, the attacks, crashes? Tom and his piloting one of the Plains?

14. Here Anna, the confrontation with Valentine, her death? Hester, the plane, inserting the key? The loss of power? The confrontation on the roof with Valentine? The escape with Tom?

15. Valentine, not admitting defeat, the confrontation with his daughter? His attempt to escape, the plane, the crash, his being crushed?

16. The picture of the refugees from London, being received in the East? Tom and Hester and the decision to see the world?

17. A satisfying blend of action with visions of the future?