ALL I SEE IS YOU

US, 2016, 109 minutes, Colour.
Blake Lively, Jason Clark, Ahna O' Reilly, Miguel Fernandez, Yvonne Strahovski, Wes Chatham, Danny Huston.
Directed by Marc Forster.

There is sweetness and bitterness in this film about a woman who was involved in a car accident with her parents and was blinded. She has grown up, supported by her sister who lives in Spain, has married, is living in Thailand with her husband and they have a desire to conceive a child.

Having established this, the film moves to the possibilities of the woman recovering her site, interviews with the doctor, promise, surgery, recovery, the exhilaration of recovery and the changing perspectives of her life.

She has not seen her husband and he is not as she expected. He is devoted, buys tickets for flights to Spain where she sees her sister and brother-in-law, discovers a more open way of life, some exhilaration in sensuality and sexuality. Her husband also buys a house by the river which she has expressed interest in.

However, her husband is not all that she sees, especially with an encounter in the park walking her dog, meeting a young man with his dog, kiss, sexual encounter – and an irony that her husband has visited the doctor who advises him that his sperm count is low and the couple will not conceive.

There are ambiguities with the ending, the husband walking out of the concert where his wife is performing with a little girl, driving away, and a scene with the woman giving birth to a child.

The film is directed by Marc Forster who had quite an elaborate career with many kinds of genre films including Monster’s Ball, The Kite Runner, Stranger than Fiction, James Bond and Quantum of Solace, Christopher Robin.

1. The title, blindness, sight, the consequences of recovery of sight? Physical, psychological?

2. The visuals and the style for indicating blindness, blur, colours and blend, intimations of gradual recovery?

3. The Thai setting, the American couple, James and his work, their home, the visits to the doctor, the possibilities for recovery, the surgery, the details of the recovery?

4. The title locations, atmosphere of the city? The transition to Spain, the Villa? Barcelona? The musical score?

5. The relationship between Gina and James? Their wanting to have a child? The varied attempts? His visit to the doctor, his low sperm count? The consequences? His being supportive of her and her blindness, her never having seen him, the consequences of seeing him? The flashbacks to the car driving, the accident?

6. Interviews with the doctor, his concern, reassurances, the surgery? The later visit, the deterioration of the sight, the checking on the medication, his support?

7. James, ordinary, his work, in love with his wife, supporting her? The ticket for Spain?

8. The visit to Spain, her sister, brother-in-law, nephew? Life at home, Gina coming out of herself, the visit to the club, erotic atmosphere, its effect on her? The return home?

9. The effect of the recovery, Gina looking at her face, becoming different, the effect of the visit to Spain, the change of clothes, sexuality and sensuality, possibilities?

10. The dog, a bond with the dog, going walking, the encounters with Daniel? The kiss, her allowing him to respond? His reaction? The later encounter and cover-up?

11. James, suspicions, the death of the dog, the buying of the house that Gina wanted, the gift, turning sour?

12. Gina, the rehearsals was a little girl, going to the concert, the performance, James walking out, driving?

13. The finale of the film, Gina and the birth of the baby – and the future?

 

 

 

 

CAN YOU EVER FORGIVE ME?

US, 2018, 106 minutes, Colour.
Melissa Mc Carthy, Richard E.Grant, Dolly Wells, Ben Falcone, Jane Curtin, Stephen Spinella, Anna Deavere Smith.
Directed by Marielle Heller.

This film offers a tour-de-force performance from Melissa Mc Carthy. From early appearances on television, she emerged in the late 2000s as a strong comic presence on the big screen in films such as Bridesmaids and Eat. In the succeeding years, she made a great number of comedies, a number of them raucous, suiting her on-screen personality. However, she did some serious rules, especially with Bill Murray in St Vincent.

In this film she has the opportunity to draw on her comic timing and mannerisms but also to be very serious. She plays an author, Lee Israel, who has published some biographies with some literary success. However, Lee Israel is an exceedingly prickly character, disappointed in life, ambitious in her writing, very quick in her negative reactions and telling off of people she does not like (which is most people).

The film is set in New York City in the early 1990s. Lee Israel is suffering from writer's block as well as having no income, is fired from a job, goes to a party to discuss her future with her agent but is given the brush off. She cannot pay her rent, she has not enough money to take her beloved cat to the vet for treatment, is down on herself and on life.

She has written a biography of Fanny Brice and realises she has an autographed letter, framed, which she takes to a buyer with connections to collectors. The buyer is very sympathetic, Anne (Dolly Wells) who buys other letters especially when Lee Israel gets the idea to embellish the letters with more personal detail, buying different typewriters for different authors whose letters she creates, buying old paper and treating it to make them feel more authentic. Not only does she have the Fanny Brice letter but she researches Noel Coward, imitates his signature, finds a specialist agent to sell to Coward aficionados, and, with her acerbic approach to life, forges letters from Dorothy Parker and, at the end, an agent commenting on Parker's wit indicates how much better, at times, Lee Israel was at being Dorothy Parker.

Down in the dumps and drinking in a bar, she encounters Jack (Richard E.Grant) whom she had encountered at a party (remembering that he urinated by mistake on the furs in the closet). They talk, they become associates, if not friends. He is a campy gay man, flirting with waiters. When Lee reveals what she has been doing, he becomes fascinated and helps her to sell letters to agents, enjoying his acting spiels of persuasion.

Eventually, there are complaints from collectors (she has inserted too much overt gay comment from Noel Coward, too much for the era) and her picture is circulated and warnings issued.

Jack is found out, collaborates with the police and, there is some pathos as Lee goes to a lawyer, appears before the judge and makes a rather more personal and honest speech about herself than she usually does.

She gets the brainwave to write a book about what she has done and it becomes a bestseller. Jack became ill and died in 1994. Lee Israel died in 2014.

Intriguing to enjoy a film about a character who could be so constantly unpleasant.

1. Based on a true story? Characters? Situation?

2. New York City, the 1990s, the world publishing, bookshops, agents, letters by authors, sales and collectors? Apartments, bars, the court? The musical score? The range of New York songs?

3. The title, Lee Israel attributing it to Dorothy Parker? Dorothy Parker's style and wit, the forgeries of Fanny Brice letters, Noel Coward?

4. Lee Israel has a character, Melissa Mc Carthy's impersonation, age 50, her career, successful biographies, prickly character? The relationship with Elaine and breaking it? Her drinking, rough manner and language, not having any friends, contact with her agent, going to the party, the clashes? Her being sacked from her job? At home, her devotion to her cat, age, feeding him, sick, take him to the vet, not having enough money for his care? Going to the party, talking with Marjorie, stealing the coat? Trying to sell her books, the attitude of the salesman and his spurning her? (And the later comeuppance with telling him that his house was on fire and his hurrying to it?).

5. The finding of the letter from Fanny Brice, going to sell it, the discussion with Anne, the insertion of the postscript and getting more money? Developing her idea of forging the letters, the different typewriters for the different characters, getting the historic paper and treating it? Reading the Noel Coward books, practising his signature? Deciding to write Dorothy Parker letters?

6. The sales, the friendship with Anne, Anne and her age, loneliness, the meal out, Paul and the expertise on Noel Coward's letters, his delight, talking about the collectors? Going to the convention, the chatty dealer, warning her against troublemakers, especially Allan? Her continuing to write?

7. In the bar, the encounter with Jack, trying to remember him, remembering that he pissed in the closet and ruined the furs, drinking with him, walking, the tentative friendship, his going to house, the meals, his talk, his being gay, not knowing Fanny Brice or Marlene Dietrich? His flirting with the waiter and later having him while he was minding Lee's apartment?

8. Jack, selling cocaine, his spiels, his going out to sell the letters, stealing the money and Lee's anger? Their always asking for cash?

9. Lee's visiting Yale? In the archives, stealing the letter? Jack minding the house, feeding the cat but neglecting it, its death? With the waiter and their encounter? Lee's anger on return?

10. The call to Elaine, the visit, the talk in the park, memories of the past, Elaine leaving?

11. Jack, the suspicions, the warning about Lee? Jack being caught, interrogated, his collaboration?

12. Lee, her arrest, the discussions with the lawyer, going to court, the plea, her speech and admission, the verdict of the judge?

13. Allegedly at an AA meeting, wanting to meet Jack? His illness? Her idea about the new book, wanting his permission?

14. The success of the book, Jack and his death? The verdicts on the quality of Lee's book?

 

 

 

 

 

GRACE UNPLUGGED

US, 2013, 102 minutes, Colour.
AJ Michalkal, James Denton, Kevin Pollak, Shawnee Smith, Michael Welch, Jamie Grace, Emma Catherwood, Chris Ellis, Pia Toscana.
Directed by Brad J.Silverman.

This is a faith-based film, faith as Faith. It is also intended as inspirational.

Grace is the name of the central character, the daughter of a famous rock singer of the past who, after a physical collapse with drugs, saved by his agent, discovers God and becomes a singer preacher. The film traces briefly Grace's birth and her life to age 18 when she sings with her father in church, but at one stage showing more energy and verve then her father anticipates. He is very stern, controlling his daughter, she feeling she is not listened to, rather wilful like him, deciding to leave for a career in popular music.

The catalyst for this is a visit by the agent, played by Kevin Pollak, who offers father and daughter a concert tour but is severely turned down by the father.

The screenplay is an attempt to draw a young audience, faith audience certainly, but also those who don't share faith but are interested in the process of becoming a pop star. Grace has some success but also faces the challenge of exploitation, her naivete not appreciating manipulation, succeeding but not being satisfied. She is helped by an intern, Quentin, Michael Welch, who becomes a confidant invites her to a meal with his parents, the family having been at a service with Grace and her father and its having a profound effect on him.

Grace has to face the dilemma of wanting success and some of the emptiness when success is achieved, rediscovering faith, reconciling with her father.

Satisfying for a faith-audience but not persuasive for those who don't share this faith. The film was written and directed by Brad J. Silverman who also directed religious films, No Greater Love as well as the Selfie Dad.

1. The impact of the faith film? Inspirational? Explicit religious themes? Themes of God and faith?

2. The Alabama settings? The household, the church and the ceremonies? Transition to Los Angeles, Grace looking out the taxi window, the sights of Los Angeles, Sapphire and the record company, offices, studios, publicity? Life in Los Angeles, Quentin and his family? On tour? Realistic settings for the music industry?

3. The music and songs, religious songs and performance in church, the congregation and lively response? Misunderstood, Johnny and his singing, Grace and her singing? Her verve and vitality? The range of other songs, performance, tours?

4. Grace, the collage of her childhood, growing up? At 18? Strong-minded? Singing with her father, relationship with him, with her mother? Her performance in the church, her father's reaction? His sternness, her going out, her lies, not filling up the car with petrol, her father making her conform? The decision to leave?

5. The visit by Frank, the background with Johnny, Johnny and his career, Misunderstood? His life, drugs, and Frank, Frank helping him to survive? The support of his wife? Frank and his proposition, the tour, Johnny turning him down?

6. Grace in Los Angeles, star-struck? The visit to Frank, his taking up her cause, finding her accommodation? The plans for Misunderstood, performance in the club, impressing the CEO? Plans, possible tours, opening for another singer, an album?

7. The show business background, the introduction to Jay, radio and television, show business, his plans, her overhearing them, leaving in disgust? The entry of Kendra, Kendra and her plans, make up, fashion, friendship but Grace overhearing her criticisms? The interview for the media, talking about her vision, plans, bond with her father?

8. The contrast with Quentin, awkward, finding him in her room, the meetings, inviting her to the family dinner, her enjoyment? His being a confidant?

9. Grace and the possibilities for corruption, drink, sex, fame and her resisting? Quentin and his book, talking about faith, his family hearing her father and meeting her, his urging her to faith in Jesus Christ, the God focus? Her reading the book?

10. Her failure to write the song? Her father watching the video, her mother's support, his coming, seeing her perform?

11. Her continued talking with Frank, being the business agent, yet continually supporting her? Plans? The fact that she was to open with Renae? The meeting with Renae and Renae's philosophy of success?

12. The tour, the change of heart, meeting her parents? Her return, singing in the church, the pastor and his support, the song and its lyrics, apology, to Rachel, reconciliation with her parents?

13. Possibilities opening, two years later, singing with her father, the religious dimensions, the support of Quentin?

14. The impact for the faith-audience? Admiring inspiration? The impact on non-religious audiences and their dismissing sentiment and religion?

 

 

 

 

 

BLACK BUTTERFLY

US/Spain, 2017, 93 minutes, Colour.
Antonio Banderas, Jonathan Rhys Meyers, Piper Perabo, Brian Goodman, Abel Ferrara.
Directed by Brian Goodman.

This is an English-language adaptation of the Spanish film, Papillion Noir from 2008. The action has been transferred from Spain to Colorado.

The mountain settings are attractive. An author, suffering from writer's block, played by Antonio Banderas, is having difficulties with his agent, needs money, impatient when driving into town and overtaking a large machine vehicle. He is in touch with an estate agent, Laura (Piper Perabo) and is embarrassed by the confrontation with the driver in the diner but face is saved when an itinerant man, Jack (Jonathan Rhys Meyers) accosts the driver. The relieved Paul offers Jack a lift, accommodation at his house, while Jack offers to cook and to do repairs.

At the core of the film is the writer's mental block, his needing a plot, Jack suggesting he write a story based on their encounter, indicating subplots. They become rather sinister as Jack turns into the unwelcome stranger, terrorising Laura and Paul, shooting the sheriff.

At which stage, there is a complete twist (spoiler alert) where Paul is accused of serial killings and interrogated by Jack who turns out to be an FBI agent who has been tracking him for some time. The sheriff is not dead. Laura is also an agent. They try to get a confession from Paul.

At which stage there is a further twist, Paul waking up, having dreamt the story and now being ready to write another book!

The film was directed by Brian Goodman who appears as the truck driver. Of interest to film buffs, when Paul goes into town, the storekeeper is played in a cameo by celebrated director, Abel Ferrara.

1. Portrait of a writer? Writer's block? Creativity and plot? Twists?

2. The mountain settings, the road, the house, the interiors? Traffic on roads? The diner? The atmosphere? The musical score?

3. The title, omen for trouble?

4. Introduction to Paul, in his home, writer's block, his back story? Disappearance of his wife? Previous success, Spain, coming to America? Phone calls, dealing with agents, being turned down? Need for money?

5. The story of the picnic, father and children, the disappearing mother, the search? The resumption of the theme later in the film?

6. Paul, driving to town, his impatience with the vehicle, overtaking? Meeting Laura, the background to his selling his house, the visitors, Is Meeting with Laura three times? The driver in the diner, accosting Paul? The sudden appearance of Jack, threatening the driver, taking him outside? Paul and his quiet manner, apologising to everyone? In his car, Jack on the road, picking him up?

7. The relationship between Jack and Paul? Jack mysterious, indication that he was in prison? The room, the shower, the meal, his skill in cooking, his offering to do the repairs, Paul wary, Jack offering to stay, doing the work, the discussions?

8. Jack, wanting to read the script? Suggesting a script based on their experience, his explanations, subtle subtexts and threats? Laura and her visit?

9. Jack turning mysterious, the noises on the roof, tying the couple up, Paul and his attempt to escape? Jack and his menace, the sheriff coming to the door, Jack shooting him? Repercussions for Paul?

10. Paul, tied up, the revelation that Jack was FBI, the set up with the driver, Laura as FBI, the flashbacks to Jack and the driver setting up Paul? Paul taking the bait? The interrogations, the number of missing women, the missing wife? The search of the property? The photo of his wife, the suspicions that his wife was buried beneath the pool?

11. Twist with Jack as FBI? The further twist with Paul and his writer's block, waking up, having a plot?

12. How effective as a psychological thriller? Twists?

 

DEATH FROM A DISTANCE

US, 1935, 68 minutes, Black and white.
Russell Hopton, Lola Elaine, George Marion Sr, Lee Kolmar.
Directed by Frank R.Strayer.

This is one of those murder mysteries, and death in a locked room. However, it is that much more interesting because it takes place in a planetarium (with information given this is one of the few planetarium is in the US at the time).

The professor called Einfeld (who looks and sounds like something of a parody of Albert Einstein) is giving a lecture on the stars. One of the audience is shot – and turns out to be a scientist with a very shady background. Everybody is asked to stay in the room while the police investigate.

The central character is a breezy policeman, interacting in screwball comedy fashion with a rather forward newspaper reporter played by Lola Lane.

There are various interviews, the discovery that the gun was hidden in the technical apparatus for the slides to be shown on the roof of the planetarium. Various motivations are revealed when the scientist who had been murdered had done illegal experiments and had to withdraw and change his name.

Some information is given about the lecturer and his knowledge of the murdered man – and that he could be the murderer.

However, as with some of the Agatha Christie novels, a character who is generally overlooked turns out to be the villain. In this case, it is the caretaker who is able to wander around and be taken for granted. It turns out that he set up the gun, gave evidence incriminating the lecturer, then attempted to kill him as a possible witness, and had a strong grudge against the murdered man for experimenting on his son.

There is a clever twist when the lecturer is persuaded (twice) to pretend that he has been shot, that he has killed himself, getting verification from the coroner, the test played in front of the press and of the witnesses – and the real killer unmasked.

The film is directed by Frank R. Strayer, director of many similar films during the 1930s but moving, in the late 1940s to making films with religious themes including The Pilgrimage Play.

 

 

 

 

VENDETTA

US, 1999, 117 minutes, Colour.
Christopher Walken, Luke Askew, Clancy Brown, Alessandro Colla, Andrew Connolly, Bruce Davison, Joaquim de Almeida, Andrea Di Stefano, Edward Herrmann, Richard Libertini, George N. Martin.
Directed by Nicholas Meyer.

Vendetta is based on a true story, of Italian migrants during the 19th century to the United States, on those who settled in New Orleans. It is also the story of one of the largest lynchings and lynch mobs in American history.

The film was directed by Nicholas Meyer, who wrote an extensive number of screenplays in a variety of genres, who directed the Sherlock Holmes film, The 7% Solution as well is two Star Trek films.

This is a lavish production from HBO at the end of the 20th century, a recreation of 1880 New Orleans, the docks, the fruit markets, the dark streets, the homes of the wealthy, law courts and prisons.

The film focuses on one family, arriving in America, their establishing a fruit stall at the market, but experiencing the rivalries between two Italian groups, one of which is in league with the affluent leaders of New Orleans society. The police chief, played by Clancy Brown, is on the take with some but is prepared to stand up to the New Orleans establishment, characters played by Kenneth Welsh as the mayor, Luke Askew and Christopher Walken. These men are powerful, manipulative, racist, using the Italians whom they despise, setting up the assassination of the police chief and the blaming of Italians, imprisoning them, having the judge on side, controlling their prosecutor, Edward Herrmann, so that he will not lose his job.

There is a great deal of talk about the Mafia.

Bruce Davison appears as a sympathetic defence lawyer, trying to get witnesses who are being controlled by the establishment, even betrayed by one of his own investigators for money.

At the centre of the film is the young son, Gaspare (Alessandro Colla) supportive of his parents, getting to a fight with the son of the rival controllers, but, after being among the accused of the murder and spending time in jail as well as in the court, finding this young man an ally.

Interestingly, the head of the jury is Jewish – and the verdict is that they are not guilty, leading to the establishment doing rabble rousing, thugs pursuing the Italians through the prison corridors and shooting them in the courtyard, and hanging two of them publicly.

It is revealing to see a story like this and the bigotry against the Italians, their being despised, exploited, victims of racist slurs with the film made in 1999 and echoes of the time, and indicating racist themes to come during the 21st century and the Trump era.

1. the title, Italian overtones, the mafia? Sicilian background? Action in 19th-century New Orleans?

2. The city setting, the docs, the markets, the mansions of the wealthy businessman, prison, the courts? The open spaces, the musical score?

3. The plot based on a true story? The Italian migrants in the 19th century? Prejudice against them, the years? Racist attitudes from the Americans? The authorities and their exploitations of the migrants? The lies and manipulation?

4. Migrants arriving, the focus on the family, hopes, the ships, the behaviour of the authorities, the police, reactions? The Italian groups and groupings in the city? Families?

5. The focus on the father and his work, the devoted mother, Gaspare and the hopes for his future in the United States? The fruit stall, life, his attraction to the girl at the market, his hopes?

6. The boss families and their areas of jurisdiction, the clashes, exercise of power and rivalries? Gaspare and Tony, antagonism, the fight, their reputations, the later consequences?

7. The Mayor of New Orleans, aristocracy, wealth, exercise of power? The businessmen of the town, their leadership? The role of James Huston and his business interests? The lifestyle of the rich, their power, bigotry, their contacts, deals, discarding contacts, especially the Italians? Manipulation of the law? The thugs and the murders?

8. The police chief, Irish background, on the take, yet honoured? His confronting Huston and the authorities? His assistant, his being set up, noted, honours at his funeral?

9. The accusations torts the Italians? The police and their role, the arrests, the men in prison, being victims of legal manipulation, their treatment in jail?

10. The search for witnesses, the man at the bar, the lady and the neighbours, the young black man¦? Their fears, identifying the Italians?

11. The district attorney, his sense of honour, the threats to his job, his succumbing to the authorities, his manner in the investigations, his prosecution?

12. Thomas seems, an honourable man, his allies and staff, experiencing prejudice, interviewing witnesses, interviewing the accused, tracking down the prostitutes and the witness? The traitor within their group?

13. The judge, the hearings, his stances? The accused men, the reactions, the men going mad in the court and his attack?

14. Huston and his contact with the Italians on the walls, the deals, the fights? Huston discarding him? The father of the family and is on, the reaction of the sons, Tony and his supporting his brother, his change of heart, with a Gaspare?

15. The black man and the vegetables, selling them, his testimony in court that the men were innocent?

16. The jury, their swearing-in, criteria for selection? The Jewish representative, the judge and the removal of the young Walker? His delivering the verdict of innocence?

17. The reactions, the crowds, the rabble, the mayor and his speech, exhorting the crowd to violence, the other members of the group, lynching, the mob? The thugs within the prison, the pursuit? The overturning of the market stalls?

18. The prisoners, the ward and then his hesitance, sends urging him to free them, is unlocking the door? Sends and is being assaulted by the crowd?

19. The pursuit, the thugs, the men trapped, in the courtyard, shot? The survivor and his being and? The prison who went mad and his being hanged?

20. The background of the Father and the fruit market, his visit to the prostitute and not wanting his wife to know, Gaspare and the evidence, the escape, the father helping his son to survive? Gaspare and his meeting with Tony, the bond, they're sailing away to New York?

21. The largest mention in American history, the newspaper reports, Roosevelt's callous comment, the history of migrants to the US, 19 century, the film perspective of 1999 and into the prejudices against migrants in the 21st-century and the Trump era?

 

 

PANAMA PATROL

US, 1939, 67 minutes, Black-and-white.
Leon Ames, Charlotte Wynters, Adrienne Ames, Weldon Heyburn, Abner Biberman.
Directed by Charles Lamont.

Panama Patrol is an interesting espionage film, released in early 1939. In this screenplay, the Asian enemy seems to be China. However, almost 3 years later, the Japanese bombed Pearl Harbor in the US was involved in the war (with China, having suffered under the Japanese, as an ally).

The Panama connection does not come into the screenplay until the final minutes, concern being about coded photographed plates, they’re being transported by spies and agents, the result of their being put together revealing all the details about the fortifications of the Panama Canal.

The film is fairly brisk. Leon Aims, resuming a role he played in Cipher Bureau, 1938, along with the leading lady, Charlotte Winters, getting a marriage license at the opening of the film, getting a phone call that gets them back to work to decipher some documents. Abner Bitterman is the expert in the office for translations.

There are various tips, confrontations with potential agents, some of them getting murdered. Veterans Richard Kapalua and Philip are portray the Chinese.

The main tip involves going to a Chinese art shop where the proprietor is the coordinator of the espionage ring, aided by a very attractive assistance by, Adrienne Aims. There is also a hurried flight where the Chinese takeover, clashing with the Americans who eventually win and land the plane. In fact, there are various action sequences with Leon Ames being taken prisoner and having to be rescued. His fiancee is in the office, coordinating things, realising that there has been betrayal and that it is their translator who is the villain.

This leads to confrontations, shootouts, the rescuing of the fiance, the discovery that the plates will all to be superimposed to find the Panama fortifications.

The film is directed by Charles Lamont who also directed Cipher Bureau, a number of thrillers of this period but was to move into comedies, especially in the late 1940s and 50s with films of Francis as well as the Kettles.

THE SUN SETS AT DAWN

US, 1950, 86 minutes, Black and white.
Sally Parr, Patrick Waltz, Walter Reed, Lee Frederick, Housley Stevenson, Howard St John, Raymond Bramley, King Donovan, Percy Helton, Charles Arnt.
Directed by Paul H.Sloane.

This is a very earnest film from 1950, highly critical of capital punishment in itself and the fact that innocent prisoners can be executed. The film also has religious overtones.

The film was written and directed by Paul H.Sloane, who had written quite a number of films and directed them between 1925 in 1939. This film was made 11 years later and he made one more film two years after this in Japan.

The action takes place over a few hours, the hours before the dawn execution, one of the journalists attended the execution, suggesting that a headline could be The Sun Sets at Dawn. The film begins with her boss arriving in the small town, the young woman getting off, the old man in charge of the post and station welcoming her. She is taken then to the home of the prison warden and his wife, upset that the young man she loves is about to be sent to the new electric chair according to new legislation in the state.

The film uses a technique of long takes focusing on the characters without their saying anything, letting the audience look and be aware. (This may have been edited because some information on the film gives its running time is 71 minutes, though these comments are based on an 86 minutes version.)

The man to be executed is seen talking with the prison chaplain, referred to as Padre, wearing a very large Roman collar, the presumption of Catholicism. He is a sympathetic listener, quotes The Lord is my Shepherd as well as many other quotations from Psalms. The young man is able to look back on his life, his wanting to be someone, overlooked even for sports teams at school, in the Army for two years, not supported by his father, becoming a cadet journalist, wanting to get big stories. While looking at a criminal, he is present when the criminal is gunned down by six shots. He is knocked out, the gun put in his hand and, despite his proclamation of innocence, is found guilty and to be executed.

His concern is for his girlfriend who wants to see him. She is brought to the prison by the warden, is comforted also by the chaplain.

Given equal attention in the screenplay is the group of journalists who are to be bussed to the prison for the execution. There is a lot of talk about the case, the giving of information, the young journalist on his first assignment getting on detail, on time, unemotional reporting. Several popular character actors take on the roles of the reporters.

In the meantime, there is focused the prison on the officer in charge of the execution, the electricians working, assuring the authorities that all will be successful – but, in fact, it is not on the young man is taken back to his cell with the chaplain.

In the meantime, there is another subplot, the store being a stopover for truck drivers and one of them, silent, has been identified by the manager as being connected with the criminal organisations. In fact, one of the men sitting in the diner area is identified by him and is a noted hitman, using six bullets, his body was allegedly fished out of the water tied to concrete. The man sits and watches – and elicit some sympathy for the young woman and what will happen to after the execution.

This leads to the exposing of the hitman, his shooting the truck driver, the police coming, his being taken to the prison, fingerprints taken, his being identified despite his plastic surgery as the killer. There are several scenes of him sitting at the table, Long close-ups, pondering the situation, listening to the girl weeping.

When the warden gets the information about the criminal, realising what is happening, he shuts off the power in the prison thus preventing the next attempt at the execution.

There is a happy reconciliation but, after some dialogue throughout the film on the role of God, got listening to prayer, why God doesn’t act…, The final image is a close-up of the chaplain and the camera then gearing up torch the clouds in the sky and the sun appearing.

An interesting example of anti-capital punishment stances as well as the religious perspective.

 

 

 

 

FREE SOLO

US, 2018, 100 minutes, Colour.
Alex Honnold, Tommy Caldwell, Jimmy Chin, Sanni Mc Candless.
Directed by Jimmy Chin, Elizabeth Chai Vasarhelyi.

This is a National Geographic Documentary production. The subject, indicated by the title, Free Solo, is mountain climbing, scaling mountains without any ropes or safety gear. Obviously, a must for mountain climbers. Others may find it a very strange vicarious experience, partly exhilarating, partly dizzying, quite amazing in terms of the achievement of the central character, Alex Honnold.

Alex was a quiet boy who lived in Sacramento, California. He became interested in climbing, found that he had natural skills, climbed many mountains in the traditional way, but also began to do free solo work throughout the United States, sometimes going abroad, with scenes in this film from Morocco.

Initially, the audience might be wondering how they got all these shots and close-ups of Alex and details of his climbing. Soon we are introduced to the filmmakers, climbers themselves, Alex's friends, especially director Jimmy Chin, and see how they climbed (with ropes and gear) to find the best places to film, perched on the side of the mountains, getting long shots, getting close-ups of Alex, very conscious that they should not distract him or disturb him, and very alert to the dangers and the reality of sudden falls and death.

The film presents quite a genial picture of Alex himself although he is very introverted, focused, and not particularly well integrated emotionally, coming from a family which did not hug or use the word love, becoming involved with a girlfriend, Sanni Mc Candless, who finds his self-contained reserve sometimes very difficult. However, we see him speaking to students at his old school as well as his establishing a personal foundation for aid against poverty.

For those who love mountain scenery, this film is very rewarding. The ultimate destination is Yosemite Valley, the mountain face nicknamed El Capitan. By the end of the film, the audience has become familiar with various sites on the mountain, secure places, dangerous places, alarming places.

Alex plans to scale El Capitan and in free solo. However, he has some accidents and bails out in an attempt, postponing the feat for a year. We see some of his physical regimen, some information about his diet, follow his close examination of the whole route up El Capitan and his notebooks and the details of steps – as we remember that he has only two hands, two feet, eight fingers and two thumbs as his resource. And, just so that we remember the challenge, the film edits in all kinds of views from the mountain, down the steep sides, the crevices in the rocks, and the green valley far below.

For those who are prone to the touch of the vertiginous, it is something of an ordeal to watch even though we know that the attempt is going to be successful. But, the film is a tribute to the intensity of Alex Honnold, his talent, his perseverance, his illustration of what can be heroic physical achievement.

 

 

 

 

 

BRAVEN

Canada, 2018, 94 minutes, Colour.
Jason Momoa, Garrett Dilahunt, Jill Wagner, Stephen Lang, Sasha Rossof.
Directed by Lin Oeding.

This is a tough action adventure in beautiful Canadian settings. It is winter, Joe Braven is a logger working in the forest, at home with a loving wife and daughter, caring for his father who has been involved in an accident which has affected his mind and memory.

The film might be called predictable but, that is the intention, offering audiences action, sure what the outcome will be, but interested to watch how it develops.

One of Joe Braven's drivers is involved in transporting bags of drugs along with the logs. His truck crashes and a decision is made to hide the drugs in the Braven house out in the mountains. Joe Braven has to rescue his father (Stephen Lang) from a squabble in the local bar and decides to take him to the house, his daughter stowing away in the truck.

The setup is clear.

Jason Momoa, post-Conan, pre-Aquaman, is a strong hero. Garrett Dilahunt is the head of the drug syndicate. He rounds up a number of his thugs and out they go to the house, laying siege, plenty of weapons, Joe and his father firing back. There is in danger with the young daughter having to run off to a high place to ring her mother to get the police. There is dangerous pursuit with Joe, riding a bike, fighting, going over a cliff, returning. And his father has to fend off attackers.

It is all familiar, full of basic human values of family, love, as well as highlighting the inhumanity and brutality of the drug criminals.

1. An action adventure? For the action audience, even knowing how it is going to turn out?

2. The beauty of the Canadian scenery, the logging, the forests, the mountains, the tracks? Homes in the city? Bars? The musical score?

3. Ordinary life, the logger and his truck, the accident? His carrying the drugs?

4. Braven, the logging, his family, family love, the domestic scenes, his father and the beginnings of dementia, the accident, the father going to the bar, mistaking a woman for his wife, the fight, Joe coming to save him?

5. The driver, the dealer, the crash, the decision to hide the drugs?

6. Joe taking his father to the house, Charlotte stowing away?

7. The drug dealers, the attack, their weapons, the siege of the house, the snipers? The shooting, the deaths? The father and his warding off the attackers? Joe, the bike, the deal with the drug chief, keeping half the drugs in a bag? The fights, going over the cliff, the return?

8. Charlotte, going to the mountain, making the phone call, her mother contacting the police?

9. The police arriving, the shootout, Joe and a fight with the dealer? And order restored?