THEY SHALL NOT GROW OLD

UK/New Zealand, 2018, 99 minutes, Black-and-white/Colour.
Directed by Peter Jackson.

This documentary, sponsored by the Imperial War Museum in London, as well as by committees for the celebration of the armistice to and World War I, is a very striking cinema experience.

It was directed by New Zealander, Peter Jackson, Oscar-winner for his third film in the Lord of the Rings trilogy, director of horror films in his early career, a transition to drama with Heavenly Creatures, following up Lord of the Rings with the Hobbit films, creating a version of King Kong as well as The Lovely Bones.

Jackson is rightly admired as a technical innovator as well as a creative writer-director.

On the one hand, audiences will be moved at this re-creation of British troops fighting on the continent. On the other hand, the creative technical aspects of the film will elicit great admiration.

For those familiar with World War I history, this is a visual and audio recreation, beginning with the outbreak of the war, moving to the enthusiasm for enlisting, the hopes that the war would be over soon, the young men from all walks of life joining up. It explores the training, over a few weeks, before the soldiers moved across the Channel. The narrative follows the young men as they go into action, move into the trenches, the hardships of life in the trenches, yet the fellowship that was built up. The narrative concentrates on this small group, the preparation for going over the top, the personalised warfare as the men ran through the no man’s land for combat with the German soldiers, rifles, machine guns, bayonets. There was also the discovery that the German troops and their trenches we like the British, very similar – and, ultimately, wishing that the war was over. There are many deaths, atrocious wounds, medics, carrying the wounded, the burial of the corpses on the battlefield.

Audiences may have expected the film to end with the armistice but it continues on with the soldiers returning, difficulties with unemployment, the refusal to employ soldiers, so many in the population not understanding or appreciating what the soldiers had been through.

This narrative is communicated in striking technical ways. Throughout the film, there is continued voice-over by veterans of the war, audio interviews supplied by the Imperial War Museum, edited in such a way that the narrative is continuous and relates to the range of visuals which have been chosen.

The visuals range from initial newsreel footage of the outbreak of the war, patriotism and enlistment, details of the military training, embarkation to go across the Channel. However, there was not a great deal of footage of actual close-up warfare. Instead, this film relies on sketches, two-dimensional cartoons, expertly chosen to illustrate the grimness of warfare, especially in close-up, the camera moving m, providing extreme close-ups to communicate very effectively what the experience of battle was like.

But, there was film of the soldiers themselves, the trenches, carrying and tending to the wounded. Peter Jackson and his team have restored this footage, adapted the pace from the speed with which it went through the projectors then and now. He arranged for lip readers to watch the footage and write down what the soldiers were saying so that these words could be dubbed, audiences feeling that they were listening to the actual men. And then the sequences have been colorised, making a vivid impression of action, sound, colour – realism.

For audiences who want to appreciate something of the atmosphere of World War I, albeit through a small group of British soldiers and a limited focus on their action, this is an important and moving film.

1. The title? The tribute to those who fought, died and survived World War I? The release of this film for the centenary of the Armistice, November 2018?

2. The work of Peter Jackson, as a filmmaker? The tribute to his grandfather?

3. Audience knowledge of World War I, the British involvement, the fighting in Belgium and France? The German soldiers? Parallel to the British soldiers?

4. The narrative, the outbreak of the war, enmity between Britain and Germany, the involvement of the other European countries? The symbol of the football team, the announcement of the war, troubles in the Balkans? Continuing the game?

5. The hope that the war would be over soon, the fact of the war lasting over four years? The impact for the British public? Patriotism? Rallies? The young men enlisting? The scene of the young women with the white feather for the young man who had not enlisted? The numbers? The soldiers parading through the sitting, the young men following them and then enlisting?

6. The creation of the atmosphere for the film? Significance of the voice-over quotations from the veterans, the wide range, the tones of voice, the patriotism, old men remembering their youth, their enthusiasm, describing the various stages of training, going to the continent, the trenches, the warfare, the Armistice, the aftermath in England, unemployment, the hope for no more wars?

7. The visuals, the newsreel footage covering London, enlisting, the military training, going to France? The visuals of warfare – the vivid cartoons and their use, the close-ups? The visuals of the troops – from the time, the experts reading the lips from the silent films, the substitution of the voices? The effect of the colourisation, the effect on the technical pace of the footage? The return from war, newsreel footage?

8. The details of the training, the attitudes of the men, their experience and inexperience, the officers and sergeants? The announcement of going to France? Life in the trenches, men crammed together, issues of food, hygiene? Friendships?

9. The focus on the group of British versus Germans? Over the top? The attack, the dead, the wounded, the medicos, carrying the wounded? The attack on the Germans,
motivations, feelings, the bayonets, the guns, the taking prisoners? The effect of the men doing their duty, killing people?

10. The return, people at home not understanding what the soldiers had been through? Unemployment, discrimination? The effect for the next 20 years before the outbreak of World War II?

MIRAI

Japan, 2018, 98 minutes, Colour.
Directed by Hosoda Mamoru.


Mirai is an unusual Japanese anime film from the director of Wolf Children, The Boy and the Beast.

While the film is about children, it may be too difficult for a children’s audience. Rather, with the attention on relationships between parents and children, children growing up, it may be more effective for an adult audience.

The animation style is what might expect from such a film, with its layouts, the touches of realism, the elements of fantasy, the human characters.

The focus of on the film is a little boy, Kun, doted on by his parents. But then, along comes his little sister, Mirai, whom he then sees as a rival. The parents give too much attention to her. In his tantrums, he also has wild imaginative sequences, his dog turning into a human, his mother in the past, his dead great-grandfather as a motorcycle rider. But his sister also comes from the future, helping him.

There is a culmination in the railway station, quite vast, escalators, the train.

So, something of a curiosity item.

1. Japanese animation? Anime? The director and his career? Reality and fantasy?

2. The animation style, layout, touches of realism, the characters?

3. The title, focus, the younger sister, her interventions? Appearing over different times in her life?

4. The playing with time, going back to the past, the grandfather, the mother, the dog? Kun and his present? His going into the future, especially seeing his sister?

5. The boy, his relationship with his parents, the father and his work? His expectations? The details of family life?

6. The parents, the relationship with their children, the birth of Mirai?

7. The effect of new ride on Kun, seeing her as a rival, his parents’ attention on her rather than him?

8. His treatment of his sister? The challenges? Her coming from the future and its effect?

9. The pet dog, the man, the tail and an urge to play catch? His mother as a little girl, the great-grandfather and his riding the motorbike?

10. The combination, the climax in the railway station, size, escalators, the train like a dragon? The effect of these episodes?

11. A film for a young audience? An older audience?

GOOSEBUMPS 2: HAUNTED HALLOWEEN

US, 2018, 90 minutes, Colour.
Wendy Mc Lendon- Covey, Madison Iseman, Jeremy Ray Taylor, Caleel Harris, Ken Jeong, Chris Parnell, Bryce Cass, Jack Black, Mick Wingert.
Directed by Ari Sandel.

Robert Lawrence Stine, R.L.Stine, has written a large number of fantasy stories, ghost and Goosebumps stories. Many of them have been transferred to television and some to the cinema screen. He has contributed to the writing, some of the production – and has some cameo appearances in the two Goosebumps movies.

This is a sequel to the 2015 Goosebumps starring Jack Black as Stine himself, becoming involved in the stories.

This film focuses on Halloween and has all the visuals, images and trappings of celebrating Halloween, some trick or treating, but also a vast range of ghosts and spectres, a haunted Halloween.

Some youngsters find a book, open it, and out come all the ghosts and goblins, led by ventriloquist doll called Slappy who finds his own voice and wants to take control of the story and all the characters. There is mayhem throughout the town. And Ken Jeong provides some comedy and extra mayhem.

Interestingly, there is a focus on the scientist, Nikolai Tesla, the tower in the town named after him – and all kinds of happenings with electricity and characters having to climb the tower.

Besides the children, there is also their mother involved in the goings-on, she finally being trapped by Slappy and her daughter having to leave the children to free her, tied at the top of the tower.

How to control the mayhem? The theory is that the book should be opened and all the creatures drawn back inside. Doesn’t always happen. Finally, the girl uses her intelligence, tricks Slappy with a copy of Frankenstein which he thinks is the Halloween book – and all go back into the book, the girl telling Slappy he should not judge a book by its cover!

Towards the end, Stine himself, in the form of Jack Black, arrives, finds that he couldn’t compose an ending to this particular story but now he can and put it in the cupboard along with all his other volumes.

A film for children more than adults – frightening for some, exhilarating Lee frightening for others, which is the point!

1. The stories of R.L.Stine, fantasy, touches of horror? Film versions, television versions?

2. The Halloween background, the derivation, the visuals, costumes, myths, the children and trickle treat?

3. The introduction of the Tesla themes, the tower and its use, electricity?

4. The town, Middle America, the family, the mother and children, the friends, school? The friendly neighbour?

5. The issue of the book, finding it, the opening, the release of the elements? Slappy, the ventriloquist doll, his manner of speaking, personality, control? The confrontations?

6. The range of creased creatures, ghosts, Walter and his assisting Slappy?

7. The reaction of the children, brother and sister, their friend, their mother, her being taken, the need for rescue?

8. The plan for the recovery of the book, opening the book, the creatures and ghosts being absorbed? Losing the book?

9. The contribution of each child, the comedy with their neighbour? Climbing the tower, Slappy and the tower?

10. The girl, the book, finding the alternate book? Climbing the tower, to rescue the mother? Tricking Slappy with the alternate book? Not judging by its cover? Opening the book and everything being absorbed into the book?

11. The aftermath, the son and his science award? The happy family?

12. Jack Black resuming his role of R.L. Stine, the visit, talking about his book, his range of books, trying to help, the book having no ending – his encouraging the girl to write what she knew, his completion of his book and putting it in the cupboard with the rest of his work?

WHO WILL WRITE OUR HISTORY

Poland, 2018, 95 minutes, Colour.

Jowita Budnik.

Piotr Glowacki

Piotr Jankowski

Wojciech Zielinski

Karolina Gruszka

Bartlomiej Kotschedoff

Gera Sandler


Directed by Roberta Grossman.

This is a docudrama focusing on the Warsaw ghetto. It dramatises the story of the rounding up of the Jews, their being enclosed behind the wall of the Warsaw ghetto, the hardships of life, the organisers of resistance, the organisers for management and support of those in the ghetto. These scenes are dramatised and are moving.

However, there is a particular focus on the diaries and documents which were written by a number of the organisers but were hidden for safe keeping and some of them lost. The film highlights the recovery of the documents, the studies made of them, transcriptions, the impact. What is revealed is a great amount of detail of life in the war.

The film is also a tribute to the writers, the leaders during the years of the ghetto, the dangers, arrests, imprisonment, interrogations, executions.

Not all the documents were found but those that were our sufficiently substantial to give a powerful picture of the ghetto experience.

There have been many fiction films and stories based on actual events, including Polanski’s The Pianist. This film provides a moving background for these stories.

GEULA/ REDEMPTION

Israel, 2018, 100 minutes, Colour.
Moshe Folkenflick, Emily Granin.
Directed by Yosse Madmoni, Boaz Yehonatan Yaacov.

Winner of the Ecumenical Award at the Film Festival at Karlovy Vary (Czech Republic) 2018. The citation, written by a jury of Catholics and Protestants, reads:
Geula is about a man who goes through the process of redemption and reconciliation while trying to save his ill daughter. The jury awards the film “for overcoming all kinds of narrow-mindedness to discover the healing beauty of openness and hope; for showing that God and humanity cannot be confined just to a set of rules and that one has to have a courage to be; and for its artistic quality where cinematography serves the story adding another dimension to the experience of the struggle it tells.�

A review. This is a very human and humane film. While it would have an impact for Israeli audiences, it has a universal appeal.

Menachem is a religious man, observing kosher regulations, food, reverently touching lintels, avoiding touch with women…. Working in a supermarket, tending his six-year-old daughter, Geula, who has what could be a terminal illness. Menachem is a widower. He is serious, with a look of sadness, but is immensely cheered by the vitality, despite her illness, of his daughter.

We discover that he had been lead singer in a band 15 years earlier with the influence of rock ‘n’ roll. However, he had given up the music, becoming religious (not specifically Orthodox nor Hasidic) and wanted to study but this did not work out. Realising that the medical procedures for Geula were becoming more costly, he has the idea to revive the band, going to visit each of the three former members, some enthusiasm from two but hesitation from one who is now is a successful businessman, restaurateur. However, Menachem is persuasive.

He also comes alive as he sings. The music has traditional tones but often draws on scriptural texts. The group play at weddings, are successful, and bookings come in. Audiences will be moved by the liveliness of the music, impressed by the wedding guests and their total involvement in the music and their intensity – but only the men, a partition separating the women at the wedding celebration, their being able to look in through a gap in the partition.

Geula is able to continue her treatment because of the income, remaining cheerful despite the procedures. One of the members of the band suggests that they do an audition to play in a club, finally persuasive – but his fiancee comes with an appeal to Menachem that he give up the idea, she hoping to become pregnant and build a family.

Menachem’s religious behaviour includes a great deal of God-language, continually thanking God for whatever happens, good or bad, trusting in a Providence. It contrasts with the more secular attitudes of some of his colleagues and the band. His religious outlook means that Menachem is a man of authenticity and integrity, guiding him and his decisions.

There are many attractive scenes of father and daughter, concern and care, love, hope.

1. A human and humane story? The Israeli setting? Universal impact?

2. Israel, homes, streets, the supermarket, the wedding celebrations, the clubs, hospitals?

3. The musical score, the range of songs, the human lyrics, the religious lyrics and scriptural references? Their insertion throughout the film?

4. The title, the focus on Guela? The alternate title of redemption and the focus on Menachem?

5. Guela, her age, her mother’s death, her own illness, inherited? Her relationship with her father, going to the hospital, the treatments? The audience seeing the taking off her wig? The procedures and the cost? At home, lively, love for her father, his telling the stories, the babysitter and the care? The meeting Goolie, the lollipop gift, having to postpone until after the treatment, her father losing it? Her health not improving, further treatments? Her turns, with the neighbours, the mother of the babysitter and her severity? Her insistence with her father? Avi and his visit, hope, seeing the lollipop on the ground, cleaning it and taking it home?

6. Menachem’s story, audience first impressions, a serious man, his concern about his daughter and illness, his continued devotion? Working at the supermarket, the labels, Guela and her labelling? The need for finance for the procedures? The babysitter, the CD, her admiration for the songs?

7. Menachem and his past, 15 years, the band, his becoming religious, wanting to study, not able? Avi and his girlfriend? Marrying her? His severity, her being seen in flashbacks, Avi telling Menachem that she wanted a divorce?

8. The nature of Menachem’s religion? The film not focusing on the Orthodox or the Hasidic men? But “religious� in the Jewish tradition, kosher, food, touching lintels, not
opening packages, checking food, not touching women? Guela and her explanation about prayers to Early?

9. The significance of God language, ideas, Providence? Menachem and his religious integrity – and comparisons with secular attitudes?

10. The band, its past success, and him going to visit Avi, Daniel, Girly, the idea of reuniting? His discussions with each of his friends, meeting their women? His success in persuading the reluctant Daniel who had contributed money for the procedures? Getting the violinist, the bookings, the division of the cash?

11. The exhilaration of playing at the weddings, the music and lyrics, the verve, the Orthodox men and their enthusiasm, separated from the women, the women observing? The further bookings?

12. Dating, the role of the matchmaker, the interrogation, the details and forms, photos and Menachem looking so serious? The dates, the woman who was not interested in Hasidic men, her friend, the women’s expectations?

13. The babysitter, with Guela, admiring Menachem, her severe mother?

14. Daniel’s partner, with the gift of money, her plea to stop the weddings, her wanting to have a child, her age?

15. Daniel, getting the club owner, the audition, Daniel paying all the costs? Menachem being slow, but persuaded? The impact of the visit of Daniel’s fiancee? His being upset, his integrity, wanting the truth about the arrangement?

16. Goolie and his woman, visiting the house, staying the night, Guela and the prayers, the lollipop? Avi representing secular Israel, drugs? Daniel and his success, owning the restaurant?

17. The final treatment, Avi and his visit to the hospital, telling Menachem the truth about his wife? Menachem and his acceptance, going home, the lollipop, a future?

HIGH HEELS/ TACOS LEJANOS

Spain, 1991, 112 minutes, Colour.
Victoria Abril, Marisa Paredes, Miguel Bose, Feodor Arkine, Bibi Andersen..
Directed by Pedro Almodovar.

Spanish director Pedro Almodovar emerged during the 1970s with a number of short eccentric films. During the 80s, he made quite a number of extremely eccentric films, subjects with the touch of taboo, melodramas and soap operas, extreme parodies, sometimes targeting the Catholic Church, as with nuns and priests in Dark Habits and Opus Dei in Matador. By the end of the 1980s, he had achieve not only some notoriety but some fame with Women on the Verge of a Nervous Breakdown.

He had a very successful 1990s, establishing a world reputation, continuing some of the themes and treatments but with more insight and style, culminating in All About My Mother.

In many ways, High Heels is an anticipation of All About all My Mother. It is about the relationship of a mother and daughter, Marisa Paredes and Victoria Abril, the mother a self-centred artiste who has been away for 15 years, her daughter rather timid. But, the daughter has married the former boyfriend of the mother and complications begin. There are also complications in characters from nightclubs, a mysterious drag Queen.

Central to the film is a murder, a mystery, the police investigation, the role of the drag Queen and his many identities. Ultimately, the mother and daughter reconcile – with a complication of who actually did the murder and who is to take the blame.

Almodovar continued this style of these themes during the 1990s – and, from 2000, was highly successful in a range of films for the next 20 years.


1. The films of Pedro Almodovar? His early films, the small budgets, satire on Spain and society? His transition in the 80s and the beginnings of worldwide success, the 90s and his career, reputation, awards? This film in his development?

2. The title, the Spanish meaning “Distant Heels�, and Rebecca’s view of the legs and heels from the basement window? Longing for her mother to come home?

3. Madrid, the past, in the 1990s, the vistas of the contemporary city? The airport? Homes, apartments, the club, police precincts, theatre, the prison? The flashbacks to Mexico and the resort islands?

4. The musical score, the range of songs, the Drag Queen act, Becky’s singing, the routine in the prison?

5. The reference to Autumn Sonata? The mother with achievement, the less talented daughter, the mother intervening?

6. Rebecca waiting at the airport, the flashbacks to Mexico, with her mother and stepfather, the feeling isolated, the buying of the earrings, her moving away and getting lost? Her mother’s reaction? The flashback to home, her mother going to Mexico, with her stepfather and overhearing the conversations – and the later revelation of her switching the tablets and his browsing at the wheel and his death? The mother promising to come back? Her not returning? The effect on Rebecca?

7. Becky and her past, narcissistic, and marriages and relationships, a focus on herself and her career, her singing, the death of her husband? Going away, the encounter with Manuel on the plane, the promise of the interview and the subsequent affair? Coming back after 10 years, her age, working with her assistant?

8. Her illness, not revealing this? Resuming her career, meeting her daughter – and the comment about no press at the airport? Her reaction to her daughter? Her reaction to Manuel and his marrying Rebecca? His not knowing that she was Becky’s daughter at the time?

9. Rebecca, her marriage, the tensions, the absence of the mother in the past, yet a love for her mother, at home, the meal conversation, Manuel and his severity? The fears? The prospect of divorce?

10. Rebecca, her work on television, Manuel as the manager of the station? Announcing the news, getting the giggles thinking of the mother watching – the mother watching later denying? The assistant and her signing? The irony of the assistant, the affair with Manuel? For promotion?

11. The decision to go to the club, Letal and his drag Queen act, Becky’s movements and song? The solemn the style? The gay men in the audience responding to the song and the movements? Rebecca going to the dressing room, his approach, the sexual encounter, the irony that Rebecca will become pregnant? Manuel and his disdain? Becky wanting a souvenir, Becky giving the earrings, Letal, his false breast?

12. A month later, Manuel dead, on the bed, shot? The women going to the judge, his interview with the three women, the timeline of the evening, the assistant and her affair and her leaving? Becky, her affair, the argument with Manuel? Her opening night? Rebecca coming and finding the body?

13. The impact of the judge, his beard, manner, whether audiences realised he was also Letal? Rebecca collecting the photos, the girl there and her work, the druggie boyfriend, audiences recognising the judge or not? The visits, the judge and his suspicions? The truth and his investigation? His talent for impersonations? Loving Rebecca, her pregnancy? Juggling the testimony?

14. Rebecca, on television, with the assistant, announcing that she had killed her husband, the explanations? Reactions? The assistant rushing off screen?

15. The arrest, her going to prison, the woman with the photos, the jacket and the clue, the range of prisoners, the discussions, the routine in the courtyard, song and dance? The judge and his identities, the drug dealer?

16. Rebecca released, Letal and his story, arranging for her to meet her mother?

17. Letal, his real personality, the meetings with his mother, her sickness, the article she kept, the credibility of the variety of his impersonations?

18. Becky, her illness, the concert, her collapse, Rebecca visiting the hospital? Her mother willing to put her fingerprints on the gun? Their talking?

19. The significance of the priest, the confession, repentance needed, Becky and the repentance of her self-centredness and its effect on others?

20. Rebecca, the revelation to her mother about changing the stepfather’s pills, her mother urging her to better ways of solving problems?

21. An Almodovar world, the colourful look, touches of soap opera, melodrama and drama?

A PROMISE

Belgium/France, 2013, 98 minutes, Colour.
Rebecca Hall, Alan Rickman, Richard Madden, Toby Murray, Maggie Steed.
Directed by Patrice Leconte.

This film is based on a story by Stefan Zweig. The setting is in Germany, 1913, the atmosphere before the outbreak of World War I. The action extends throughout the period of the war and the locations extend to Mexico.

There are very good performances by the stars and the direction is by French director, Patrice Leconte, who co-wrote the screenplay.

Alan Rickman portrays a businessman with a young wife, Rebecca Hall. An eager young man presents himself as a candidate for working in the firm, impresses the businessman and is hired. He also becomes a tutor to the son. But he also becomes infatuated with the businessman’s wife.

A promotion offers itself at the outbreak of the war but it involves the young man representing the firm in Mexico, exploration of resources, building up the company. He goes, is in correspondence with the wife, making a promise of fidelity.

This is a bittersweet story as is the case with his Zweig’s novels, probing human nature, love, regrets.

1. From a story by Stefan Zweig? The interest in German history, his status as a writer, reputation? His death?

2. Germany, in 1912, 1913, the outbreak of the war, the background of the war, the post-war Germany, defeat? The town, the factory and its detail, the offices, the streets, Friedrich and his garret, the contrast with the mansion, church, the river and the park, the carnival? Period costumes and decor? The piano and the classical themes? The musical score?

3. The title, Karl and his concern about his wife because of his illness and death? Lotte and Friedrich, their promise when he went to Mexico? The living out of the promise? Its meaning?

4. Friedrich story, the young man, the story of his being an orphan, the institution, working harder to studies, success? Science and metallurgy? Arriving the town, the garret, the maid, love, the sexual encounter, leaving her, her disappointment and antagonism, delivering his laundry? His job, the secretary giving him his office, small? The first encounter with Karl, the discussions, punctuality? Friedrich’s efficiency, knowledge, hard work, Karl’s response, promoting him? Karl and his illness, keeping it a secret, the medication? Friedrich and his meeting Lotte, attracted to her, the meals, the outings? Her playing the piano, his smelling her scent at piano and the maid seeing him? Working with Karl, at home, the office, reporting to car?

5. Lotte, beautiful and elegant? The background her marriage to Karl? Age difference? Otto, reluctant to study, Friedrich training him, success, the bonding, the outings? Lotte and her visiting the garret?

6. Karl, offering Friedrich the move, the job, control? The lavish room, meals? The jigsaw puzzle? Lessons with Otto? His going to church, the mutual attraction? Lotte denying it?

7. The effect on Friedrich, the household, the butler, the servants, meals?

8. The details of work, production, 1913, the anticipation of war?

9. The issue of manganese, from Mexico, the civil wars in Mexico, the German advisers? Applying for loans from the banks? Eventually for Friedrich to go and supervise?

10. Friedrich and the interviews with Karl, not wanting to go, going reluctantly, the mutual, the mutual promise with Lottie? The farewell of the station?

11. Karl, revealing his plan to Lotte before he died, his observing Karl and Lotte and Otto? The window? His health, work, the war, his death and funeral?

12. Friedrich in Mexico, the passionate letters, the intervention of the war, his staying, losing contact and no communications allowed in?

13. Lotte and her perspective, anxiety about the letters, that none were coming? Her living through the war but not caring? The end of the war? The years passing, Otto at University?

14. Friedrich and his return, his stick, the sexual relationships while the two were apart? Lotte fulfilling the promise? Talk, going to the hotel, presence of the parade – and the spirit of defeated Germany, the swastika signs, things to come?

15. The sadness of the promise, memories of the past, regrets? The couple together – and the future?

THE UNFINISHED TASK/ I'LL GIVE MY LIFE

US, 1960, 78 minutes, Black-and-white.
Ray Collins, John Bryant, Angie Dickinson, Katherine Warren, Donald Woods.
Directed by William F.Claxton.

In view of the popularity of faith-based films after the commercial success of Mel Gibson’s The Passion of the Christ in 2004, this film is worth looking at, an example of faith-based filmmaking at the end of the 1950s.

In fact, most of the screenplay could be adapted for a 21st-century version, substituting Iraq or Afghanistan for World War II experiences. (However, there is a lot of patronising talk about the savages of New Guinea, their past, cultures, the impact of the coming of Christianity.)

Ray Collins plays a very successful engineer who has planned for his son, John, to come into the business with him, assuming that this is what his son wants. However, at his graduation party, the son reveals to Alice, the company secretary with whom he is in love, a rather sweetness and light performance by Angie Dickinson who had just made Rio Bravo and was to move into 1960s stardom, that he plans to study for the ministry. (The film was produced by the Lutheran Board of Missouri.)

Needless to say, the father is very upset, the mother more supportive. The years pass as their son studies for the ministry and then shocks his family by telling them he wants to go to a missionary in New Guinea. Alice does not go with him. A college friend becomes part of the company and begins to date Alice.

Key to the story is the fact that it John spent time during World War II in the Pacific, was challenged in his religious views by a rather loud mouth fellow soldier (a strong close-up sequence where the soldier calls out all the objections against what he calls hypocritical religious people who don’t act on the courage of their convictions). John decides that he will go to New Guinea – where the sequences are immediately and introduced by the calls of a kookaburra!
After some years of work, having two children with Alice who has joined him, he contracts a fever and dies. His parents are called and visit him in New Guinea before he dies. John gives his father his unfinished diary.

The latter part of the film is the father’s being very moved by his son’s experience, pondering the diary and its message, reading gospel stories to his grandchildren, deciding that the laity in the church have an important role and moves around the country speaking on financial support and management for the missions.

This is a very earnest film – and it would be interesting to know how it was received on release, by the public, by its target Christian audience.

GET OUTTA TOWN

US, 1960, 62 minutes, Black-and-white.
Doug Wilson, Jeanne Baird, Marilyn O' Connor, Tony Louis, Frank Harding.
Directed by Charles Davis.

This is a very small budget crime thriller, directed by actor Charles Davis (originally from Ireland) and produced in collaboration with the star, Doug Wilson. Davis’s wife, Marilyn O’ Connor, (married for 59 years) plays a rather seductive leading lady.

The film opens with a man being bashed on a side street in the dark. He staggers back to an apartment where he is spurned by the young woman there. The film then goes into flashback.

The audience learns that this man, Kelly, was a criminal, under police suspicion, but left town and is now returned because his younger brother has been murdered. He follows through with investigations, interrogated by the hostile police, tracking down bartenders who had met his brother just before his death (and who both move out of town), meets past associates who give him a lead to a past business friend, meeting his wife and getting access to him.

Kelly’s mother does not have anything to do with him and the young woman, Jill, was formerly his girlfriend but has now condemned him. The police become suspicious again because there has been a robbery using the method that he used in the past – although it is uncovered and his group of friends have done the robbery imitating his method.

He then gets suspicious of the business friend, goes to his apartment, confronts him and learns that his friend had killed his brother though that was not his intention. He is now wanting to get out of town.

There is a confrontation, some shooting, Jill testifying on behalf of Kelly, his explanation that he has been working in San Francisco in an ordinary job and is determined to go straight.

Fairly ordinary material but done with some energy and vigour.

UNDERTOW

US, 1949, 71 minutes, Black-and-white.
Scott Brady, John Russell, Dorothy Hart, Peggy Dower, Bruce Bennett, Dan Ferniel, Rock Hudson.
Directed by William Castle.

Undertow is one of the many supporting features produced by Universal Studios in the late 1940s and early 1950s. Of interest is the fact that was directed by William Castle, director of many supporting features at this time, moving into the many thrillers with their gimmicks that he became famous for, The Tingler, House on Haunted Hill… (A high point of his career is that he produced Rosemary’s Baby in 1968.)

The film has a post World War II setting, a serviceman returning to a different world, involved with gangsters in Chicago before he enlisted, wanting to make a new life on his return, wanting to marry the woman he loved. He is played by Scott Brady, quite sympathetic in his tough role.

It does not work out that way. In Reno on his way to Chicago, he encounters a young teacher in a casino and enables her to win, meeting her again on the plane to Chicago. She is played by very charming Peggy Dow (who stayed in films for only three years). On arrival in Chicago, he is arrested for the murder of the gangster boss.

This means that the film has a touch of film noir, the serviceman trying to elude police, taken and bashed, going to a former friend, now policeman (Bruce Bennett), giving him information about blood and bullets, taking refuge with the teacher, her arranging rendezvous meetings with his girlfriend (Dorothy Hart).

This was Rock Hudson’s second film (billed as Roc Hudson). Daniel Ferniel provides a strong presence as the African- American loyal chauffeur.

There are some twists, more or less expected, leading to confrontations, shootouts, and the possibility of building a new life for himself – and, of course, with the charming teacher.

1. A thriller of the 1940s, the film and film noir tradition?

2. The title, Tony and his being drawn back into the criminal world? His change in World War II, the effect on him, his prospects out in the country?

3. Tony, meeting his friend Dan, the running of the casino, the encounter with Anne, helping her to win at the table? The conversation with Dan, the look at engagement rings of prospective fiancés? And this being the later click for Tony recognising what had happened?

4. Flight to Chicago, meeting Anne again, their bonding? The police at the airport, the tip about his having murdered Sam?

5. Being taken, the criminals, the long corridor, being bashed, shot? Getting away?

6. Meeting with Sally, the welcome, Sam and his death? Her being the femme fatale, betraying Tony, in league with Dan, Tony seeing the engagement ring and working out what had happened? Her pretending to help in the search for his abductors? Sam being murdered, Tony and his previous hostility, Sam’s fortune all left to Sally?

7. Chuck, with the police, the police chief and Tony being the only suspect? Tony going to his home, the visit, the blood sample, blood types, the bullet and forensics?

8. Gene, devoted to Sam, hostility towards Tony, discovering the truth, his pursuit of Dan, his having been shot?

9. Going to Anne, the shelter, the busybody landlady? The meetings with Sally?

10. The phone call to Sally, the meeting? The plan? Narrowing down the area for the building, the long corridor? His discovering the truth, the confrontation, the police and the plan, the shootout? The solution?

11. And a nice and hopeful happy ending?