JIGSAW

UK, 1962, 97 minutes, Black and white.
Jack Warner, Ronald Lewis, Yolande Donlan, Michael Goodliffe, John Le Mesuirer, Moira Redmond, Brian Oulton, Ray Barrett, John Bradley.
Directed by Val Guest.


Jigsaw is one of the best examples of British police films during the 1950s and 60s. It was written by Val Guest who won awards for his screenplays for Hell is a City, The Day the World Caught Fire. Guest also directed the film which starred his wife, Yolande Donlan (and while both had been married before, they were married for 52 years until Guest’s death).

The setting is Brighton and the nearby town of Lewes. The opening shows a jigsaw on the table, a woman in bed, her appeal to her partner, then her being murdered.

Then there is a transition to a robbery }n a real estate agent, leases being stolen. The manager (Brian Oulton perfect as a most irritating critic of the police, and demanding) goes to one of the homes where the police discover the body by the woman, partly hacked.

The screenplay follows the detail of the police investigation in minute detail, the hard plod of investigation, checking sources and information, doublechecking, finding clues, following up, and relying on a bit of inspiration. The main officer is played by Jack Warner, archetypal actor of police roles from The Blue Lamp and its television spin-off, lasting for 20 years, Dixon of Dock Green. His assistant is played by Ronald Lewis. Yolande Donlan plays a lonely woman who is unwittingly caught in the case.

There are very good supporting roles especially for Michael Goodliffe as the chief suspect, John Le Mesurier in a cameo as an upset father, Ray Barrett is one of the police investigators.

The screenplay has some twists, many audiences recognising Michael Goodliffe from a distance early in the film and, therefore, the main suspect – but he is not the murderer. However, given the limited possibilities for suspects, audiences may spot the murderer earlier rather than later. However, the revelation scene works particularly well.

Allowing for the style of the times, this is a very good murder mystery, police investigation. (In fact, the original novel was set in the United States and here transferred to England.)


1. The title, the picture of the jigsaw puzzle on the table, the murder mystery and investigation as the piecing together of a jigsaw puzzle? The particular pieces, trying to find where they go, the final picture?

2. The setting is in Brighton, the town of Lewes, the home overlooking the water, the police precincts, the streets, location photography, authentic feel? The musical score?

3. The opening, the woman, her attachment to her partner, his turning on her, killing her? Hiding the body, the knives and the saw, cutting her head?

4. The real estate agent, his fussiness, demands on police, the police temptation to ignore him? His assistant and the information about the stolen leases? The visit to the house, the police searching house, the agent fussy about phone bills and costs, the discovery of the body?

5. The introduction to Fred Fellows, Jack Warner portraying a policeman and his expertise at this? Supported by Ronald Lewis? Handling the situation with the estate agent? Fellows and his wanting to go to the football? The murder case and his having to follow through? His methods, detail, experience, working with the officers, making demands on them? The search of the house, the suitcases and the initials, trying to identify the dead woman?

6. The various witnesses, the woman at the caravan park seeing the man, the delivery of the food at the house and the driver priding himself, his memory, the assistant at the estate agency? The interviews, their testimony? The lineups?

7. The footwork, the phoning of people with the initials on the suitcase, no leads? The piece of paper in the house, determining the writing, the address, the visit to Jean, her story, at home, embarrassed, her being overpowered and upset, the meeting with the man on the train, the attraction, going with him, at the house, his leaving? The latter being called, the moment of her recognising Tenby? Her dismay?

8. The range of police, their work, the demands, over time, doublechecking? Keeping vigil at houses, security?

9. Following the leads about the purchase of the knife and the saw? Records not kept?

10. The information about the young woman in Lewes, her name, the visit to her parents, the father angry and then upset, the patient mother? Her work at the airport, the name of the man and his sexual behaviour? His leaving? The follow-up to identify him?

11. The identification of the man at the house? His being interrogated, his denials? Suspicious? Taken in after the photos being found on his wall? His background of prison sentence with an underage girl? His being identified in the lineup? His confession, the explanation, the flashbacks, his being innocent?

12. The buildup to the climax, the witnesses arriving, Jean recognising Tenby?

13. His interrogation, his denials, statement about when he bought the saw and the knife and the reasons? The final moment, the public holidays Easter – and the exposure of Tenby’s lie?

14. A film made with British precision and detail, contrasting with equivalent American stories – although this story was originally set in the US?

APPLE TREE YARD

UK, 2017, 220 minutes, Colour.
Emily Watson, Ben Chaplin, Mark Bonnar, Susan Lynch, Olivia Vinall, Stephen Elder, Jack Hamilton, Assad Zaman, Frances Tomelty.
Directed by Jessica Hobbs.


Screened as a miniseries, this film was based on a novel by Louise Doughty. Its focus is a middle-aged science researcher, played intensely by Emily Watson. The story is one of adultery and accusation of murder.

Emily Watson plays Yvonne, married to Gary (Scottish actor Mark Bonnar) with two adult children. Randomly, after a report to a Parliamentary hearing, she is invited by an alleged security man, literally tall dark and handsome, Mark (Ben Chaplin) to a tour of the chapel under Parliament house. There is an intense sexual encounter before she knows his name – later learning it but writing to him as Dear X. She keeps the affair to herself, meeting Mark more frequently, upset that her husband has been having a relationship with his assistant. Her daughter is pregnant. Her son is bipolar.

At an Institute party, she is raped by a colleague - the vivid presentation of the rape has great impact. She keeps this to herself, stating that she has some kind of control over it when nobody else knows. However, she does confide in Mark, he is upset, she drives him to the house of the attacker. Mark kills him in a rage.

Both are arrested for murder, separate defence lawyers. Yvonne’s husband is supportive. Mark, on the other hand, seems a lonely figure in the box, revelations about his life and mental condition indicating that he lives in something of a fantasy world. This is disillusioning for Yvonne but she is found out concerning her affair, an episode in a side street Apple Tree Yard.

Much attention is given to the aftermath of the verdict, Yvonne and her apology to her husband, the care of her daughter and grandchild, her writing to Mark, her visit to him in prison, his declarations of love and her realising his fantasy world.

This is a very good film for an adult audience, a reflection on adultery, mistakes, the need for affirmation – and the consequences of the decisions.

Direction is by New Zealander, Jessica Hobbs who made Curtin and Answered by Fire in Australia.


1. Made for television, miniseries, the effect of the series as a film?

2. The contemporary London settings, the House of Commons, the parliament buildings, the galleries, the basement and chapel? Homes? Workplaces and laboratories? Cafes and restaurants? The streets and the suburbs of London? Prison, the court? The musical score?

3. The title, small offstreet lane, the occasion, the revelation in the court? Yvonne returning and finding that it was closed for development?

4. The opening, Yvonne, her voice over, discovering her in custody? Her going to the court?

5. The flashbacks, revelation about Yvonne, revelations about Mark and yet his secrecy? The returning to prison scenes? The final part, court scenes and flashbacks?

6. Yvonne, scientist, qualifications, the Parliamentary report, her age, poise, the encounter with Mark, the offer of the tour, her reaction, attraction, the sexual encounter? The consequences? The continued meetings, at the cafes and their discussions, at the flat and the sexual encounters, the effect on her, her feeling that Mark brought her alive? Her
letters to him, Dear X…? Her self-revelation?

7. The reality of her life, the almost 30 years since meeting Gary, scientists, the initial attraction, marriage, her daughter, scientist, marriage, the meals and visits, her pregnancy, supported her husband? Her son, his being bipolar, the effect on his life? And the children communicating better with their father than with her?

8. Gary, the relationship with Rosa, his denials, his trips, her tantrum? His blaming himself? Yet the relationship continuing? Yvonne not telling him about herself?

9. Work, George, the meetings with him, on the board? The party, her going to visit Mark, Apple Tree Yard, drinking at the party, George and his flirting, advances? Her going with him? The graphic violence of the rape, communicating itself to the audience? The aftermath, in the taxi? Her numbed reaction? Her decision not to tell anyone? Her having that control over her life?

10. George, continuing communication, the bouquet and the note, the phone calls? Presumption about her? Her discussing this with Mark, his sympathy, anger on her behalf?

11. Mark and his decision, in the car, going to the apartment, the long time, his returning?

12. The police, the investigation, the arrest of Mark? Arresting Yvonne? Accusation of murder?

13. The effect on Yvonne, her relationship with her husband, his supporting her throughout the trial, a reconciliation? Her daughter and giving birth? The son and his eventually coming to the court?

14. The discussions with lawyers, council? Her not telling the truth? The repercussions of the revelation in court?

15. The trial, the two sitting near each other but apart? Mark and his head down? The prosecutor and the witnesses, Mark’s behaviour with the police officer at work, sexual? The discussions about his psychological condition? Mental illness or not? The harsh treatment of witnesses by the lawyers? Yvonne’s reaction to the story is about him and their being revealed?

16. The advice to Yvonne to make a good impression, the continued look at the lawyers, the jurors, the journalists on their computers?

17. Yvonne being interrogated, her lies about her relationship with Mark, the revelation about Apple Tree Yard? Her humiliation? The effect on her husband? Her continually being supported by her friend, the discussions, the interview with her after the revelations?

18. The effect of the court case? The jury, Mark not guilty of murder but of manslaughter? Yvonne not guilty, her going out free?

19. The film giving a lot of attention to the post-verdict experiences? Yvonne and her relationship with her husband, his hesitation, the birth of the baby, the welcome of her children, her holding the baby with her husband? The letter to Mark, the explanation of what the relationship meant to her? Visiting him in prison? Her wondering about the truth,
his talk, supportive, yet the diagnosis of his being the hero of his own story, creating his own story and Yvonne realising this?

20. The story of a woman in mid-life, the crisis, its effect on her, deceit, the consequences?

OLD BOY

US, 2013, 105 minutes, Colour.
Josh Brolin, Elizabeth Olsen, Sharlto Copley, Samuel L. Jackson,, James Ransone, Max Casella, Linda Emond, Pom Klementieff, Rami Malek.
Directed by Spike Lee.


Oldboy seems a strange choice for a film by Spike Lee. He has made a number of dramas including Inside Man and The 25th Hour. Interestingly, Oldboy has minimal attention to race issues, even with the presence of Samuel L. Jackson.

The film is an American adaptation and remake of what is considered a Korean classic, directed by Chan-woon Park (2003). Josh Brolin is the central character, a businessman who flirts and drinks, who offends clients, is under threat of being fired. However, he collapses in the street and finds himself confined to an apartment, accommodation, food under the door, A television set – where he is confined for 20 years. He keeps himself fit, is upset at accusations that he has raped and murdered his wife, is attentive to his young daughter who is a musician. Significant American events pass, including 9/11.

In 2013 he is suddenly released and is determined to track down who was responsible for his internment as well as to find his daughter. There are quite a lot of ironies in his search. He encounters a young woman who is volunteering medical aid and who comes to help him, is moved by reading the letters to his daughter, has a sexual encounter with him. He goes back to a friend of the past who helps get information. He finds the Chinese restaurant which supplied the food during his internment, follow someone to the headquarters of Chaney (Jackson) who was responsible for the apartments containing the interns.

He does receive a message from The Stranger (Shalrto Copley) who challenges him to find him and, if he does, to give him some diamonds and he will kill himself. In fact, this does happen – but The Stranger taunts Oldboy who tracks him down, and the stories revealed about the bullying of The Stranger’s sister for promiscuity, accusations that the father had relationships with both son and daughter. The Stranger hands over the diamonds and kills himself. However, The Stranger achieves something of a vicious revenge because the young woman who helped Oldboy is, in fact, his daughter.

He sends his daughter diamonds and goes back into confinement in the apartment.

Spike Lee’s original cut was much longer and Lee expresses some dissatisfaction with this shorter version.

1. A film by Spike Lee? His interest in the themes, the drama?

2. The remake of a classic Korean film? The status of the classic? Objections to it being remade? Its being transferred to the United States?

3. 1993, the young Joe Doucett, in the business world, his ambitions, brash, connections, threats to his job? At the restaurant, his flirting, his behaviour towards his guests, the reaction, his losing the contract? Wandering the streets, urinating, drunk, collapsing, seeing the woman with the yellow hat?

4. The apartment, his waking up, the layout, the accommodation, the delivery of the food, his initial reactions against it, the mystery, his staying 20 years, doing the exercises, becoming fit? The television showing the passing of the years through events like 9/11?

5. The television, the news, the story of his wife’s rape and death, his being accused? His daughter, her growing up? Music?

6. 2013, his suddenly being released? In the streets? Marie and the doctor, their work, the contact, her card, calling on her?

7. Going to his friend, Chucky? His character, loyalty, helping Joe with tracking down information? The information about the restaurant which served the food over the years? The encounters, the questioning?

8. Meeting with Chaney, his running the range of apartments and imprisonments? His character? Reaction to Joe, Joe and the violence?

9. With Marie, her sympathy, reading Joe’s letters to his daughter? Helping with the investigation? The phone call from The Stranger?

10. The gradual revelation is about The Stranger? The challenge for him to find The Stranger’s identity? The promise of the diamonds? Even the promise of suicide?

11. Joe and The Stranger meeting, his identity? The clues? Chucky helping with tracking him down? The Stranger and his hostility towards Chucky, violence?

12. The set up with the meeting? The Stranger as Adrian? Chucky and the school yearbook? The bullying in the past, Adrian’s sister bullied as promiscuous, the reputation of the father, the suggestion of sexual relationships with both son and daughter? The father’s death? The effect on the daughter?

13. Chaney, his presence, torture, accepting the money?

14. Marie, her devotion to Joe, the sexual encounter? The audience knowing before Joe that Marie was his daughter? The incest – and the revenge of Adrian because of the incest in his family? The revelation that the daughter on the television with her music was an actress?

15. Adrian, the gift of the diamonds, the fulfilment of his promise, his death?

16. The impact on Joe, the meaning and meaninglessness of his life, his sending the diamonds to Marie?

17. The arrangement and his decision to go back to be confined in the apartment?

AN INTERVIEW WITH GOD

US, 2018, 97 minutes, Colour.
David Strathairn, Brenton Thwaites, Yael Globglas, Hill Harper, Charlbi Dean Kriek, Bobby di Chicco.
Directed by Perry Lang.


The tone of the title indicates that this will be an earnest film. And it is.

Clearly, the themes will be religious. But there are many philosophical issues, especially about evil and free will. The screenplay touches on some biblical themes; the film has been produced by a Christian company, emphasising that the path to God is very much focused on the Judeo-tradition and its culmination in the person of Jesus Christ.

Audiences who have an aversion to explicitly religious films will find their version reinforced. Audiences who are sympathetic to explicitly religious films will find a lot to interest them, to provoke them, although they might find the tone the time is rather didactic, at times preachy.

This said, there is a lot of questioning (on the part of the interviewer, of course, but also God being able to reverse the interview, making demands on the interviewer), which demands answers from the audience for their own integrity, authenticity of belief or non-belief.

A large part of the film consists of the interview, although there are storylines which come to the surface. And, which get the attention of God.

It should be said that God is played by the veteran actor, David Strathairn, a man of serious demeanour, intelligent and articulate, a credible incarnation for God in the contemporary world. The interviewer is played by the Australian actor, Brenton Thwaites, eager to score an interview with God, an exclusive for his publication, ready to front up and asked the questions, but frequently thrown off balance when God returns the questions.

Thwaites plays journalist, Paul, who has been on an interview mission in Afghanistan and is seen initially returning on the plane with coffins of military draped in the American flag. He has experienced some of the trauma on the frontline, making him sympathetic to post-traumatic stress disorder, reaching out to help some of the soldiers who have returned home.

He is married, but immediately there is tension in the apartment. Interesting for the audience, the screenplay has been written in such a way that would lead the audience to lay the blame for potential breakup with Paul rather than his wife. It does not quite work out that way. The marriage situation surfaces throughout the film, Paul trying to contact his wife, she busy and not answering her phone, an intervention by his sister-in-law – and some challenging interventions by God.

But, the core of the screenplay consists of the three interview sessions. Paul, earnest, riding his bike around New York City, meets God first of all in a park, their sitting on park benches. Later, they will meet on the stage in an empty theatre. And, finally, in an office in a high-rise building.

The questions raised are those which are expected, which the audience themselves might raise were they to have an interview with God. Actually, God is more skilled at asking questions of Paul than Paul is of God. And, despite his concern about Paul and his life, God is able to keep his cool.

One of the features of the film is the range of clever lines, arresting religious quips, thoughtful aphorisms. Some audiences may find the interview sessions heavy and demanding. They might work better as an audiobook where attention is on the words and expressions rather than focusing on the characters and their reactions during the interviews. To that extent, many audiences might find there is too much talk for them to deal with.

Some examples: faith is not a goal, it’s a process; concerning the question why bad things happen to good people, Paul notes that God could be considered a “Cosmic Killjoy�; life is not an audition for the afterlife; most people only notice bad things when they happen to them; some people go through life feeling that they are judged every day by God.

There is an interesting discussion about the Ten Commandments, God noting that in the Gospels, Jesus quotes only six, those focusing on our dealings with our neighbours, not reiterating the commandments about God (and God adds there aren’t many polytheists around these days). Ultimately, the challenge to Paul is not so much the theological nor the philosophical but to look at his own life, to look at the command of love, to see whether humans can overcome the bad things, planting of crops for food, psychological assistance for war veterans, marriages being saved. A final theme is forgiveness.

Ultimately, the film could make its audience ask about the questions they would prepare for an interview with God – and, ask where God actually does intervenes in their lives; and through whom?


1. The title, expectations, challenge, provocation?

2. An American interpretation of God? American questions, challenges? How universal?

3. The tone of the screenplay, earnest and serious? The three sessions of the interviews and the questions raised? The background narrative, war in Afghanistan, psychological stress, the war dead, marriage, commitment, infidelity, forgiveness?

4. The film as an allegory of contemporary life? Paul as an Everyman? (Though in the guise of a white American male)? The appearance of God, coat and tie, contemporary gentlemen, and the revelation from the identification of the photo, someone who was killed in Afghanistan 12 years earlier? God’s choice for the guises in which he appears?

5. Paul, returning from Afghanistan, reflection, the war dead and the flags, his journalistic task? His going to the war, his wife’s reaction? At home, in the morning, on the phone, arranging the help for the veteran? His wife wanting to talk? Her looking at the photos of their marriage and their life together? Audiences assuming that Paul has done something wrong – and the irony of the revelation that, even before he went to Afghanistan, and without his knowledge, she had had an affair? Her going to work, threatening to leave, not answering her phone? Paul and his continual calling? The ambiguity of the phone call from Grace? Her coming to the office, people’s suspicions? The irony of the truth, Grace and her concern for her sister, her sister staying with her, urging some kind of reconciliation, Grace saying she did not pray but urging Paul to prayer? The revelation of his religious background, Christian commitment, Sunday school education?

6. Paul and his meeting God (and his later puzzle about how the invitation to the interview came about), the arrangement for the interviews, his notes, recording, God introducing himself and spelling his name? The range of the questions, theological about the nature of God, humans as children of God, care and providence, the reality of evil in the world,, free will? The philosophical questions about the meaning of existence, life and death, wanting to know the time of death or not? The existential questions, contemporary 21st-century questions?

7. The to and fro of the interview, Paul and his questions, limited follow-through? God taking over the conversation, reversing the questions, continually challenging Paul, Paul saying his life was not the subject of the interview, God insisting that it was, the continued developments?

8. Paul, riding his bike, the warning of his imminent death, the potential crash in the traffic, at home, his tensions, injuring his hand on the cup?

9. Gary, his concern about Paul, wanting him to take a break, the aftermath of Afghanistan? Paul refusing to have a break? Gary, his own story, the divorce, enthusiasm about the interview and publishing it? The visit of Grace?

10. Paul, the return to the theatre, the continued interview, it becoming more personal while continuing the perennial themes? The issue of whether Paul would return? Going to the building, the office, as checking with his friend about the photo, the identity of God? The end of the discussion, the potential for the article? The repercussions for his life?

11. The bike being stolen, his return home, his wife sitting on the steps, her asking forgiveness, their both declaring their love, the future?

12. How well would audiences identify with Paul and the experience of the interview, men? Women?

DONBASS


Germany/Ukraine, 2018, 110 minutes, Colour.
Directed by Sergei Loznitsa.


Anyone contemplating going to see Donbass needs a strong recommendation for a bit of homework about Ukraine during the last decade, the interventions of the Russians, the annexation of Crimea, the civil war in the East, the downing of the Malaysia Airlines plane. Ukraine has been in the headlines but its impact outside Eastern Europe, in western countries and other continents, may seem rather alien and distant.

This is an award-winning film. The director, born in Belarus, moving to Germany, has Ukraine as his main focus for his films, fiction and documentary. He combines both talents here.

Donbass is a town in eastern Ukraine that would not be high on the list of any tourist planning. It is not a place where the audience might like to live. And we are shown why.

The film begins arrestingly, rather of-puttingly, with a group of acting extras being made up for a television performance, some carrying on with high demands from would-be-divas, the make-up artists at work, authorities arriving, counting of the characters, herding them out into a marketplace for filming, a bus, an explosion, news or fake news? The film returns at its end to this situation with some grim comment.

What follows is a series of vignettes, episodes which seem generally unconnected, but which follow, one from the other, as the camera follows characters and takes the audience with it.

Some pompous officials are at a board meeting when a woman, protesting that she is not guilty of corruption, arrives and unceremoniously tips a bucket of excrement over the president of the meeting. That in itself makes comment about the country and its governing. There is worse when a rather large, pompous businessman rounds up the hospital staff who have complained about lack of food and equipment and points out refrigerators chock-full of food and drink, new equipment – and then goes into the next room where we see him and his associates and how they have set up fake supplies, capitalising on corruption and deals – though he is held up by Russian military on the road and is almost in danger of being exposed and imprisonment, but gets away.

Amongst the other episodes we find a businessman whose car has disappeared, confiscated by the government, leaving him bewildered and desperate. We also see a group of earnest peacekeepers with religious icons and relics approaching an official to persuade him to use these religious items – and he bewildered and criticising them behind their backs.

There is an enormously extroverted wedding sequence, a civil affair, the official trying to get through the required procedures but being overwhelmed by one of the most boisterous brides ever on screen, a seemingly subservient husband who does break out at times, a crowd drinking and cheering, letting loose.

Perhaps the most disturbing sequences involves an old man, considered a traitor, dragged through the city by military, tied to a pole, insulted and tortured, some young toughs joining in the violence, then a seemingly ordinary old lady becoming particularly abusive.

The ending is enigmatic, a camera fixed at some distance and for quite a long time from the caravan where the actors were being made up, each one of them coming out individually, facing the authorities…

A serious film for its themes rather than an entertainment.

1. Festival acclaim for the film? For world audiences? For Ukraine audiences? Russian audiences?

2. The perspective of the director, of Ukraine, civil unrest, Russia and Eastern Ukraine, the annexation of Crimea, the downing of the Malaysian Airways plane? The political background of the 21st-century?

3. The title, the town, symbolic? Its situation in Eastern Ukraine?

4. The portrait of the people, the experience of war, oppression? Hard lives? Hard attitudes? Violence? Political corruption…?

5. The visuals of Eastern Ukraine, the countryside, the towns, streets, offices, markets, hospitals? The musical score?

6. The succession of vignettes, one leading into the other, the cumulative effect of the vignettes?

7. The opening, the actors being made up, the make up staff, the tantrums of the performers? The authorities, lining them up? Taking them out, people watching, going into the square, the explosion, the bus? Issues of true news and fake news? And the impact of the ending of the film in light of this opening?

8. The public meeting, the discussions, the woman coming, her pouring the excrement over the president, the reaction of the members of the meeting? The woman shouting out in defiance about corruption? The cleaner coming in to mop things up?

9. The hospital, the staff being rounded up, the complaint about lack of food and equipment? The bluff man in charge, his assistant, everybody in the room, the amount of food in the refrigerators, pointing out the equipment?

10. The discovery of the lies, in the next room, his double dealings and business setups? Following him, his being held up at the roadblock, trying to buy his way out? The Russian guards? The unstable political atmosphere? The lies and corruption?

11. The man and the disappearance of his car, the interrogation, the documentation, the authorities taking his car, his desperation?

12. The meeting with the authority, the concerned citizens and their religious dimension, icons and the possibility for peace? The authority listening to them, ridiculing them behind their back?

13. The scenes in towns, ordinary people? The quality of lives?

14. The wedding sequence, the boisterous bride, the seemingly subservient groom, the official, trying to keep things in order, the expected rituals and forms, the drinking, everybody loud, enjoying the event, out of control?

15. The presence of the Russians, cities, roadblocks? The nature of the Civil War, those considered traitors? The finding of the man, putting him against the pole in the city, tying him up, the verbal ridicule, the beginnings of the torture, the young men and their callous attitudes, the military and the invitation to abuse, the crowds gathering, the building up of the torture, punching the man, his collapse? The grandmother and her outburst, hitting the man?

16. The return to the early scene, the van with the actors, the explosion, the fixed camera for such a long time, the range of actors coming out, their fates?

17. The cumulative effect of this visit to Eastern Ukraine?

BAD TIMES AT THE EL ROYALE


US, 2018, 141 minutes, Colour.
Jeff Bridges, Cynthia Erivo, Dakota Johnson, John Hamm, Chris Hemsworth, Cailee Spaeny, Lewis Pullman, Nick Offerman, Xavier Dolan, Shea Wigham.
Directed by Drew Goddard.


Quite a surprise. More than quite enjoyable.

The time certainly are bad. When? 1969. And where? At once glitzy, now rather seedy, big hotel on the border between California and Nevada – with the line marked in red out in the ground and continuing right through the centre of the hotel. One can either stay in California or choose to stay in Nevada!

And, it is a group of people, rather small here, who have come to stay that are the centre of the bad times. Actually, when they arrive, especially Father Flynn and African- American singer, Darlene Sweet, there is no concierge to meet them or books in. There is, a travelling salesman, full of bravado and boasting (racially insensitive), who welcomes them until banging the bell rings out the rather young and nervous staff member, the only one there, concierge, registrar, barman, speaking this peel about how wonderful the capital Real is.

In fact, this is a rather long film, but it has plenty of action, intriguing characters, unexpected situations, also unexpected time shifts in perspective so that the audience can see a particular event in a kind of re-wind but from another angle or another character’s point of view. (Most reviewers mention the name of Quentin Tarantino – so this review has followed suit!).

There have been some strange goings-on at the El Royale. Right at the opening we have seen a guest, 10 years earlier, digging up the floorboards of a room and burying a bag full of cash, replacing the boards, making the room needs – and then a stranger arriving and shooting him dead. So, we know there is money buried and are on the alert to see who will come to retrieve it.

And, it is possible to see because the salesman, not at all the person we thought he was with all the bluster, is in fact a government agent, sent there to debug the phones, knows that there is a corridor with a one-way mirrors in the rooms – and, we get a tour, watching the activities in the rooms, even a microphone being able to be turned on to catch the dialogue, and the discovery of a rather hard-vision young woman who has a younger woman gained and bound in her room. The agent reports to Washington and is told not to intervene. He does – and that is only the beginning of all kinds of bad times. (And the salesman is played by John Hamm, obviously enjoying himself, until…!)


Father Flynn seemed both the clerical type and not the clerical type, a typical enough and engaging performance by Jeff Bridges. He seems the most likely candidate to be after the money. Arriving with him, is the singer, played by British actress Cynthia Erivo, a subtle performance with several opportunities for her to sing. The brassy young woman is played by Dakota Johnson.

Particularly interesting is miles, the concierge, played by Lewis Pullman (son of Bill Pullman), who has been part of the mysterious history of the hotel, clearly a rendezvous for politicians and others to misbehave, be spied on, be filmed, he reported, subjects for blackmail…). Lewis is agitated, has a history (and later Vietnam war flashback), and is desperate to repent, to confess, glad that Father Flynn is about. Later, there is quite an effective confession sequence (writer-director Drew Goddard has a Catholic background).

And, there is even more, complications about the two women, flashbacks to an abusive father, to life in a cult where the leader might have some values but is actually preoccupied with sexual relationships. And, he is played quite convincingly, quite the opposite of Thor, by Chris Hemsworth.

Plenty of tangles, plenty of unmasking is on identities, somebody count, but, all in all, plenty of interest, plenty of action, quite a lot of humour, and, despite a long running time, very entertaining.


1. A thriller with differences? Creative screenplay, drawing of characters, situations?

2. The title, the El Royale, the border between Nevada and California, the line literally through the hotel? 1969, the glitzy look, hard and bad times, the beginning of decay? The lavish interiors, the rooms, the corridor of mirrors?

3. The flashbacks, their insertion throughout the film, the robbery and its aftermath, Arose on the beach encountering Billy Lee? The scenes of the cult? Darlene and the rehearsals and the threats from the producer?

4. The device of chapters, the nomination of the rooms, Washington DC, Billy Lee?

5. The opening, the 1950s, moving on 10 years? The use of the different times, the effect, the different angles of seeing the same events, the audience able to fill in the details from the repetitions of different angles?

6. The opening, the burying of the bag of money? The shooting? The tone?

7. The introduction to the capital Royale, Seymour and his presence, Darlene and the priest arriving, Seymour and his bravado, his performance, his insensitivity towards the African-American? His talk about sales and vacuum cleaners? His explanation of the hotel? Darlene, lack, quiet, the singer? Jeff Bridges as Father Flynn, his age, clerical style, not quite consistent? The interactions of these characters as they waited for the concierge?

8. Miles, his being late, registrar and the signatures, his speed about the hotel, his being the cleaner, the payment for the Coffee, barmen? The gradual revelation about miles, his job, spying, the mirrors, the camera, reporting to the anonymous management, his regrets? The role of the film? His wanting to confess, concerned with the priest? In the corridor, accidentally shot by Emily? His story, the flashbacks after his saying he killed many people, sniper in Vietnam, his experience in Vietnam? His wanting to repent?

9. Emily, brash, seen in her room, Rose bound to the chair? The flashbacks, rows of the beach, the encounter with Billy Lee? The two little girls, their father, Emily being protective? Their presence in the cult, Billy Lee and his preaching, explicit sexuality, Emily’s reaction, rows and her enthusiasm, the relationship with Billy Lee? Rows phoning for him to come?

10. Seymour, looking through the mirrors, his phoning Washington DC, the revelation that he was an agent, his orders, removing all the wires from the phones and rooms, told not to help Rows, his decision against it, the confrontation with Emily, her shooting him?

11. Jeff Bridges as Father Flynn, pleasant, his age, manner, meeting Darlene, interactions with Seymour, with Miles? His room, digging up the floorboards? Having a drink with the Darlene, sharing stories, wanting to sedate her, smashing his face with the bottle? His later explanations, his loss of memory, Alzheimer’s, the robbery, his brother and the masks, his brother bearing the money, in court, in jail sentence, 10 years, the interview with the doctor, the memory loss and the short time for living? Disguised as a priest to give more confidence? Bonding with Darlene, with Miles?

12. The reality of the story about Rose and Emily, Rose and her unsteady character? Swinging on the chandelier?

13. Father Flynn, digging up the floorboards, Darlene keeping watch and protecting him?

14. Rose, the phone call, Billy Lee and his thugs, Billy Lee and his swagger, personality, the background of seeing him as the cult leader?

15. Billy Lee holding everyone, tied up? The thugs with the guns? Rows giving up the information and names – endangering the lives of the hostages?

16. Billy Lee, the question is, the money, the film and its potential for blackmail, playing roulette, shooting Emily, Rosa’s reaction?

17. Miles, the buckshot in his face, his wanting to confess, Darlene persuading Father Flynn to keep up the pretence, the seriousness of the confession sequence, forgiveness,
Myles’s death?

18. Father Flynn, the money, the interrogation, the answers, Darlene and her being invited to sing?

19. Father Flynn, the sudden rise, bashing Billy Lee, the fight, the fire, the guns, Myles and his getting the gun, his skill as a sniper, shooting Billy Lee, all the thugs? Myles’s
death?

20. Father Flynn and Darlene surviving, Darlene burning the incriminating film? The burning down of the hotel? Gathering the money?

21. Darlene in Reno, singing, and Father Flynn as his ordinary self sitting in the audience?

22. The film described as in the vein of Quentin Tarantino – true or not?

COLD MOON

US, 2016, 92 minutes, Colour.
Josh Stewart, Frank Whaley, Candy Clark, Robbie Kay, Christopher Lloyd, Chester Rushing, Rachele Brooke Smith.
Directed by Griff Furst.

A thriller set in Florida, a small town, in 1989.

The film is different insofar as the audience very soon knows the identity of the initially masked killer of a young woman on a bridge who then murders her mother and brother. This means that the film develops not as a whodunnit but as they whydunit.

Josh Stewart plays Nathan, the son of a retired bank manager, played by Christopher Lloyd in a wheelchair. He is doing land and finance deals in secret, part of the motivation for getting rid of the owners of the land that he wants. He also has a girlfriend who is living in at his father’s house.

Frank Whaley portrays the sheriff, Nathan’s friend, also a friend of an African-American? man who was being framed by Nathan for the murders. Candy Clark, many years on from American Graffiti, plays the mother.

Nathan also uses his younger brother to help him in his crimes and cover-up. He becomes madder and so the film becomes something of a haunting story, ghosts and spirits in his imagination, people he encounters taking on these ghostly forms and his being violent against them.

1. A murder thriller combined with wanting?

2. The Florida setting, the small town, the blueberry farms, the countryside, the river? 1989? The musical score?

3. The focus on the Sinclair family? Jerry Larkin and the blueberries? Margaret and her place in the family? Evelyn, devoted to her children? Financial difficulties? The crop?

4. Nathan Redfield, the bank, his harshness towards Evelyn? The background of the plan for the takeover, his link with Charles and Irish, the schemes? Is a character, and pleasant, in the shadow of his father, his father at home, the relationship with Belinda? Her being in the house? His domination of Ben, Ben doing whatever Nathan asked of him?

5. Margaret, the bicycle, the confrontation with the masked man, the bridge, the river, her death? The revelation that it was Nathan? Ben helping him? The motivations? The confrontation with Evelyn and Jerry? The sword and the decapitation? The car in the river?

6. The sheriff, his friendship with Nathan, his concern about the deaths, the enquiries, concerned for Belinda? Warren, friendship, his being under suspicion? The racial issue?

7. Evelyn, her attack on Nathan, seemingly intense but in fact accurate? Warren and his lawyer cousin, the discussions? The meal? Their deaths on the way home?

8. The atmosphere of the hauntings, Margaret rising from the river, the various provisions, sense of presence? Preying on Nathan, the apparition of the road in his crashing into
it? Other people to being transformed in his imagination into the Larkin family? His attack on Belinda, on Ben? His madness, the episode in the restaurant and his attack on the woman? Going home, wanting to attack his father?

9. The father, the patriarch, the wheelchair, domination of Nathan, threatening to strip him of his presidency of the bank?

10. The couple, the deal is with Nathan, the restaurant, and to rescue the father? Charles being knocked over by Nathan?

11. The buildup to the climax, Nathan, over the top, the response of the sheriff? Belinda safe? Warren being freed?

12. A satisfactory blend of murder thriller and hauntings?

BLAKE OF SCOTLAND YARD

US, 1937, 73 minutes, Black-and-white.
Ralph Byrd, Herbert Rawlinson, Joan Barclay, Lloyd Hughes, Dickie Jones.
Directed by Bob Hill.


This is a historic curiosity item. And, not particularly worth the curiosity.

In fact, it is a truncated cinema version of a 15 part serial. The scenes in the feature film of all part of the serial which was also directed by Bob Hill.

With so much of the material absent, the film is rather difficult to follow in terms of characters and the motivations. He takes up a popular theme of an invention, a ray which can sink a boat at the vast distances, the villain called Scorpion wanting to steal the invention, his vast array of thugs and connections in the streets of London.

Blake is retired from Scotland Yard and so is not the main character. Rather, this is Jerry, the inventor who works with Blake’s niece, Hope. The film opens with sinister doings in the fogs of London streets, thugs going to the venue for the demonstration of the invention, the gathering of Blake, family and friends in the hopes for the invention to prevent all wars and be a gift to the League of Nations. Not only do the villain steal the invention but also abduct the inventor and the families, holding them hostage – with the action turning to Paris and some exotic turns of the Apache dancers in the club.

The theme was popular at the time in so many of the thrillers, inventions, war and peace – but, as indicated, this is a curiosity item, many considering as a butchering of the television series.

BEFORE MIDNIGHT


US, 1933, 63 minutes, Black and white.
Ralph Bellamy, Jean Collyer, Claude Gillingwater, Bradley Page, Betty Blythe, Arthur Pierson, George Cooper, Joseph Crehan, Otto Yanaoka.
Directed by Lambert Hillier.


A businessman believes that he is going to die if the clock stops before midnight. He explains this situation to friends – and dies.

The film opens with the police chief talking to a younger man explaining that he can offer him a case that defied detection. The film then goes into flashback.

Ralph Bellamy is the detective called in to investigate, with a stooge kind of associate called Stubby. However, the detective is quite astute. It emerges that the man who died had worked in China, amassed a fortune, worked with his lawyer, has a secretary, has a hostile former wife who comes to visit, and has a friend from the past living in the house. There is also a Japanese servant. Plenty of suspects.

However, as the detective investigates and the doctor seems suspicious because of the nature of the death, he lets the doctor off suspicion. The Japanese servant, however, behaves suspiciously – but is killed.

The older resident of the house makes a contract with the detective to give him a considerable amount of money if he can solve the case. Eventually, the detective does. However, it is the man making the bet who is the murderer – with a rather complicated scenario that he is the father of the secretary, that has swapped identities with the murdered man, that the murdered man was about to swindle him. And the detective gives him the opportunity to kill himself.

The director, Lambert Hillier, directed many of the earlier Tom Mix westerns. And, commentators have pointed out that the Japanese actor, Otto Yanaoka was interned 10 years later when the Japanese, even American citizens, were rounded up and interned during the war.

BROKEN JOURNEY

UK, 1948, 89 minutes, Black and white.
Phyllis Calvert, Margot Grahame, James Donald, Francis L.Sullivan, Raymond Huntley, David Tomlinson, Derek Bond, Guy Rolfe, Sonia Holm.
Directed by Ken Annakin.

There had been some flight disaster films from the US, even before World War II, such as Five Came Back. This is a British production after World War II with a strong cast of British character actors led by Phyllis Calvert. The film is directed by Ken Annakin who had directed his first film, Holiday Camp, in 1947 and who was to continue in the British industry with Disney films, Robin Hood, The Sword and The Rose, later The Swiss Family Robinson.

The plot is basic, a focus on a strong pilot and his assistant, the sympathetic flight attendant getting over the death of her fiance in the war, a temperamental film star and her companion, a wastrel brother and his older brother, a boxer and his manager continually sparring, an opera singer careful about his voice, a man who had been in prisoner of war camp during the war, and a man in an iron lung and his carer.

The film has some alpine scenery, has a crash landing, sequences of the survival over several days, attempts to make contact, search parties, final rescue.

1. Early British disaster movie? In the retrospect of later disaster movies and blockbusters?

2. Postwar Britain, memories of the war, the development of flight?

3. The title, the plane trip in Europe, the variety of characters, pilots and crew? The musical score?

4. The European setting, the Alpine photography inserted? The beginning of the journey, Fox and Bill and their working together? Fox in charge? Mary as flight attendant? The variety of passengers, entering, the list? Seating, information about them?

5. The difficulties with the engine, Bill and the radio connection? Fox and his decisions, trying to go higher, crash landing on the ice? Mary reassuring the passengers?

6. The man in the iron lung, travelling, experts, Anne as his assistant, nurse, in love? His criticisms, prickly responses? His declaring his love for Anne? His decision to give his life, telling Fox to take the batteries for radio connection?

7. The man coming out of prison camps, experience of the war, his taking the food, is going out to help with the rescue, his injuries, death? His mother and sister waiting for him at the airport, the sadness?

8. The film star, her haughty attitudes, tantrums, make-up kit, gradual change, her companion and his giving up on her, her interest in Jimmy? Landing, the press, saving a life, Jimmy’s fiancee?

9. Jimmy, always in trouble, his older brother, rather staid, always rescuing his brother? His going out with the group, his injuries?

10. The boxer, the antagonism with his coach? Verbal criticisms? The memories of particular bouts? The contribution to searching for help?

11. The opera singer, large, pompous, his records being broken, his verbal attacks, his playing the records over and over? Eating? Eventually going on the search? Using his voice to raise the signal? The rescuers saying they had seen them – and his regrets over using his voice? Possibly lost?

12. The group going out searching, injuries, Bill and his continuing, his later being found?

13. Fox and the group going out, even with the opera singer? The French pilot and his crash landing, leading the rescue, the town?

14. Radio contact? The rescue with the supplies parachuted?

15. A story of survival – with touches of heroism?