A TASTE OF CHERRY

Iran, 1997, 94 minutes, Colour.
Homayoun Ershadi.
Directed by Abbas Kierostami.

A Taste of Cherry is an Iranian film the commentators suggest audiences should see. It won the Palme D’ Or at Cannes in 1997. It has continued to receive acclaim.

Abbas Kierostami is considered one of Iran’s greatest directors, a range of films in the 1990s exploring metaphysical themes, dramatising them within the context of Iranian society. He later became more experimental, filming from cars and taxis, interior dramas.

This is a film about life and death. The central character is a Kurd who has decided that he should die – and the film is his journey, physical and spiritual, encountering a cross section of characters, old and young, workers and soldiers, a seminarian, trying to persuade them to help him with his death. Eventually, he comes across an old taxidermist who himself has attempted suicide and is willing to help.

As with many Kierostami films, there is a lot of driving around the countryside. The director observes his country and its people intensely but also raises profound questions about the meaning of life, and death.


1. The title? Relishing the taste of cherry in order to continue living?

2. The work of the director, his status in Iran, throughout the world?

3. The director and his use of cars and driving in so many films? The landscapes, the mountains, the desert, the roads, the towns and buildings, quarries? The musical score?

4. The introduction to the driver, the camera survey in the city and people from his point of view in the car? His looking at all the workers, the labourers asking for work, his refusal? The young man, the proposition, attacking him, running down the mountain? The foreigner, the labourer, not enough for the man’s requirements? His continuing, picking up the young soldier?

5. Soldier, a young Kurd, listening to the propositions, a long conversation, having to get back to the barracks, his story about Kurdistan, his relatives in turnaround, having to be back by 6.00 pm? Running away?

6. The workers in the field, the car breaking down, then lifting the car, grinning at the achievement?

7. The cement mixer, the security guard and his post, the man climbing up? Afghan, his sense of responsibility?

8. Issues of loneliness, death, war, war with Iraq, sadness?

9. The man, his pacing, talking with the security guard, the conversation, the T?

10. The seminar rest, a pleasant young man, his explanation of himself Afghan, going to Ireland to study? Is savings, working as a labourer? The main telling the seminar rest that God was exhausted, he could not wait? The suicide theme, the quotation from the Koran, the demands? The driver saying that be a happy is a great sin if it means hurting others? The motivation for suicide?

11. The quarry, the trucks, the rubble? The young worker demanding that the driver should move his car?

12. The older man, the conversation, willing to help, 35 years in the desert, his own attempted suicide, but tasting the mulberries, seeing the sunrise, hearing the children’s voices, his wife enjoying the mulberries? Is telling the joke, the main telling the doctor that when he touched everywhere he was sore and the doctor diagnosing a broken finger! The urge to be optimistic? Talking a lot? Agreeing to the conditions? His own work in the natural history museum, working with the birds?

13. The moment of taking the photo for the couple? His chasing the man into the natural museum, buying the ticket, taxidermy, stuffing the birds, his pacing outside, the flocks of birds flying in the sky? His talking with the old man, mentioning throwing two stones – better for three?

14. At home, the audience viewing him through the curtain window? Night, driving, sitting on smoking, going into the whole, the vision of the moon, thunder and lightning, his lying in the rain?

15. The setting up of the cameras, the filming of the military, the making of the film, the soldiers, the jazz – and the effect of this kind of postscript to the film and its theme?

THIS IS LOVE

Germany, 2009, 104 minutes, Colour.
Corrina Harfouch, Jens Albinus, Duyen Pham, Jurgen Vogel.
Directed by Matthias Glasner.

A rather generic title for a film which has many social concerns.

The central character is a German, Chris, who is earnest about protecting young girls in Thailand from prostitution. He works with an associate – but this collaboration later falls apart. The screenplay focuses on Chris’s relationship with a young girl, his attempts to bring her to Germany, to find foster parents for her, his falling in love with her. In despair, he tries to kill himself by crashing his car.

There is an interrogation sequence by a policewoman, Maggie, who has her own problems, long separation from her husband, his disappearance and creating a new life while her daughter knows about this but has not communicated it to her mother, relating to children, drinking. Chris and Maggie form a friendship to help the young Thai girl, to prevent the one thugs from reclaiming the girl and taking her back to Thailand.

So, the film was working at two levels. There are personal stories, with the touches of sadness and tragedy. And there are the social themes of children, sexual exploitation, violent pursuit.

1. The title? Generic? In terms of the two adults? In terms of exploited children? Friends and exploiters?

2. The German setting, the city, homes, police precincts? The contrast with Thailand, trafficking? The musical score?

3. The two central characters, their stories, the background, their intertwining?

4. Maggie, her personality, her marriage, the failure, family, her husband walking out, her daughter concealing the truth, seeing him after many years, his reasons? Her work in the police?

5. Chris, his concerns, trafficking, his friend and their working together, law, international regulations?

6. The children, from Thailand, being brought to Europe, the law, custody, adoption? Relationships with the children?

7. Jinjira, her age, background, trafficked, in Europe, Chris and his care for her, the growing commitment? Roland, his role with the adoption? Their travelling to Asia?

8. Maggie, the investigation, working with Chris? Rescuing Jinjira?

9. The scene in the car, the tension, doing the best for Jinjira? Maggie, her concern? Chris, his despairing, crashing the car?

10. Social difficulties in Europe at the time? An analysis through characters? Situations and themes?

STRANGER ON HORSEBACK

US, 1955, 66 minutes, Colour.
Joel Mc Crea, Miroslava, Kevin Mc Carthy, John Mc Intire, John Carradine, Nancy Gates, Emile Meyer.
Directed by Jacques Tourneur.

A brief Western of the mid 50s, released the year Joel Mc Crea turned 50, based on a novel by the prolific Louis L’ Amour. It was directed by Jacques Tourneur who had come to prominence in the 1940s directing some key horror films for producer, Val Lewton. In the early 1950s he made a number of westerns.

Joel Mc Crea was one of the iconic Western stars, in dramas and light comedies in the 1930s and 40s, but appearing in numerous small-budget westerns, culminating in 1962, with Randolph Scott, Ride the High Country.

Here he is a touring judge, with his book of Law and his gun, confronting a lawless community dominated by the patriarch of a family which owns most of the land and companies in the town. The patriarch is played with some force by John Mc Intire, with Kevin Mc Carthy as his spoilt and conscience-less son. Mexican actress, originally from Czechoslovakia, Miroslava appears as something of a femme fatale (and, sadly, committed suicide the year the film was released). John Carradine is around as an advisor to the family.

The judge is an upright character, unable to be swayed by the family and by bribery. There is a buildup to the arrest of the son who has committed a callous murder, pursued by the family, an unexpected ending with the judge leaving behind the accused, then suddenly getting off his horse, hiding, starting the shootout, the film finally ending in the courtroom.

1. Standard Western of the 1950s? Brief? Presence of Joel Mc Crea, John Mc Intire?

2. The locations, the western terrain, the town, the saloon, sheriff offices, the mountain scenery? The location for the final shootout? The musical score?

3. The commentary on the west, the landowners and their moving in, setting up their empires, their own laws? The family in the town, the Bannermans, owning everything, controlling everyone?

4. Joel Mc Crea as the judge, riding in, integrity, not being able to be bribed, the discussions with the colonel, his knowledge of the family, of the law and the situations in the town?

5. The judge passing the burial, getting to the story, the dead man just arrived in the town, his grieving widow? Tom Bannerman and his advances, shooting the man? Conscienceless? The determination of the judge to arrest him and take him to court?

6. The Bannerman family, the head, his self-confidence, his henchmen, the colonel? Amy Lee as part of the family, the intended weddings? Wanting the judge to visit, his being persuaded, his strong moral stance?

7. The interview with the witness, his daughter, her motivations and love for Tom? Agreeing to testify?

8. The role of the sheriff, disheartened, yet on the side of right? Helping the judge?

9. The old drunk, to warn the Bannermans, the judge putting him in the cell, the Bannermans missing the group leaving town? Their pursuit, judge and the group hiding in the trees? The alternate route? Bannerman and his determination to head off the group?

10. Amy Lee, attracted to the judge, the kiss, his seeing her motivations? With the posse, her return, going to help the group?

11. The trip over the mountains, Tom and his getting the witness to fall over the cliff, the attempted rescue, Amy Lee stopping him harming the judge?

12. The confrontation with the Bannerman men, surrounded, Tom and his presumption, Bannerman and his saying he was to control whatever fate his son had? The judge agreeing not to shoot Tom? Riding away? The reaction of the group? The manoeuvre, the judge on the ground, the shooting, the deaths, Bannerman admitting defeat, wanting a proper court case?

13. The film finishing in the court?

LITERALLY, RIGHT BEFORE AARON

US, 2016, 104 minutes, Colour.
Justin Long, Cobie Smulders, John Cho, Leah Thompson, Dana Delaney, Kristin Schaal, Peter Gallagher, Ryan Hansen, Luis Guzman.
Directed by Ryan Eggold.

Actor Ryan Eggold had made a short film, Literally, Right Before Aaron, in 2011. Five years later he made a feature length film with the same title. It had some international release as The Wedding Guest.

It is the story of a forlorn young man, played wistfully (and oftentimes irritatingly) by Justin Long. The film opens with his receiving a phone call from his girlfriend of eight years, Allison (Cobie Smulders) who is about to marry Aaron (Ryan Hansen).

Adam is disturbed, paces, gets advice via Skype from his friend (John Cho), is in contact with family members, decides to go to the wedding and travels to San Francisco. The most part of the film has Adam interacting with a range of people that he meets, sometimes offloading his sorrows on them, often concealing the truth. He also has many flashbacks of the eight years that he spent with Allison, his introducing himself to her in a library, her initial resistance, his spoiling her reading of Of Mice and Men, revealing the ending… It is never clear to him why they broke up.

There are some comic pieces, the encounter with the receptionist at the hotel and his insinuations, meeting an old friend whom he forgets the name of in the library, people around the city. He also goes to the rehearsal, encounters Aaron, plays tennis with him, seems to be resigned, but… His also set up with an awkward woman to be his companion at the ceremony.

Needless to say, at the moment consent, he has a wild fantasy, going up to Allison, embracing her in a swashbuckling manner and taking off – only to wake up again.

He is uptight during the reception, awkward with his companion, going outside and encountering one of the cooks who listens to him, tells him the story of his dead goldfish but his immediately going out and buying a new one, sharing some drugs.

Aaron has done some courses with a French chef and they have made an extraordinary wedding cake – Adam, the worse for drink and drugs, intrudes into the reception, sends the cake hurtling, is pursued by Aaron, out into the streets from City Hall, chased by Aaron and Alison.

The key scene occurs in the toilet where he encounters Allison, misunderstands her response, she listening sympathetically, but trying to persuade him to be a friend.

There are some funny moments in the film, but because the central character is such a forlorn sad sack, behaving irritatingly so much of the time, some audiences will have a hard time with the film.

LOVE NEVER DIES

UK, 2012, 121 minutes, Colour.
Ben Lewis, Anna O’ Byrne, Simon Gleeson, Maria Mercedes, Sharon Millerchip, Jack Lyall.
Theatre director, Simon Philips. Film director, Brett Sullivan.

With the extraordinary success of Andrew Lloyd Webber’s The Phantom of the Opera, on stage in the US and London for many years, a film version in 2004 with Gerard Butler as the Phantom, there was some anticipation for a sequel.

This version was filmed in 2011 in Melbourne, at the city’s Regent Theatre, a lavish production, sets and stagecraft of the highest order, costumes and decor. There are also strong performances by Ben Lewis as the Phantom and Anna O’ Byrne as Christine. Maria Mercedes is the haughty Madame Giry, Simon Gleason is Raoul and there is a telling performance, acting and singing, by Jack Lyall as the young boy, Gustave.

The stage version was directed by Simon Phillips, a director with a significant theatre CV. The film version was by Brett Sullivan who directed a number of similar projects including Billy Elliot, Miss Saigon 25 Years.

The response to Love Never Dies was not particularly strong.

The score does not have the sweep and melodies of the original. There are some songs which have their moments, the focus on Beautiful and the range of cast singing Devil take the Hindmost. At times the lyrics are very plain, sometimes a touch banal.

Perhaps some of this is inevitable given the plot, 10 years after the action of the original, a transfer to the United States (with the invitation from Oscar Hammerstein who does not appear), the Phantom himself taking up residence, Christine and her husband, Raoul, and her little boy, Gutave, coming for a performance in the US. However, one of the locations is Coney Island at the turn-of-the-century, which brings a touch of the gaudy and cheap, the fairground, the dwarves and the acrobats, the bathing beauties…

Christine wants to sing, is in love with Raoul, mothering her son – and the audience fairly quickly realising that he is the son of the Phantom. Raoul is drinking, some self-loathing, ultimately confronting the Phantom with a wager about Christine singing – if she sings, he will leave her forever. There are some further complications with Madame Giri and her influence, memories of the past, as well as Meg Giri wanting to make a name of herself but confined to the vaudeville shows.

The scenario is quite melodramatic, Meg abducting the little boy, the Phantom confronting her as she leans him over a pier and he cannot swim. There is a gun, a shot, Christine wounded and dying, the Phantom tending her.

While the music and lyrics and some of the melodramatic and voidable aspects of the plot may be difficult for many audiences, there is still admiration for the sets and costumes, the movement on stage and the stagecraft, the singing - both individual and combinations with various members of the cast.

Andrew Lloyd Webber has made other more successful musicals.

STRONGER

US, 2017, 119 minutes, Colour.
Jake Gylenhaal, Tatiana Maslany, Miranda Richardson, Richard Lane Jr, Clancy Brown, Kate Fitzgerald.
Directed by David Gordon Green.

At the centre of Stronger is Boston man, Jeff Baumann. He is an ordinary, working class man, in a relationship with a young woman, Erin, who is running in the Boston Marathon. His father is absent, his mother has drinking problems, he has his group of friends.

On the day of the marathon, the day of the bombings, Patriots Day (filmed as an action feature with Mark Wahlberg), he wants to be supportive, doing some fundraising for Erin, going to the finishing line and finding himself a victim of the bombings.

The main action is focused on his injuries, time in hospital, the reaction of his mother, Erin, friends and family. There is his facing of the reality of his situation, his physical limitations, possibilities for rehabilitation and recovery.

Jake Gylenhaal is always a strong performer, entering into his character, this time the experience of shock, disillusionment, discouragement. Tatiana Maslany is Erin and there is a strong performance by British actress, Miranda Richardson, as Jeff’s mother.

The film was directed by David Gordon Green whose CV is a mixture of serious films like this one as well as broad American comedies, Pineapple Express, Your Highness. He also directed the remake of Halloween, 40 years after the release of the original.

Despite the setting and human issues, the film was not popular at the box office.

1. The title, Boston, Boston Strong, Stronger? Ordinary people, crisis situations, becoming stronger?

2. Patriots Day, 2015? The tradition of the Boston Marathon? Training, running? Terrorists, the bombs, the injuries – and the film showing the details of the horror later? Boston city, ordinary people, working class? Homes, bars, diners? Hospitals? Therapy and recovery? Fenway Park? The atmosphere? The score?

3. The introduction to Jeff, is job, ordinary, unreliable, yet liked? The bond with Erin, meeting her again with her friend? The history of breakups? Her raising money for the marathon, Jeff advertising it, raising the cash? Promising to be at the finishing line?

4. Jeff, his mother, her drinking problems. Aunt Kate and the friends, the absent father? Jeff and his own friendly group, their banter together? Drinking, interest in baseball, the Red Sox, the mateship?

5. Erin running, the bombs exploding, the news about., in the hospital, with his mother, his father arriving, all the friends and relatives? His losing his legs? Conscious and unconscious? Information for the FBI about seeing the bomber? The effect on Jeff, surviving, having to accept his situation, the treatment? The care of the doctors and nurses, real doctors and nurses playing these roles? The long taking off of the bandage and gauze? The possibility of artificial legs? The need for exercise and balance?

6. The effect on Jeff, acceptance and not, his being carried, his chair, in the cars, showering, going to the toilet, his falls, being dependent? His mother’s care? Erin, giving up everything to look after him? His drinking, the gradual resentments? His reaction to Erin? The issue of pregnancy? The rednecks in the diner and the Obama conspiracy about the bombing? His unwillingness to meet Carlos who saved him?

7. Erin, strong character, her friend, giving up everything, her care for Jeff, love for him, her presence, the practical aspects, the sexual encounter, her pregnancy? Yet his treatment of her, her commenting that he was like a boy, not grown-up, dependent on his mother? Telling him about the pregnancy, his reaction, unwilling to be a father? Her leaving? His crawling to the door? A moment of truth for him?

8. His mother, age, character, having custody of her son, her drinking? Her husband and interactions with him? Her presence in the house, against Erin? Their interactions? The importance of the announcement of the Opera Winfrey coming? Jeff’s reaction, not wanting it? His becoming a celebrity? Unwilling? The photos?

9. The episode of the drink-driving, his friend on the brakes and accelerator? The policeman with the guns? Wanting a photo?

10. Jeff’s reaction to Erin’s behaviour, the decision to go for the legs, the exercise and balance? The invitation to Fenway Park? Pitching the ball, the crowds cheering? Television?

11. Carlos’s story, meeting with Jeff, in the diner, his being modest in the photo, explaining how he saw Jeff, the story of his two dead sons?

12. The baseball match, Carlos wheeling out Jeff, his mother and the crowd, Erin jogging, seeing it all on TV? Crowd, cheering, Larry and his congratulations and his own story? The girl doing the assignment? The other admirers?

13. Reconciling with Erin, the information about the marriage, child, future?

14. An ordinary man, fate and circumstances, making him stronger?

TEZA

Ethiopian/ Germany, 2008, 140 minutes, Colour.
Aaron Arefe.
Directed by Haile Gerima.

This is the story of Ethiopia in the latter part of the 20th century. It is personalised in the story of an intellectual, the background of his growing up in Ethiopia, family life, politics, oppression. The man goes for some time to Germany, experiencing a different culture, eventually returning to Ethiopia.

This is an opening up of Ethiopian to a wider audience. The location photography brings the country to life. The experience of the boy, young man and his family indicate the hardships and poverty of the period.

On his return to Ethiopia, there is a Maoist government, a politically difficult situation for a sub-Saharan country.

This film received a Commendation from the SIGNIS jury in Venice, 2008.

1. The director, his Ethiopian background? An Ethiopian story? Audience interest in Ethiopia, its 20th century history, the legacy of Haile Selassie, the Maoist revolution, its overthrow after Civil War? The 1990s and rebuilding?

2. The Ethiopian settings, the village, the lake, the Mussolini Monument and memories of the Italian presence? The village, the church, homes? The contrast with the capital, hotels, courts, government?

3. The episodes in Germany, West Germany, Cologne in the 1970s, migrants, the clubs, protests, apartments, medical studies, universities? The change in the 1980s? Presence in East Berlin? The coming down of the wall?

4. The writer-director and his Ethiopian perspective, audiences identifying with him, his identifying with the central character? Hopes, social concern, the experiences of failure, openness to possibilities?

5. The structure, injuries, the voice-over and the narrative, the central figure and his mother, leaving home, surviving, his leg, fall from the balcony? His return?

6. The flashbacks, constructing a linear narrative, the interplay of past and present within this framework? The central character, his childhood in identification with Ethiopia, going to Germany, his return, the airport, his limp, his mother and weeping, home, the family, the church? His mother kneeling? The critique of religion? Observations, the military, mothers and children, brutality? The teacher and the futile location at the time? The young man returning, women, relationships, the pregnant woman, wandering? The reflections, memories returning? The effect?

7. The central character at home, after the medical experience in Germany, his age, regrets, defending the woman?

8. The coming of the Maoist military, the oppression, trying to survive? His being sent to East Germany, the falling of the Berlin wall?

9. The return, the sadness of the experiences of his life, audiences empathising with him, understanding the experience? The 1970s and the terrorists in Europe? The 1980s
and revolutions and governments in Africa?

THE LAST ELVIS

Argentina, 2012, 91 minutes, Colour.
John McI nerney, Griselda Siciliani, Margarita Lopez.
Directed Armando Bo.

A film which has its exhilarating moments as might be guessed by the title. But also a deeply pessimistic film. The film won quite a number of awards, especially in its native Argentina.

John Mc Inerney is expert in portraying an Elvis impersonator. He has many opportunities to display this talent.

On the one hand, he works on a factory, is estranged from his wife and daughter. On the other hand, he longs to be a successful impersonator, sometimes succeeding, other times ridiculed and mocked.

In a moment of self-assertion, and of desperation, he buys a ticket to go to Memphis and to visit Graceland, touring Elvis’s house. And it is there, he decides to and his life.

Impressive but bleak.

1. The title and expectations? Elvis impersonators? All over the world? In Argentina?

2. The Argentinian background, the city, home, clubs, performances, offices, factory? The flight, Graceland, the Presley mementos?

3. John Mc Inerney, his skill as an Elvis impersonator, the range of songs and performances?

4. A portrait of Carlos, as himself, as embodying Elvis Presley? The opening, the stairs, the club, the band, the performance, the audience reaction, the wedding reception? The difficulties for his being paid, going to the office, making demands? His estranged wife, the conversations, exasperation? His bond with his daughter, taking her out? His work in the factory, humdrum, his dreams of doing something else? The continued singing, his exasperation and walking off, persuaded to come back? His hopes for a career? Age 42 and his celebration, the cake and the numbers, his desperation?

5. His decision to go to Memphis, the ticket, the plane, going to Graceland, the tour, his going upstairs, Elvis’s rooms, the mementos? His tablets, the decision to end his life, lacking achievement but dying in Graceland?

6. The portrait of his wife, the bonding with her husband, estrangement, the meetings, meals, the outings, her exasperation? The little girl, the bonding with both parents? Her mother deciding to file for divorce and for custody, allowing Carlos visits?

7. The exhilaration of the history of Elvis impersonations? Yet the effect on the individual? Lack of achievement? Despair?

MOURNING BECOMES ELECTRA

US, 1947, 160 minutes, Black-and-white.
Rosalind Russell, Michael Redgrave, Katina Paxinou, Raymond Massey, Leo Genn, Kirk Douglas, Nancy Coleman, Henry Hull.
Directed by Dudley Nichols.

Mourning Becomes Electra is a powerful played by Eugene O’ Neill, a key playwright in the first half of the 20th century, a huge reputation in American theatre. (He is portrayed vividly in Warren Beatty’s Reds, played by Jack Nicholson.) Many of his plays were filmed, from Anna Christie and strange Strange Interlude in the 1930s. It was an award-winning version of Long Day’s Journey into Night, with Katherine Hepburn, and an American Theatre version of his the Iceman Cometh.

This is an ambitious film of 1947, written and directed by Dudley Nichols. While admired, it was not successful at the box office. It has a very strong cast, a star vehicle for Rosalind Russell, and Oscar nomination, at the time she also portrayed Sister Kenny. Oscar winning Greek actress, Katina Paxiinou (For Whom the Bell Tolls) is the betraying mother. Michael Redgrave came from the UK to portray the brother. Raymond Massey is the father. Leo Genn is the mother’s lover and this is an early role for Kirk Douglas. Henry Hull portrays the caretaker and narrator.

Aeschylus’ Agamemnon play is transferred to the American South, immediately after the Civil War. The father is the Agamemnon character, Ezra, Raymond Massey. Clytemnestra is the wife, Christine, Katina packs into. The focus of the film is on the daughter, Lavinia, the Electra character, betrayed, mistrustful of her mother, of her father, trying to support her brother, Orin.

The American South after the Civil War and its lifestyle (with visits to New York) is a sufficiently melodramatic setting for O’ Neill to explore the Aeschylus themes for an American audience.

In some ways the film is a museum piece – but worth looking at as an attempt to do creative filmmaking in the mid 1940s.

1. The title? The plays of Aeschylus? Adapted to the United States, the 1860s, the post-Civil War period? How effective the parallels?

2. The work of Eugene O’ Neill, his career, Pulitzer and Nobel prizes? The theatre, film adaptations, television adaptations? His status?

3. Classical tragedy transferred to the United States? The impact?

4. The film in 1947, not a commercial success? Yet Oscar nominations? The strong cast? The adaptation to the screen, 160 minutes? The style of the film, theatre scenes, long speeches, no swift editing, the emphasis on dialogue and the power of the interactions by dialogue?

5. The musical score, the use of Shenandoah throughout the film, John Brown’s Body…?

6. The introduction, the information, the music and the sea, the title, Homecoming? The port, the ship, Captain Brant? The mansion, Seth and his work, the visitors, tour, the women gossiping, the portraits, communicating the characters and background to the audience? The family secrets?

7. Rosalind Russell as Lavinia, her prim manner, puritanical, somewhat starchy like a schoolmistress? Dressed in black? The visit to New York, lying to her mother, following her mother, seeing her with Captain Brandt, the kiss, the memories of her walk, kissing the captain? Anger, return, locking herself in her room, headache, antagonism towards her mother? Peter, his visit, her rejection? The discussions with Seth, the revelation of Brad’s identity, his disgraced father, his mother? Confronting Christine, formally, threats, the memories of the mother and the mother’s love for Brant? Loving Orin? Lavinia and father – the touch of the incestuous? Seth and his keeping silent of the issues?

8. Christine, Katina Paxinou and her presence, performance, look? Her age, marrying Ezra, loving him, falling out of love with him, no response to Christine? Ezra going to the war, the birth of Orin, close to Orin? The encounter with Adam, the discussion with Lavinia and her threats, promising Lavinia to reject him? Yet her note, the meeting and talking, the plot and the poison from the doctor, murder and Adam’s reaction?

9. The end of the Civil War, the cannons and firing, going to the station, Lavinia and Christine, Orin wounded, Ezra saying that he made a man of his son? The civic welcome, Ezra and the past, the doctor and his checking on health? Ezra and his very strong stances, visualising Lincoln’s assassination and the future? John Brown’s body…?

10. Ezra, his background, long days, his father and grandfather, the company, his brother and the maid, sent away? The family? Ezra giving up the maritime business, taking on the law, become judge, enlisting, his experience of war, the past and in Mexico in war? The explanations to Lavinia and Christine, his having seen too much debt? The doctor’s advice, Christine’s insinuations, the discussions about adding? Lavinia and her insinuations, the promising to look after her father always?

11. Christine and Ezra, Ezra probing, Christine and her sweet-talking husband, Ezra flirting, the kiss, the sexual tension, Ezra’s talk about death, it being so common in war that he thought it likely? His comments about church and puritanical ideas, and birth, death was being born? Criticisms of Orin, his declaration of, Washington life?

12. Lavinia, the erotic fears, shouting to expose Christine but not able to? In the bedroom, the tension, the light and Christine not wanting it, Ezra’s confession about his illness, talk about death, his disappointments, Christine and her blindness, telling the truth about Adam? His tone, administering the medicine, his words to Lavinia “she’s guilty. The medication�. Lavinia’s reaction, and vindictive Lavinia standing alone after her mother fainted and she finds the medication?

13. The Hunted, the second act? The funeral, saying that she wanted it to be private, waiting for Orin, Christine anxious and genteel and, the women gossiping?

14. Orin arriving, Peter welcoming him, Orin and his reflections on the war and murdering, his reaction against Lavinia, greeting Christine, the erotic tones and incestuous suggestions? The confrontation about the medication? Orin saying he was not talking to the taste of murder? Asking about Adam? The background of the family feuds? Christine pressuring Orin, saying Lavinia was poisoning minds, Christine explaining Adam? Christine’s lies? Lavinia taunting Orin, against Brant, that Orin was a mummy’s boy?

15. The war between Christine and Lavinia, the tactics?

16. Orin’s speech over Ezra’s body, feeling his father’s distain, the name of his father is stick in the mud, Orin telling the story about the attack on the rebel, killing the second rebel, Orin as crazy and his daring, Lavinia persuading Orin, manipulating him?

17. Adam, the ship, Lavinia, the gun, Christine warning Adam, his regret that there was no dual, an honourable fight to the death? The plan for going to China? Orin and Lavinia plotting, on the ship, listening to the plans, the shooting of Adam? Lavinia over his body looking like Christine? Making the death look like robbery, the newspaper item? Orin saying that Adam lookrd like Ezra, like Orin himself, like a suicide?

18. Christine, her model, the overtones of hate, Ezra’s portrait and hatred, her being afraid, her children returning, the confession, her moaning, Orin and his disdain of the son of the servant, Christine and her love for her son, Lavinia saying he was a cry baby? Lavinia in control, saying the shooting was justice? The drama of Christine shooting herself? Orin wanting Christine to turn to him, weeping, grief, Lavinia and her commands for Seth?

19. The Wanted, the third act? Brother and sister being away, the return home, Orin and his beard, Lavinia wearing white? Her saying that all the past was finished? Back in the house, the interiors, Shenandoah? Lavinia’s monologue at the portrait? Orin momentarily seeing his model will? Lavinia talking but forgetting, the right to love, Lavinia almost becoming Christine? The memories of the South Sea Island, having to face ghosts, getting rid of guilt?

20. Peter and Lavinia, Orin and Peter and their friendship? Orin speaking badly of Lavinia, her being bossy, teasing and taunts? Lavinia talking to Peter, the islands and being free, able to forget death, natives innocent and free, not?

21. Orin writing down the whole truth? Locking it in the drawer? Orin looking bad? His regard for Hazel, the purity, his stating that confession was important, the only way out? Writing the history of the crimes, sealing the envelope, giving it to Hazel and his warnings about the revelation? His telling Lavinia the truth?

22. The relationship between brother and sister, overtones on incestuous love, incestuous hate? Orin’s life, becoming paranoid concerning Peter? The drama in the house, Lavinia with the portraits, how to save Orin, Hazel and Peter writing? Orin to visit Hazel, his confession?

23. Lavinia taunting Orin, to madness, Peter’s arrival, the pistol, his death? Lavinia locking the documents?

24. Lavinia returned to black, setting the flowers in the house, her sitting on the steps like Christine? Hazel confronting the, the envelope and its contents? Lavinia not marrying Peter, his confrontation, concern about the contents of the envelope? Her burning the script?

25. Peter and Lavinia? Lavinia’s despair? The kiss, Peter naive, Lavinia calling him Adam? Returning into the house, Peter asked her about the island and the experiences? The grief, his leaving, Lavinia alone? Seth, Shannon door?

26. Her final speech, going into morning, reading house of flowers, the shutters? Mourning Becomes Electra?

FIRST MAN

US, 2018, 141 minutes, Colour.
Ryan Gosling, Claire Foy, Pablo Schreiber, Christopher Abbott, Kyle Chandler, Ciaran Hinds, Ethan Embry, Jason Clarke, Corey Stoll, Shea Wiggin, Patrick Fugit, Lucas Haas, Olivia Hamilton.
Directed by Damien Chazelle.

Films about space exploration have been very popular – and award-winning. In the early 1980s, audiences were taken back to the first flights in space, The Right Stuff. In the 1990s, there was disaster and success in Apollo 13. More recently, there was the story of the African-American? women working behind the scenes – and moving in front of the scenes, Hidden Figures. Now comes a quite spectacular film about the journey to the moon.

First Man is about as close as most of us will ever get to space exploration. And, it does not fail its audience in immersing them in the experience. In the first few minutes, we are in the cockpit of a plane with Neil Armstrong, a very serious Ryan Gosling, being battered about as he breaks the sound barrier (with a rather adverse comment about his experience of landing in the desert by pioneer of sound barrier breaking, Chuck Yeager). It is 1961.

The screenplay follows the journey of Neil Armstrong from this 1961 flight to his standing on the moon, that the Eagle has landed, and that he was taking one small step…

The film is doing two things. It is often a portrait of Armstrong himself, as an engineer, as a pilot, as a man who was enthusiastic about the US getting to the moon. We see him interviewed, training, blacking out during an experiment but wanting to go again, respected by the NASA authorities, their sending him to represent them at the White House, choosing him to be the leader of the Apollo journey to the moon.

The other portrait that the film is offering is very personal. There is his marriage to his wife, Janet, a strong-minded Claire Foy was not backward in being forthright about what she thinks and what she expects of her husband and children. There is the sadness, very early in the film, of his young daughter with a tumour and doctors unable to do anything for her. Images of his daughter will recur in various moments during the film, most potently on the surface of the moon itself when he leaves his daughter’s bracelet. Neil Armstrong is friendly in a reserved kind of way, speaking iin low key to press conferences (refusing to be drawn on how excited he was in being chosen for his mission and reiterating that he was “pleased�). There is also sadness in the accidents and deaths of some of the men close to him.

For those of an engineering disposition, for those of complex technical disposition, First Man will be fascinating. For audiences less technical, many of the scenes may well prove overwhelming.

However, it is almost half a century since the moon landing, a singular event in world history that is worth commemorating, for remembering for those who around at the time, some American history worth knowing for those for whom these events are well in the past.

Directed by Damien Chazelle who made an impact with his film about music, Whiplash, and then won an Oscar for directing La La Land. First Man, with its technical know-how, seems rather surprising follow-up to his other films.

1. Acclaim for the film? The work of the director? The cast?

2. The film based on facts, on actual characters? The 1960s, the moon, the moonwalk, 1969? Audience response, to this dramatising of American history? For those who remember the times and events? Armstrong and Alden as heroes?

3. The atmosphere of the 1960s, clothes, music, competitiveness with the Russians in space, the Vietnam war, the growing protests? The protests against the expenditure for the Moon exploration? Yet the revocation of John F. Kennedy and the final playing of his speech about going to the moon?

4. Houston, NASA, the officers, experiments, technology, tests, success and failure, meetings and interviews and analyses, the reaction of the press, Congress? Cape Kennedy in Florida? The launching of the rockets?

5. The homes, family life? Accidents, deaths and grief? Funerals? And the added grief for Neil Armstrong with his daughter’s illness, hopes for treatment, her death and funeral? The effect on him – and the screenplay showing him remembering her at various times, her bracelet in the drawer, and his dropping it on the surface of the moon?

6. The characters, the well-known figures from space exploration in the 1960s, The Right Stuff? Chuck Yeager and the breaking of the sound barrier? These men and their technical advice for the moon launch?

7. Ryan Gosling as Neil Armstrong? Age, the impact of the opening and his flying the plane, the difficulties, breaking the sound barrier, the return to the desert, Chuck Yeager’s comments? His going for interviews, the NASA board, his explanations, his getting the job? The years of training, his engineering background, his suggestions? The growing friendships, with Elliot, with Ed, Patricia and the family? The friendly supervision by Kyle Chandler? Bob and his seriousness, yet continually supporting Neal?

8. The indication of places and dates, the development of the space program for the moon, training of the men, the experiments, especially with the men blacking out? The later use of this experience, especially on the moon? The Gemini tests? The fire, the deaths of the three men?

9. Janet Armstrong, strong-minded woman, her memories of being attracted to Neil, wanting stability, the children, the death of the daughter, her pregnancy again? Supporting her husband? Strong-minded, forthright in her comments? Love for her husband, yet the fears? Dealing with the children, their being cheeky, supportive? The link in the house with the audio progress of the tests? Their cutting it off, who going to the headquarters and demanding it be put back, her talked that they were playing games? Neil and his behaviour, sometimes sullen, going back to the office, her reactions, his packing and her forcing him to talk with the children, explain that he might not come back? The joy of the success of the mission, her response to the media?

10. The film filling in the personalities of the other astronauts and space experts, Elliot and his friendship, the plane crash? Ed, the discussions, his family, and space control, the death and the fire? The tribute to the sacrifice of those men who died?

11. The children, to joining the group, his bluntness, saying what others were thinking, Neil telling him not to say it? His promotion, training? Going on the moon landing, Neil in command, Aldrin and his support?

12. The readiness to go to the moon? Public opinion? Getting ready, the blast off, travelling to the moon, the arrival?

13. The visuals of the moon and the surface, the descent, testing, control from Huston? Armstrong, the eagle has landed, one small step…? The experience of being on the moon, walking, leaping, the flag, his daughter’s bracelet? The film not dramatising the return but highlighting the achievement?

14. The return, the quarantining, the range of magazines and papers with the news, the television? Janet coming, with Neil, the silent communication in love?

15. The success of the mission, world audiences and the numbers watching television? The universal human achievement? Science and technology? Space?

16. An American achievement? The American spirit? World audiences going back into this history and its effect?