THE KILLER

France, 2024, 126 minutes, colour.

Nathalie Emmanuel, Omar Sy, Sam Worthington, Diana Silvers, Said tTaghmaoui, Eric Cantona, Tcheky Karyo.

Directed by John Woo.

In the 1970s and 1980s, John Woo was one of the key directors of action filmmaking in Hong Kong, with a distinctive style, arresting moments, framing and editing, elaborate action sequences.

The Killer was one of his most acclaimed films, a star vehicle for Chow Yun-Fat. Woo then moved to filmmaking in the United States, most strikingly in Face/Off with John Travolta and Nicolas Cage. While he continued to make some films in the United States, he also went back to China, a number of striking historical films.

In his mid-70s, he made this film, a remake of his 1989 film, this time focusing on action in Paris, and the killer being a young woman, Zee with a very troubled background, skilled in assassinations and escapes, disguises, under the control of a Rogue Irishman played by Sam Worthington who works for a crime boss Eric can turn. He is played by British actress, Nathalie Emmanuel, noted for being one of the stars of Francis Ford Coppola’s.Megalopolisa

There are very exciting set pieces in the John Woo manner. There are car chases, confrontations with criminals, quite an episode in a nightclub where a young American singer is wounded, hospitalised, but ordered for elimination. Zee takes compassion on her, pretends to be an American official just as the police come to interrogate. And the policeman is played by Omar Sy with his customary charm. He plays an officer with a chequered career record.

Quite some further complications, orders for assassinations, threats to Zee herself, money deals, a suspicious Arab prince, Zee wanting to protect the singer, threats to her own safety, ultimate confrontations.

While a world of hired assassins is amoral/immoral, the screenplay weaves human themes and conscience issues throughout.

21^st-century audiences will enjoy the film, characters, drama, action –   but many old-timers and critics, probably expectedly, wrote it off as not to be compared with the original.

1. The films of John Woo, in Hong Kong, in the US, in the 20^th century, later films, this remake, 2024?
2. The Paris settings, the views of the city, landmarks, the streets, buildings, car chases, bikes, stunt work and special effects? The musical score?
3. The title, the focus on Zee, her story, family, exploited, criminal, the revenge on her pimp shooting him, her skills, becoming a hired killer, Finn as her controller, her lonely life, her friendship with the tailor, his making the suit for her, her commission to go to the club, the disguise, suit and hat, searched, Jen singing and her fascination, the confrontation with the criminals, her weapons concealed, the violence of the deaths? Jen hitting her head, going blind? Her escape?
4. The de-consecrated church, the candles and her lighting them for her victims, the images of the crucifix, the way it was filmed, commenting on the action, the Christian symbolism? The empty church, the birds, her going to pray and reflect, the meetings with Finn?
5. The criminal background in Paris, the boss, dealings, ruthless, international connections, his control, known to the police, his moods? His working with Finn? The Prince? The plane, the robbery of the drugs, Finn concealing them?
6. The police, the drug situation, the criminal world, their knowledge, political pressures? The role of the Prince and their shielding him?
7. Sey, his integrity as a police officer, his career, memories of being shot and the revelation that it was Zee who shot him? His partner, the shootouts and chases, his partner wounded, his wife pregnant? The bond between them? The disillusionment of his final betrayal, setting up Sey, snipers, his standing on the spot as target, Zee saving him, shooting the assassin?
8. Sey and his investigations, his relationship with the authorities, his skill with the gun, pursuit, in the car, crashing into the drug dealer, the confrontation, shooting, pursuing him, the confrontation at the water’s edge, his being shot? The further revelations of his drug deals, the stealing of the drugs, the friendship with Jen, listening to her song, her having the information?
9. Sey, the orders to kill Jen, her compassion because of the blindness, the story, pretending to be the American Embassy official, changing her mind about the lethal injection, present at the interview with Sey? His realisation of who she was, her disappearing? Finn and his continued demands that she kill Jen? The hospital, the return, the assassins, corrupt police, on the bike, edging them off, rescuing Jen, the shootout in the hospital? Taking her to a safe place? The discussions about her background, the information, in the church?
10. Finn, with the boss, the boss challenging him, his death? Finn, the other assassins, the women assassins?
11. The buildup to the confrontation with Zee, the abduction of Jen, the bargaining, the information about the drugs? The pursuit, the confrontations, the exploding of the drugs?
12. The fights, choreography, in the church, the female assassin, overcoming her, the rescue of Jen?
13. The finale, the setup, to shoot Sey, the revelation of his friend’s treachery, Zee and her shooting the assassin?
14. Sey and the authorities, his taking a stand, refusing the award, wanting integrity? The meeting with Zee, the possibility of her change and a respectable future?
15. The issue of crime, hired killers, ethics and morality, the lack of morality, but the possibility for human compassion?

THE ART OF THE STEAL

US, 2014, 90 minutes, Colour.

Kurt Russell, Matt Dillon, Jay Barash L, Kenneth Welsh, Terence Stamp, Kathryn Winnick, Chris Diamantopoulos Jason Jones, Devon Bostick, Stephen McHattie.

Directed by Jonathan Sobol.

This is the kind of iced film that could be recommended as an enjoyable night out – or enjoyable night streaming!

As the title suggests, there is a focus on art, literal art, a group of forgers, classic paintings, an expert forger from France who is able to copy any work of art. At the centre there is the real painting by Seurat and a scheme, borrowed from the stealing of the Mona Lisa, the making of many copies to be sold as authentic, making money with the forgeries.

But, this is also very much a comedy, with some very funny moments.

Kurt Russell is at the centre, released from a Polish prison after years, betrayed by his brother, Matt Dillon, who comes up with a new reconciling proposal. Kurt Russell is Crunch Calhoun, part art connoisseur, part Evil Knievel. He wants revenge on his brother. However, the brother comes up with quite a scheme for Crunch and his cronies to share in. The cronies include Kenneth Welsh as an old Irish roue, and a new apprentice, Jay Baruchel, who has many of the comic moments, especially trying to smuggle two characters across the Canadian/US border at Niagara.

Rather different in tone is the presence of Terence Stamp as a British authentication expert and thief, very British, pausing the action as he makes a speech about his memories of first discovering art as a child.

And, by the end, doublecrossings, tricks, there are very satisfying twist results illustrating the steal and the art of stealing.

1. The title, theft, content, elaborate heists? The serious turn, the pervading comic tone and irony, characters, throwaway lines, oddball situations?
2. Audience interest in heist stories, elaborate plans and their execution? The characters? Doublecross?
3. The tone, Crunch and his story, the years and the Polish prison, day in, the day out, the flashback to the heist, the group, the wealthy Polish criminal, the Gauguin painting, Nick and his smooth talk, Paddy impersonating the authenticator of paintings, Crunch and the Switch, the delay in the restoration, the chase through the streets, through the train, the last moment? The irony of the gangster with the paint on his finger, the pursuit, the crash, Nick’s arrest, giving up Crunch, his half brother?
4. Crunch out of prison, with his bike, popularity because of his crashes, his medical history, marrying Lola, the negotiations for $800 for another crash? Francie, friend, apprentice, classical history and literature discussions?
5. Nick and his return, the Seurat painting, at the airport, different cases, the interrogation by Interpol, Bick, his manner, with Samuel Winter, sardonic responses, and Winter and his possible release, authenticating the painting? Memories of Nick, of Crunch, his speech explaining his childhood love of beauty, the Jade cup, but, authenticating, stealing? Deadpan responses to Bick and his awkward behaviour?
6. The return of Nick, the animosity, Paddy, Irish character and womanising, contacts? The story of the Reverend, the second Guttenberg book (and the flashback to Gutenburg), the plan to steal the book, hide it, Crunch and contact with Guy, forging, the phone call, coming to the US? The story of the stolen Mona Lisa, hidden while 10 reproductions were sold, the plan for the book?
7. The stealing of the book, the warehouse centre for the Reverend, Niagara, the book in protection, the giant vagina, the false book? The details of the plan, Paddy and Olga and the documents for authentication? Nick and the raising of the money? His flirting with the Lola and her support? Francie, the beard, driving the car, Guy and Crunch in the boot, the fiasco at the border, Francie as an actor, getting through?
8. Nick, the plan, Guy and reproducing the number of books? The distribution? Nick, doubledealing, connection with Ernie, more false books?
9. The revelation of the plot against Nick, the empty warehouse room, Lola with the money and Crunch and Lola deceiving Nick about the relationship, Paddy watching with Ernie, the expose?
10. The Seurat painting, Crunch getting it, the initial intention, the heist of the century, the deal with Samuel Winter, in prison, the authentication, able to receive the painting before his release?
11. An enjoyable blend of action and comedy and doubledealing?

HAJJAN

Saudi Arabia, 2023, 117 minutes, Colour.

Ibrahim Al-Hasawi, Abdulmohsen Alnemr.

Directed by Abu Bakr Shawky.

A film from Saudi Arabia, though filmed on the red Sea coast. For audiences unfamiliar with details of Saudi Arabia, this is a journey into the countryside, the deserts, the towns.

The title refers to camel jockeys. And, camels a prominent in this story. There is an atmospheric opening, the singing of Arabic songs, the role of the camel. The central character is the youngest in a family of camel jockeys.

In many ways, the outline of the plot is familiar but it is the unfamiliar setting which brings it alive. The younger son is bonded with his brother who is injured in a camel race and left by the ruthless camel owners, injured. With this disaster, a decision has to be made about the young man and his camel which he has nurtured after its difficult birth – vividly visualised early in the film.

The young man and his camel of them put under the protector ship of a businessman who is inherited a camel racing from his brother who had despised him as does the widow. He is unscrupulous, self promoting with advertising, gambling on races, trying to separate the young man from his camel, promote his best jockeys with the others conceding races.

This leads to decision-making by the young man, his winning in the races, the support from the angry widow, his taking his camel and taking a jet dangerous journey through the desert, asserting himself and his place in life.

1. The title, the camel jockey, the camel races, the range of jockeys, the focus on Matar and his brother?
2. The Arab settings, the desert, the communities, homes, stores, supermarkets, the settings for the races, the races themselves? The musical score?
3. The song at the opening, at the closing?
4. Audience response to camels, in themselves, in the desert, the racing? The initial birth of Hofira? Entrusted to Matar, care for her, riding her? His work as a tailor, mending brother’s coat, his place in the community?
5. Saudi Arabia, a male culture, the few appearances of women in this film? The wife and her situation, the arranged marriage, her fortune? Her determination and influence? The young female camel rider, veiled, her age, interactions with Matar, with the wife, helping with Matar’s escape to the desert?
6. The community, life, customs, religious police, Muslim prayer? Business, the countryside, the city? Camels, racing? Matar and his brother, his brother’s return, the relationship, his riding in the race, his being pushed from his camel, the tragedy of his death? The impact on Matar?
7. The background of the wealthy camel owners, Jesser, inheriting from his brother, despised by his brother, his domination of the trainer, his influence on the announcer, driving his car, the loudspeaker, bribes, praising Jesser? Jesser and his ambitions, ownership, in the significant race, the various preliminary races? The interactions with his wife, domination, her despising him, going behind his back, the influence on Matar, the female rider, winning at the end?
8. Matar, the ride, the obstacles and impediments, his winning? Jesser and his reactions, greed, influence, buying the camel and Matar? The discussions within the family, the uncle, going to the city, the deals?
9. Matar, with the training, attitude towards the trainer, defiance? The issue of riding Hofira? The role of the support jockeys to let the favoured animals win?
10. Matar, his defiance, his successful ride? Jesser and his reaction, with a knife, to destroy the camel, the camel reacting and killing Jesser? Matar, the rescue, the wound, the escape into the desert with the camel? The wife watching him go, the girl supporting him? His future?

Mass and funeral, Arthur Stidwill MSC

Mass at the Verius Chapel, Kensington Monastery

Concelebrants

Edmond Travers MSC preached

Presence from St Mary's parish, Casino, where Arthur supplied for many years

Burial at St Mary's Towers

Graveside

And thanks for John Walker MSC for photos

Stories from our MSC World

INDIA

Newly-elected Provincial Superior: Chinnappan John born 18.06.1976

Ordained 18.09.2004

First Vows 02.06.1998

from the Pondicherry-Cuddalore in the State of Tamil Nadu  

He has a Law Degree. Currently Parish Priest of Our Lady of the Sacred Heart Church Bellandur Gate, Bangalore.

AFRICAN UNION

ITALY

Armando Genovese, M.S.C., full professor at the Faculty of  Theology of the Pontifical Urbaniana University in Rome. He visited us in 2015.

Armando is one of twenty-eight new consultors have been chosen by Pope Francis to assist the Dicastery for the Doctrine of the Faith (DDF), the Vatican’s important doctrinal office that deals with the promotion and protection of the doctrine of faith and morals

PACIFIC ISLANDS

MOZAMBIQUE

Annual MSC Education pilgrimage to Issoudun

From Anne McAtomney, Director, Chevalier Institute.

The group gathered on the steps of the parish church of Notre Dame in Chatillon sur Indre, where Jules Chevalier spent several months as curate ahead of his time in Issoudun. 

Over the past seven days, staff from our schools have been on pilgrimage in Issoudun, such as takes place annually. This year, there have been 13 pilgrims, accompanied by three facilitators – Alison McKenzie, Cheryl Hamill ( AP- Mission, Daramalan College) and myself. 

As for each year, the time together in Issoudun has been a joyful and fruitful experience for all, including facilitators. We have been warmly welcomed by Father Raymond Lievre MSC and all in the MSC Basilica community, taking our lunch with them each day.

Cheryl and Alison in one of the Basilica seminar rooms, preparing baguette sandwiches ahead of pilgrims’ arrival in Issoudun;

the group in Richelieu, birthplace of Jules Chevalier;

the group gathered in the gardens following a tour of  Bourges Cathedral, where Jules Chevalier was ordained.

Of particular significance during this year’s pilgrimage has been a visit and tour of the house in which Jules Chevalier spent his final months ahead of his death in 1907, the house now being owned by a parishioner and close friend of the MSC community in Issoudun.

Farewell to Len Helm MSC

Mass celebrated in the chapel at St Mary's Towers, Douglas Park.

Burial in the community cemetery

The story behind this photo taken in Alice Springs is that Mother Therese had collected all the left over food from the plane journey and gave the bag to Len to carry for her!

The following words are Len’s just after medical treatment was ceased at his request.  His room was vacated of visitors, and he had received his first dose of ‘comfort’ medication.  Just the two of us sitting in the silence with the door closed.  He leant back, closed his eyes, and ’said’ these words, which I had recorded on my phone to not forget what Len had said.  Photos from John Walker, much appreciated.

Justice and Peace of the Chevalier Family, First Friday message

St. Therese Church, Moonah, Tasmania: Multicultural Celebration

With thanks to our PP, Bartha, Fr Partholomai Pani MSC, with us here from India.

Last Sunday, September 29, our St. Therese community in Moonah gathered for a lively multicultural celebration that highlighted the diverse cultures within our congregation. The event, fittingly titled "Unity in Diversity," brought together families from a variety of backgrounds, each adding to a vibrant tapestry of traditions, cuisines, and styles of worship.

 The Multicultural Eucharist celebration began with a lively parade of flags representing the nations of our members. Children and adults alike donned traditional attire, filling the sanctuary with colour and joy. The atmosphere was electric, marked by laughter and an overwhelming sense of belonging.

Eucharistic celebration featured a blend of musical styles, from gospel hymns to contemporary worship songs in multiple languages. A local choir brought the house down with a spirited rendition of an international Favorite, uniting everyone in song.  Father Joseph, our Polish chaplain, and I, Bartha MSC, shared our personal stories of faith and resilience, highlighting the importance of embracing our multicultural community and uniting us all as one family in Christ.

Food played a central role in the celebration, with a potluck feast that featured dishes from around the world. From spicy curries to delicate pastries, the shared meal highlighted not only culinary diversity but also the common threads of love and fellowship that bind us together.

As we gathered to reflect on our experiences, it was clear that this celebration was more than just a showcase of cultures; it was a powerful reminder of our mission to love and serve one another. By embracing our differences, we strengthen our community and Honor the Creator’s beautiful design.

The "Unity in Diversity" celebration not only enriched our faith but also deepened our connections, reinforcing the idea that together, we can achieve greater understanding and harmony. As we look forward to future gatherings, we are reminded that in Christ, we are one body, beautifully diverse yet united in purpose.

I’ve included a few photos from our multicultural celebration, capturing the joy and happiness shared among us all.

Bartha MSC

RIP. Sr. Kathleen Houlihan (Sr. M. Giuseppe)

Born:      15.04.1928 Kew, Vic. Australia

First Profession: 26.01.1955 Mary’s Mount, Balwyn

Entered Eternal Life: 20.09.2024 Hawthorn East, Vic. Australia

Sr. Kathleen was born in Melbourne in the suburb of Kew to parents Thomas and Ivy Houlihan. Kath, as we affectionately called her, had an older sister Margaret and three younger sisters who were born triplets.  I am sure that left a very busy and full household.  Kath has always remained very close to her family, although she lived, most of her religious life far away in PNG.  She maintained a lasting connection with her family which was enhanced through home visits and periods of leave in Australia, all were deeply valued and appreciated.

Mary's Mount, Novitiate, Balwyn

Sr. Kath trained as a teacher and taught in Melbourne until February 1959 when she was appointed to teach in PNG.  Sr. Kath made her Perpetual Profession in Vunapope on 25.1.1960.

She then taught in schools in PNG for over thirty-two years.  During this period Sr. Kath taught in the primary education system, was headmistress in Valoka WNB, and Malagunan, ENB.  She was appointed co-ordinator at Xavier Institute in Port Moresby when it was established in 1970 after which in 1977, she taught at Mongop High School, New Ireland for ten years.  Sr. Kath then was given the responsibility of Christian Education Co-ordinator in the Archdiocese of Rabaul for four years 1988 – 1991 which covered both East and West New Britain.  The number of children, families, religious members, friends and people she encountered over these years is immeasurable.  It is sufficient to say that she touched the hearts of all whom she met with her warm affectionate smile and attentive listening.  She truly did ‘hold Your people in my heart’.

Mongop High School

Sr. Kath was always open to whatever opportunities would come her way.  Whenever she was home on leave, and periodically at other times, she sort out courses for her on-going professional development and spiritual renewal.  She attended the spiritual renewal program in 1976 at Pymble, Sydney, run by the Jesuits.  In 1986 she attended a spiritual renewal program in Sydney.  In 1992 the Heart of Life Program in Melbourne.  In 1993 the APIA course in Manila and in 1997 the Spiritual Direction Course at Wellspring in Melbourne whilst caring for her mother.

These spiritual courses assisted her work in Formation, the PNG Province and wider Congregation.  Sr. Kath served as Directress of the temporary professed sisters, she contributed to running the post novitiate programme in Valoka and Mongop and was also involved in Provincial administration and served as councillor and Province secretary.  In addition, she accompanied and mentored temporary professed sisters and offered directed retreats to some of the sisters.  Sr. Kath continued to assist in the area of Formation and spiritual accompaniment until her return to Australia in 2011.

Mongop slumnae

The Australian Province were delighted to welcome our Sr. Kath back to her homeland.  We were privileged to have her with us for the last thirteen years.  Sr. Kath always radiated a peaceful, calm patient presence.  We were always greeted with a warm affectionate smile and given a sense of being truly welcomed.  She had a sense of fun, loved music and enjoyed sharing stories of her life’s experiences.

Sr. Kath lived her life to the full, her missionary commitment to the people of PNG and the Congregation was exceptional.  We the MSC sisters in Australia give thanks for this beautiful woman who faithfully and totally committed herself to the One who called her and led her.

May she now be at peace and enfolded in God’s Love.  May she know God’s delight in her.

Requiem Mass for Sr. Kath was celebrated at Our Lady of Good Counsel Church, Deepdene on Tuesday 1^st October 2024 at 11.00 am then we accompanied her to her final resting place at the Eltham Cemetery.

On behalf of the Missionary Sisters of the Sacred Heart of the Australian Province

Sr. Theresia Veenker msc

25^th September, 2024