THE NUN

US, 2018, 96 minutes, Colour.
Demian Bechir, Taissa Farmiga, Jonas Bloquet, Bonnie Aarons, Vera Farmiga, Patrick Wilson.
Directed by Corin Hardy.

There is an exorcism sequence in this film, but it is not an exorcism film in the vein of The Exorcist. Rather, it is a general kind of horror film which uses some of the conventions of exorcisms and other religious themes.

For audiences who enjoyed the two Conjuring films, they will remember that in the second film there was the image of a sinister nun, an embodiment of evil. There was some discussion about the background, possibly Romania. The screenwriters then decided that they would fill out this prequel story. (And the two Conjuring films were directed by James Wan, who helped establish the Saw horror series, cowriting this time because he was working, more upmarket, in the DC film of Aquaman.)

So, the setting is an enormous castle in the Romanian forests, imposing exteriors, very sinister interiors, crypts, basements, corridors, a door which states God ends here, the chapel. It is 1952 and there are memories of bombs dropping on the Castle (suggesting some diabolic activity but not pursuing this theme much further).

The film opens with a young nun and the Superior venturing beyond that sinister door and, the nun wanting to avoid possession by evil, hanging herself. This raises issues in the Vatican, a group of cardinals and priests meeting and authorising their representative, Father Anthony Burke (Demian Bechir) to investigate. He has a lead with a young novice in London and decides that she should accompany him to Romania. She is played by Taissa Farmiga, the younger sister of Vera Farmiga who is glimpsed, along with Patrick Wilson, reprising their roles as the famous Warrens, the experts in exorcisms in Amityville and London's Enfield.

There is also a young French-Canadian?, Frenchy (Jonas Bloquet who discovered the dead nun and helps the visitors with their inquiries. It should be pointed out that the screenwriters were not as accurate in their depiction of things Catholic as they might have been one could contribute a list of 'Goofs' to the IMDb entry!

Most of the film is in the dark, during the night, in the eerie castle, out in the cemetery, with some early discussion about being buried alive and bells being provided to alert passers-by followed by some moments of tension when Father Burke finds himself buried alive.

The abbess is seen sitting in a high chair in the basement, her face covered with a black veil. Various nuns appear at times, especially in the chapel where, it is said, there is a tradition of perpetual adoration with nuns reciting the rosary. But, then they appear and disappear, the sinister nun looking frightening, the young novice trying to cope.

Needless to say, it builds up to a huge climax, threats to all those concerned though the novice decides that facing this crisis she should make her first profession and Father Burke officiates (from an alleged book of prayer but the title of the Bible is very clear on the book). The expected mayhem then ensues.

This is what the filmmakers intended to do, make a frightening horror film, borrowing Catholic images and that is what they have done.

1. The title? Expectations? In the horror genre?

2. The Conjuring films, the background, the Warrens and their role in exorcisms, the introduction of the nun? Incarnation of evil and the devil? The background of the Warrens, the house, position, their work, the consequences? The framework of the film, the glimpse of them and the child with her drawing of the nun, the end and their lecture, especially about Frenchy and his being possessed?

3. The characters, the interconnections, the back story and audience familiarity?

4. 1952, Romania, the huge castle, the exterior views, the forest, the cemetery, the interiors, the basement, the Chapel and corridors? The bombings during the war? The musical score?

5. The horror, borrowing images from the Catholic Church, as metaphors of good and evil, not an exorcism film but using the conventions from The Exorcist? The nuns, sacred, habits, prayer, confrontation with evil? The priests, exorcisms, the role of the Vatican?

6. A dark film, so much at night, atmosphere of fear, the title: God ends here? The powers of evil, not satanic? The theme of being buried alive? Ghosts and spirits?

7. Catholicism, the role of nuns, conference, communities, prayer, the members of the community? Perpetual adoration? The praying of the Ave Maria? The relic of the blood of Christ?

8. The fact that the film did not have a Catholic technical adviser, the range of goofs?

9. The introduction, the young nun, the atmosphere of evil in the house, the Superior, going through the door, the Superior and her being drawn back into the darkness, the young nun, the hanging, the blood on the steps, Frenchy putting her body in the ice room? Her moving? The eerie atmosphere, the sinister seeming nun and the revelation of her self-sacrifice?

10. The Vatican meeting, Anthony Burke, his work as a chaplain, during the war? Going to Rome, the discussion with the Cardinals and the group? The concern about Romania? The official visitor, going to London, his encounter with Irene, her explanation of her visions, the connection with Romania and the nuns? Novice, not professing her vows, in her habit, in secular dress?

11. The two going to Romania, going to see Frenchy, his role in finding the nun, removing her body? His being their guide, the explanations, his French-Canadian? background? The group going into the Castle, the atmosphere, the abbess veiled sitting on with chair, real or not? The invitation to stay the night?

12. Anthony Burke, his character, coat and tie, hat? His background explanations? The bells at the cemetery, the talk about being buried alive? His waking up, going out, the experience and his being buried in the coffin? Ringing the bell, calling out? Irene, her dreams, coming out, finding Fr. Burke, digging away the soil? Releasing him? The atmosphere of terror?

13. The next day, going into the convent, to question the nuns, Irene, the young nun, her being invited to stay, the room? The dreams? The nuns, alive, dead? Appearance and disappearance? The nuns praying in the Chapel?

14. The scene with Frenchy, his going to the local inn, the comments about the convent and the nuns?

15. The buildup to the climax, the quest, in the convent, the closed doors, looking for the entry into evil? The blood of Christ? Irene deciding to take her vows, Fr. Burke officiating, prostrate on the floor? Frenchy attacked? Fr. Burke, injury, the snakes? Frenchy saving Irene, the kiss of life? The nuns being freed, buried, holy ground?

16. The lecture, the Warrens, the explanation about Frenchy being possessed?

17. An experience of the Conjuring world?

 

CHARLIE CHAN'S MURDER CRUISE

US, 1940, 76 minutes, Black-and-white.
Sidney Toler, Marjorie Weaver, Lionel Atwill, Sen Yung, Don Beddoe, Leo Carroll, Robert Lowery, Harlan Briggs, Cora Witherspoon, Kay Linaker, Charles Middleton.
Directed by Eugene Forde.

The story, an original by Charlie Chan creator, Earl Biggers Derr, was originally made as Charlie Chan Carries On in the early 1930s – but has disappeared.

A British inspector is murdered in Charlie Chan’s office after giving news that there is a murder on board a cruise ship. Charlie Chan takes up the challenge, accompanied as usual by his second son, Tommy (Sen Yung) who gets into all kinds of mischief as he offers to solve the case.

There are several murders on board. There are also several disguises. However, there are all kinds of suspects including Lionel Atwill as the organiser of the International cruise. Leo Carroll also appears as a professor. There are some serious suspects, including a fairly straight up-and-down couple, some travellers on business – and Cora Witherspoon doing a comic turn with some do the very descriptions of characters.

Charlie Chan does all the interrogations and investigations, finally unmasking the criminal as usual.



CHARLIE CHAN FILMS

Charlie Chan was the creation of novelist Earl Deer Biggers, creator of the popular novel Seven Keys to Baldpate (adapted for the stage in the early 20th century and the plot of many films of the same name and variations). Biggers saw the beginning of the popularity of the films of Charlie Chan in the silent era but died at the age of 48 in 1933, just as the series with Warner Land was becoming more popular.

20th Century Fox was responsible for the early Charlie Chan films with Warner Oland and gave them more prestigious production values than many of the short supporting features of the time. After Oland’s death, Fox sold the franchise to Monogram Pictures with Sidney Toler in the central role. They were less impactful than the early films. There were some films later in the 1940s with Roland Winters in the central role.

The films generally ran for about 71 minutes, and similarities in plots, often a warning to Charlie Chan to leave a location, his staying when murders are committed, displaying his expertise in thinking through situations and clues. He generally collaborates with the local police who, sometimes seem, characters, but ultimately are on side.

Warner Oland was a Swedish actor who came with his family to the United States when he was a child. Some have commented that for his Chinese appearance he merely had to adjust his eyebrows and moustache to pass for Chinese – even in China where he was spoken to in Chinese. And the name, Charlie Chan, became a common place for reference to a Chinese. In retrospect there may have been some racial stereotype in his presentation but he is always respectful, honouring Chinese ancestors and traditions. Charlie Chan came from Honolulu.

Quite a number of the film is Keye Luke appeared as his son, very American, brash in intervening, make mistakes, full of American slang (and in Charlie Chan in Paris mangling French). Luke had an extensive career in Hollywood, his last film was in 1990 been Woody Allen’s Alice and the second Gremlins film.

Quite a number of character actors in Hollywood had roles in the Charlie Chan films, and there was a range of directors.

Oland had a portly figure and the screenplay makes reference to this. His diction is precise and much of the screenplay is in wise sayings, aphorisms, which are especially enhanced by the omission of “the� and “a� in delivery which makes them sound more telling and exotic.

There was a Charlie Chan film the late 1970s, Charlie Chan and the Dragon Queen with Peter Ustinov in the central role.

CHARLIE CHAN AT TREASURE ISLAND

US, 1940, 74 minutes, Black-and-white.
Sidney Toler, Cesar Romero, Pauline Moore, Sen Yung, Douglas Fowler, June Gale, Douglass Dumbrille, Sally Blane, Wally Vernon, Donald Mac Bride, Louis Jean Heydt.
Directed by Norman Foster.

This is a very enjoyable Charlie Chan mystery. Sidney Toler seems completely at home in his role as Charlie Chan, having taken over from Warner Oland. Sen Yung has settled into his role as Second Son, Tommy. There is a very good supporting cast of character actors led by Cesar Romero as a famous magician.

Charlie Chan is on a plane with his son talking to an author who is writing an expose of a magician. He is found murdered. His manuscript disappears. There are all kinds of possibilities, especially in making contact with the magician. He is being challenged by a famous spiritualist, Zodiac, a larger than life person, masked, with a special home in San Francisco and an obedient servant.

Charlie Chan and Li magician go to the house for an audience – and then there is the unmasking of the Zodiac, exposing all kinds devices and electrical setups for atmosphere as well as a large reference library for information on clients, his assistant standing in for him at times, exhibitions of mind reading (a theme popular in many of the films at this period and some of the Charlie Chan films). There are various possible suspects including the widow of the novelist and the revelation of some of his former life in prison. There are the police inspectors from San Francisco.
The setting of the film is the Golden Gate Exposition in San Francisco in 1939 – 1940 and there is some footage of the Exhibition as well as aerial shots of San Francisco.

Most audiences will not be surprised to find that Cesar Romero is, in fact, Zodiac, drumming up audience attention for his own show, the grand finale being a demonstration by Zodiac, threats of death – and Charlie Chan unmasking him.



CHARLIE CHAN FILMS

Charlie Chan was the creation of novelist Earl Deer Biggers, creator of the popular novel Seven Keys to Baldpate (adapted for the stage in the early 20th century and the plot of many films of the same name and variations). Biggers saw the beginning of the popularity of the films of Charlie Chan in the silent era but died at the age of 48 in 1933, just as the series with Warner Land was becoming more popular.

20th Century Fox was responsible for the early Charlie Chan films with Warner Oland and gave them more prestigious production values than many of the short supporting features of the time. After Oland’s death, Fox sold the franchise to Monogram Pictures with Sidney Toler in the central role. They were less impactful than the early films. There were some films later in the 1940s with Roland Winters in the central role.

The films generally ran for about 71 minutes, and similarities in plots, often a warning to Charlie Chan to leave a location, his staying when murders are committed, displaying his expertise in thinking through situations and clues. He generally collaborates with the local police who, sometimes seem, characters, but ultimately are on side.

Warner Oland was a Swedish actor who came with his family to the United States when he was a child. Some have commented that for his Chinese appearance he merely had to adjust his eyebrows and moustache to pass for Chinese – even in China where he was spoken to in Chinese. And the name, Charlie Chan, became a common place for reference to a Chinese. In retrospect there may have been some racial stereotype in his presentation but he is always respectful, honouring Chinese ancestors and traditions. Charlie Chan came from Honolulu.

Quite a number of the film is Keye Luke appeared as his son, very American, brash in intervening, make mistakes, full of American slang (and in Charlie Chan in Paris mangling French). Luke had an extensive career in Hollywood, his last film was in 1990 been Woody Allen’s Alice and the second Gremlins film.

Quite a number of character actors in Hollywood had roles in the Charlie Chan films, and there was a range of directors.

Oland had a portly figure and the screenplay makes reference to this. His diction is precise and much of the screenplay is in wise sayings, aphorisms, which are especially enhanced by the omission of “the� and “a� in delivery which makes them sound more telling and exotic.

There was a Charlie Chan film the late 1970s, Charlie Chan and the Dragon Queen with Peter Ustinov in the central role.

DANGEROUS MONEY

US, 1946, 65 minutes, Black-and-white.
Sidney Toler, Gloria Warren, Sen Yung, Joseph Crehan, Willie Best.
Directed by Terry Morse.

This film came towards the end of Sidney Toler’s career playing Charlie Chan. Toler was to die in February 1947. He spent almost 10 years as Charlie Chan, continuing the tradition of Warner Oland, in appearance, portly, his wife Susan had, his Chinese eyes, his mannerisms, his style of English, the Chinese aphorisms.

In this film Charlie Chan is on his way to Australia – never got there. There are difficulties on board the ship as it makes its way toward Samoa. A Treasury agent warns Chan about financial difficulties, attempts on his life. But he is killed.

There is are good list of suspicious characters starting with the Captain. There is also a young woman with forged papers but it emerges that she is trying to protect artworks which had been saved by her father. There is also the officer in love with her who does some covering up. There is also a salesman who, it turns out, in a very loudmouthed way, is blackmailing her.

There is also a knife thrower on board – and there are a number of knife throws, some of them fatal.

There is a Reverend on board who seems rather suspicious – but, more suspicious, is his wife who turns out to be a man in disguise.

Plenty of investigations, interrogations, audience suspicions – and some twists in a final solution.

LADIES IN BLACK

Australia, 2018, 103 minutes, Colour.
Julia Ormond, Rachel Taylor, Angourie Rice, Vincent Perez, Susie Porter, Nicholas Hammond, Ryan Corr, Shane Jacobson, Nonie Hazlehurst, Deborah Kennedy, Genevieve Lemon, Luke Pegler, Alison Mc Girr.
Directed by Bruce Beresford.

You would have to be something of a stone not to like, not to enjoy this film. It is an Australian story, a Sydney story, 1950s into the 1960s story – but, with a pleasing nostalgia, set in bright sunshine and light. (It is up to the audience to remember something of darker aspects of Australian life, social situations, aboriginal history – although this film emphasises the coming of the post-war refugees, the reffos, the migrants from Europe.)

The author of the novel, Madeleine St John, studied at Sydney University with people like Clive James and Bruce Beresford. She moved to England where she wrote her novel, remembering and imagining her past. The director indicates that it took a long time to raise the money for this project – but, as we enjoy the finished product, the wait has been worthwhile.

For those who grew up in Sydney during the 1950s, there will be so many resonances, the use of actual Mark Foys facade, with a new notice “Goodes� superimposed, gives the story of those who work there and the shoppers a feel of authenticity. And, this reviewer identifies with students who had done the Leading Certificate hurrying at 11 PM to the offices of the Sydney Morning Herald to get their results.

The Ladies in Black of those women who serve at the counters of Goodes, under the watchful eye of the veterans played by Noni Hazlehurst and Nicholas Hammond. It is Christmas and there is a rush. The two regulars at the dress counter, Fay, Rachael Taylor, and Patty, Alison Mc Girr, are given some help by young Leslie (who finds this too much of a boy’s name and has asked to be called Lisa) who has just finished the Leaving, wants to be a poet or an actress, and engagingly makes mistakes but learns the routines of the store. She is played by Angourie Rice. And, supervising them, is Magda (Julia Ormond) as a Hungarian refugee of impeccable taste and manner.

We see a lot of life in the store – and in a period where the lady shoppers all wore hats and frocks. In fact, the film champions the women in their various walks of life but also their regrets, the homemakers who yearned for something more, the shop assistants who hoped for happy marriages, the young girls with ambitions. And, while the men are basically sympathetic, but there are some rather telling remarks about men and their foibles, their vanities, some sexual inhibitions, the beer-drinkers and TV race-watchers and some of the stereotypes of Australian husbands of the time.

The screenplay also incorporates a number of jokes about the Sydney- Melbourne rivalry – presented to Sydney’s advantage!

The film does focus on the four central stories, Lisa and her being befriended by Magda, sharing her love for Tolstoy with Fay, hoping for a Commonwealth scholarship to the University, introducing her sympathetic mother (Susie Porter) and her “I’m off to the pub for a couple of hours� father, (Shane Jacobson).

Fay on the other hand has had some bad experiences with men, finds many of the men groping her, is introduced by Magda to a Hungarian refugee, from the uprising in 1956, Rudi (Ryan Corr) who opens her horizons extensively. On the other hand, Patty’s husband, Frank, is rather awkward, from the country, somewhat inhibited as regards sex in marriage, but, with Patty’s support, finding a happy relationship.

When Magda is described as a reffo, Fay indicates “refugee, migrant�. Her husband, Stefan (Vincent Perez) is also from Hungary but they met in a migrants’ camp where they were learning English.

And so, a picture of the time which has its charm, its warmth – but, in its great attention to meticulous detail of the period, it is also a humorous film, many funny moments, but with a light air that (audiences except those who are stony) will enjoy.

1. An Australian story, a Sydney story, a 1950s story?

2. The set design, recreation of Sydney, use of original footage, photoshopped? The harbour, the bridge, streets, homes, shops, the interiors? The musical score echoing the period?

3. The importance of style, clothes, formal, frocks and hats, menswear, womenswear? Television programs, the races, the shopping, the post-Christmas rushes, parties and outings, the beach, the mountains? The feel of the period? Bright colour?

4. The 1950s, a quiet decade? Suburban, Sydney life, no aboriginal presence seen? The importance of migrants, attitudes, reffos? The migrants making their way, introducing new food, drinking, clothes? Signs of forthcoming change?

5. A women’s film, women’s achievements, the patience, long-suffering, careers, homemaking, partnerships? The portrait of men, the dialogue about men, the blend of the dapper, the shy, sexually inhibited or ignorant, gropers, beer-drinkers, the races, the pubs? Anti-university?

6. The department store at that period, the exteriors, the pre-Christmas rush, decorations, piano performance, singing carols? The two older supervisors and their presence, control? Loneliness of their stories, the woman with her ageing mother and the Christmas dinner? The man with his “nephews� at the beach? The floor, the counters, the ladies in black, the role of service? The dressing room? The world of fashion, the shoppers and their demands, prices, service, choices of colour, the large woman with the zip?

7. The range of stories, the four focal stories and the interconnection?

8. Leslie, Lisa? Aged 16, completing the Leaving Certificate? Ambitions to be a poet, or an actress? Reading Anna Karenina? University application, she and her mother finding the right moment for her father to sign? The discussions about her name with her mother? The supervisor giving her a job? The introduction to Magda and the other girls? The burdens, making mistakes? Going home, the discussions with her family? Her father going to the pub, her mother indicating regrets about her life? But the dancing to Volare? Going to visit Magda and Stefan, the dress and the scarf, the discussion about continental men cooking? The father, the signature, his watching the races? Reassuring her mother that her mother would not lose her? The meeting with Michael, his background, doing the Leaving? Everybody going to the Herald building to see the results? Her father doing the night shift printing. The impact of everyone congratulating him? His phone call home? The coveting of the dress in the shop, its price? Finally able to buy it? New Year’s Eve and the celebrations? Her father trying out the salami and the wine? Her mother altering the Christmas dress? Wearing it to the dinner, accompanied by her parents, with Magda and Stefan? Her father recognising olives and drinking the wine?

9. Fay, Bendigo background, her age, wanting to be a ballet dancer, her being set up by the man in the flat, the relationship? At work, efficient? Disliking men touching her? At home, the television? Her relationship with Magda, Patti, Lisa? Reading Anna Karenina, the tears? Later going to the French film and her tears? The party, meeting Rudi, his visiting the shop, the outings, the mountains? His buying the flat, his proposal, her acceptance?

10. Patti and Frank, ordinary couple, inhibited around six, Frank shyness, country background, at work? Patti buying the 90? The night and Frank’s behaviour, his leaving and motivation? His eventual return, Patti’s mother and her criticisms? Patti fainting the shop, her anger at Frank, yet the bonding, communicating, the change, her pregnancy? Her rehearsing with the dancing group and phase visit?

11. Magda and Stephane, from Hungary, the experiences in the war, meeting the camps in Australia, learning English, marrying, making a home, Magda and her style, her relationship with the girls at work, seeing Faye as rough but recommending her to Rudi? Her matchmaking? The party? Not going to mass, God understanding? Stephane is pleasant, cooking, working in the garden? The gathering at their house, the dinner, the toasting Australia as a country?

12. Rudi, background, his explanations to Faye, the Nazis, the Communist, the the revolution of 1956? His wanting an Australian girl, meeting with Faye, bonding with her, the outings, the flat and the proposal?

13. A film of the niceness of human nature – with touches of humour? And the possibilities for 1950s Australians to broaden their horizons?

CHRISTMAS IN ANGEL FALLS

US, 2017, 85 minutes, Colour.
Rachel Boston, Paul Green, Beau Bridges, Bill Lake, Jill Frappier.
Directed by Bradley Walsh.

There seems to have always been a place for Christmas films in cinemas and on television. Here is another.

It can be described as a “nice film� that would test some audience’s tolerance of “niceness�. It is very American in its themes, exuberance of characters, sentiment and even sentimentality.

The basic plot is not unfamiliar. Rachel Boston portrays Gabriel Messenger, Gabby, an angel who gets involved in human situations but is in danger of disobeying angel rules by becoming more personally attached to characters. She is supervised by Beau Bridges as Michael D’Angelo? who is a friend for Gabby but is always reminding her of the rules before he suddenly disappears. Ultimately, she asks him to bend the rules – and if Wim Wenders’ angels can become human in Wings of Desire, why not in a popular Christmas telemovie?

The impact depends on Rachel Boston as Gabby, who smiles, grins, laughs, giggles, chortles, and every other form of laughter in an enthusiastically extrovert way. For everyone it is a greeting with hi. Everything is beautiful.

Angel Falls has lost its mill, people go elsewhere for work, buildings are shut down, people are over-busy and grumpy with one another. It needs the Christmas spirit.

There is a lot of talk about Christmas spirit, the mood for Christmas, one of the central settings, in fact, is a Church, and there are decorations and singing of Christmas carols. There are also some images, stained-glass windows. However, Jesus and the events of Bethlehem are never explicitly mentioned – a phenomenon of many American Christmas movies.

Gabby is highly motivated, is to become a volunteer coordinator in the town but there are no volunteers. There is, however, an enthusiastic pastor and he encourages her. Gabby also makes friends with Jack, a jack of all trades in the town – and, obviously romance will be in the offing, with Gabby making a final decision. Angel Michael is forever quoting “free will�, that people have to make their own decisions – and finally allows an angel to exercise her free will.

The action is as expected. Gabby meets everyone, glows in their presence, cheers them up, listens to their stories, decorates the church, encourages the carol singers, continues to get help from Jack, collaborates with a young woman to set up a town Christmas website, encourages a little girl who was looking forward to the pageant which has been stopped because the town centre is not in use – and, of course, she encourages so many people to help repair the town centre and the pageant goes ahead.

For those who like happy films, no difficulties. For those who find it difficult to take a glut of niceness, a caution.

STANDOFF

Canada, 2016, 80 minutes, Colour.
Laurence Fishburne, Thomas Jane, Ella Ballentine, Joanna Douglas, Jim Watson.
Directed by Adam Alleca.

Standoff is a brief Canadian thriller. The subject matter is violence and brutality.

Laurence Fishburne portrays a hitman for hire, killing victims at a funeral, stating that he is obeying orders and was professional. He is seen by a young girl, Ella Ballentine, who is taking photos. He pursues her and she takes refuge in a house of a veteran played by Thomas Jane. He promises to protect her. In the shooting, both men are injured, the assassin remaining downstairs, the veteran upstairs.

There is verbal interplay throughout the day, weapon threats, the expertise of the assassin, the wits of the veteran, an attempt for the little girl to escape but their being caught and her relying on the veteran to save her.

There is an interlude with a policeman who comes across the funeral scene, comes to the house, is shot by the assassin – and tortured with the breaking of all his fingers before his finally killed. There is also a use of the mobile phone of the veteran to call a young woman and then threatens her so that the girl will come downstairs.

There is a final confrontation which involves the little girl herself and whether she will shoot the assassin or not.

Unpleasant theme but audiences identifying with the moral situation and responsibilities for life and death.

1. The title? The description of the action? The description of the confrontation between the two men?

2. Brief running time, the action taking place over the day?

3. The location, Carter and his house, yard, the boy playing? The transition to the cemetery, the few people present? The arrival of the assassin at the cemetery? The shootings? Bird taking photographs? The house, the surroundings, the interiors, the downstairs for the killer, the upstairs for Carter and Bird? The musical score?

4. The violence and brutality of the action?

5. The introduction to Carter, veteran, the young woman, the son playing? Carter and his memories?

6. The funeral, the words of the Minister, the assassin, shooting the Minister, the bodyguard, confronting the woman, mentioning his boss? Killing her? The encounter with Bird’s father and shooting him?

7. Bird, with her father, the unexplained background, his forbidding her to take photos of the cemetery? Visiting the grave? Seeing the funeral, seeing the shootings, photographing? Her running away, pursued to the house, taking refuge?

8. The character of the assassin, his profession, his explanation of his killings, obeying orders, not for pleasure? The ruthlessness of the cemetery? The shooting at Carter, the assassin being wounded, tending to his wounds, bleeding? The verbal confrontations with Carter? The challenges? His being masked? Wanting the girl because she had seen him? The day continuing, his knowledge of weapons, having Carter’s phone, summoning the young woman? The police officer, his shooting him, hiding the car, torturing him with breaking his fingers, pressure on Carter to send the girl down? Shooting the officer? His gradually getting weaker?

9. Carter, only one gun, only one round? His integrity? Wanting to protect the girl, the conversations? His being wounded, her tending his wound, the tablets? His keeping vigil to protect her? The attempt for her to get out the window and the assassin seeing them? Carter and his talking, the continued bluff? The death of the police officer and its pressure on him to send down the girl? The young woman arriving, Carter having to make a decision, coming down to surrender, but with the knife, Bird coming down with the rifle? The upset, Carter stabbing the assassin, his bleeding and collapse? Carter and his wounds and his collapse?

10. The young woman, helping the girl, the fading lights, the light from the car? Bird coming downstairs, confronting the assassin, his taunting her, her pulling the trigger, the bullet ineffectual? The reverse, her daring the assassin, his death? Her going to Carter, his surviving?

11. Audiences identifying with the situations, the characters, the dangers, the judgments to be made, endangering of the lives?

WHAT HAPPENED TO MONDAY

Sweden, 2017, 123 minutes, Colour.
Noomi Rapace, Glenn Close, Willem Dafoe, Marwan Kenzari, Christian Rubeck, Pal Sverre Hagen.
Directed by Tommy Wirkola.

Not the day of the week, but the girl called after a particular day of the week.

This is science fiction, looking ahead to 2073. The film is Swedish but has an American leading cast apart from local Noomi Rapace.

Willem Dafoe portrays a scientist, father who disobeys the law that bans the proliferation of children. He saves seven little girls, hiding them, bringing them up in secret. He names each of them after each day of the week.

As they grow older, they begin to venture out. However, they are all played by Noomi Rapace, made up to look different, clothes and hairstyle, speech and manner, for each girl. But, they all do the same job, each pretending to be the other.

As is inevitable in any human story, some attachments are made, relationships, the reality not being revealed to the others.

In the meantime, Glenn Close portrays the political power, the public face of sympathy to the public, the private face absolutely ruthless.

When the reality of the different girls is uncovered, she goes into action with her henchmen – but one of them is attached to one of the girls. There are arrests, interrogations, torture, pursuit of the girls, the killing of some of them leading up to a final confrontation with the despot.

All in all, some intriguing science fiction themes but also issues of humanity, personality, the exercise of power.

1. A futuristic film? Science fiction? 2073?

2. An international city setting, international cast and accents, the appearance of the city, the streets, the buildings, crowds? Offices? Apartments? The lavish bureau? The musical score?

3. The title, the names of the siblings, seven? The performance by Noomi Rapace in each of the roles, different looks, different aspects of character?

4. The situation, the opening and the doomed prophecies about food, desert in Latin America…? The parliaments, legislation, fears? The forbidding of siblings? Only one child, the rounding up of siblings, allegedly frozen for resuscitation in the future?

5. The laws, Nicolette Cayman, her speeches, policy, Glenn Close in the role, seeming benign, becoming more sinister? Her expressions of hope for the future? The rationale for the legislation and her behaviour?

6. Terence, at the hospital, the seven children? His naming them? The background of proliferation of births, the role of the doctor, concealment? His decision to keep them all?

7. At home, their age, growing up, his supervising their education, the different talents and personalities? Skills? Monday as the oldest? The first venturing out, the concealed cameras, the hand screens, the technology? Getting information, the girls going to school, each taking the other’s place each day? Learning, communicating? Saturday and her accident with the skateboard, cutting her finger, their father and his decision to cut Monday’s finger, the buildup, the tension, the pain, his weeping afterwards? The trauma for Monday and its influence in her life and decisions?

8. The sisters as adults, Monday going out, her composure, the guards and reassurance, the security and identification? The processes, her work, the office, her promotion, the presentation?

9. The differences for the other characters, their appearance, hair cuts, the blonde, Friday wearing glasses? Differentiation for each day?

10. Monday, strong, her disappearance and not returning, the puzzle for the other sisters, their fears? Tuesday, courage, going out as Monday, the encounters with Jerry and her puzzle, his hold over her, her being taken, interrogated, Nicolette and her severity, her lieutenant? In the cell, dressed in white, taking her eye to break through security barriers? Are Being kept as hostage?

11. The others coping with the situation, the discussions, planning strategies, demanding courage?

12. The attack in the flat, the fights, the weapons, the women using their wits, injuries, Sunday and the attack, the death?

13. Friday, the glasses, knowledge of technology, coordinating the information? House and building plans, escapes?

14. Thursday, going out, her arrest, the fight, her wits, evading the pursuers, in the building, on the roof, being urged to leap, her being shot?

15. Wednesday, blonde, the encounter with Adrian, the revelation of his relationship with Monday, his coming to the apartment, her going with him, continuing the deceit, the sexual encounter? Are Being shot? Adrian, seeing the body in the bag?

16. Saturday, the information, taking charge, with Adrian, enlisting his help, to find the truth? Friday and the records, wanting to preserve them, setting up the explosion in the apartment?

17. Nicolette, continued ruthlessness, ordering the killings? Her lieutenant and his associates, the continued pursuit, intensity, fights, shots?

18. The pursuit of Saturday, Adrian and the body bag? Going to the laboratory, seeing the staff, the machine, allegedly for freezing people? The nurse, the revelation of the destruction of the siblings?

19. The fight, discovering the truth about Monday? From the surveillance, Monday and her deals with Nicolette? The parliament, the transfer of the money, the contracts? Monday in Nicolette’s entourage? Meeting Saturday in the bathroom, the discussions, the fight, the cat finger, but each client dressed exactly the same way? Monday wanting
life, her entitlement is the oldest?

20. Nicolette, the speech, the social, the crowd, the visuals on screen, Saturday entering and sitting at the table?

21. Discovering Tuesday, Adrian, the rescue? Her working the technology? Projecting the film of the laboratory and the deaths? Nicolette and her fright, painting? Monday coming into the room, her death?

22. Saturday and Tuesday surviving, the exhibition of the damning film, the changing of the laws, allowing siblings? Adrian and his role with the sisters? The trial for Nicolette?

23. The ending, the pro-life emphasis, the range of babies being born?

24. The relevance of this kind of futuristic film for the present?

DRUNKTOWN’S FINEST

US, 2014, 90 minutes, Colour.
Jeremiah Bitsui, Carmen Moore, Morning Star Angeline.
Directed by Sydney Freeland.

Perhaps the tone of the title is a bit harsh for what we actually see. Nevertheless, while there is harshness, there is also some kind of humanity, even hope.

The film focuses on three young characters from an Indian reservation, the three actors as well as some of the supporting cast being of Navajo background. This means that there are three intertwining stories, the young man who joins the Army but has great difficulties with supporting his family. He does have friends who try to help, his wife struggling with the difficulties. There is also a very lively transvestite looking for employment and identity. The third character is a young woman who has been brought up by a white family who has not been told about her original family and who goes to seek them out.

In many ways, this is an offbeat film, but does raise universal issues sympathetically.

1. The title, the tone?

2. The New Mexico settings, the background of Native Americans, the Navajo tried?

3. The New Mexico locations, the reservations, the towns, the military base, homes, Paul, affluent? Volunteer work of the state? The media, beauty pageant auditions?

4. The interconnection of the stories, the grim aspects of each light?

5. The young man, his background, Native American, pregnant girlfriend, hopes? His propensity for anger? Drugs, the fights? Joining the military? His friend coming to rescue him, advice? His choices? With the transsexual, attracted to her, the drinking and drugs, discovering his mistake, his reaction? The visits to his girlfriend, the visit to the angry the daughter, the physical attack, his arrest, the military coming again, his prospects?

6. The transsexual, as a boy, school, changing and growing up, his secrets, the family and relatives, the support? His friends? The calendar and the photo with the Native American girls? Dressing up, style, the auditions, seen as genuine because of his language, hopes? The schoolmate, mocking, denunciation? His performance, the good response, his reaction to the dump denunciation, his pain, retiring, the decision to move into state and start again?

7. The girl, Navajo background, adopted, turning 18, the prospect of her studies, her volunteering for social book, travelling with the men, sharing with them? The interconnection with the others? The secrecy of background, getting information about her birth parents, visiting the grandparents, the encounter with grandparents, they’re keeping to the traditions, the? The letter is not given to? The adoptive parents, protection? Are being upset, confronting her adoptive parents, the reactions, motivations? Yet her love, her future, going to study?

8. A cross-section of young people in difficult situations? The Native American background?

INTO THE WHITE

Norway/Sweden, 2012, 104 minutes, Colour.
Florian Lukas, David Kross, Stig Henrik Hoff, Lachlan Nieboer, Rupert Grint.
Directed by Petter Naess.

This is a film looking back to a Scandinavian experience in World War II, the involvement of Norway, the neutrality of Sweden. However, it is a perspective on world and war from the 21st-century.

The film highlights the situation in Britain and its participation in the war, Germany and Norway.

The film shows the crash landing of a British plane in Norway, the escape of the personnel, their journey across the snow, finding a heart – and then finding that they have been taken by German soldiers. In the meantime, the Norwegian authorities have mounted a search party, travelling through the snow, looking for a refuge hut.

What follows is a microcosm of war, the British and the Germans each taking advantage with possible of taking guns from each other, controlling the enemy. But, to survive in the hut, they have to do some sharing – and, if possible, discover something of their common humanity.

Which means that, although the film is a World War II story, feels authentic and has war action, it is also about the possibilities for peace, mutual understanding, some reconciliation and new beginnings.

1. Perspective on World War II from the 21st-century? Antagonism, hostilities, both sides thrown together, learning cooperation, possibilities for peace?

2. 1941, Britain and its participation in the war, Germany and the occupation of Norway, both sides wanting the raw materials from that country? Battles in and around Norway?

3. The Norwegian settings, the plane crashes, the snow, the mountains, the fog? The beauty when the weather cleared? The town, streets, shops, offices, the rescue team?

4. The hut, the interior, stove, tables, the wood for fire, breaking down part of the hut?

5. The German perspective, the Nazi regime, those in listing, volunteers, loyalty to Hitler, to the Reich? Despising of Britain? Taunts against empire? The British perspective,
pride in Empire, sense of superiority matching the sense of superiority of the Germans? Hostility and enmity?

6. The Luftwaffe, the German crash, the dead pilot, the young man and his injuries to his elbow? The captain in charge, the older man and his background? The decision to move, going through the snow, the sledge with the food and provisions? The heavy sled, going over the cliff, having to cut it free and lose the provisions?

7. Finding the hut, settling inside, the young man with his injury, becoming delirious? Setting up with the possibilities of making their way to the sea into a town?

8. The Captain, strong personality, leadership, yet his later confiding that he had crashes, was not as reliable as he wanted to be?

9. The British, the crash, through the snow, finding the hut?

10. The confrontation between the two groups? Drawing weapons, threatening each other, bluffing each other? Shelter from the snow, the Germans in charge, the demarcation line in the heart, even to eating at the table?

11. The continued living together, the attempt to go out into the snow, the return? The Germans and no matches, the British and the cigarette lighter? The beginnings of interdependence? The food and the meals? Sleeping areas?

12. The issue of the weapons, interchanging, the British getting the weapons, Geneva conventions, threats? And the further reversals? The captain and his losing his going? Smith and his going hunting? Pistols drawn, the captain in the compromise to put all the weapons in a bag?

13. The taunts, the hostilities, the captain and his attempt to some conversation, the episode with the doubts, the bullets and the young man’s coat? The older man not talking English, out in the hunt, shooting the dog, the revelation he spoke English, telling his story?

14. The two leaders, the roof pole, standing holding it up, eventually fixing it?

15. The compromise? The decision to work together, the older man and Smith going to the peak to find a way down?

16. The audience introduced to the Norwegians, the squad, the decision to come to the rescue? Through the snow? Finding the German plane? The shooting the older man, the effect on Smith, grief? Soldiers going to the hut, taking the British leader is an ally, taking the Germans prisoners? The truck, to the town?

17. The Germans is prisoners and their being taken away after interrogation? The British being interrogated, the consideration of collaboration and of treason? The leader confronting the Norwegian, blunt talk about what it happened? Their being let go?

18. The aftermath, the stories, the two Germans and their being prisoners of war in Canada? The British, the flight, Smith being killed? Davenport surviving? The information that he got in touch with the German in 1977, invited him to London, and their meeting as friends?

19. The reality of war, the unrealities of war? Leadership and ideologies for war? The reality of soldiers as equals and the possibility breaking down hostilities?