SOMETIMES THE GOOD KILL

Canada, 2017, 90 minutes, Colour.
Susie Abromeit, Amanda Brugel, Deborah Grover.
Directed by Philippe Gagnon.

Something of an ambiguous title. It is explained at the end, not in terms of the murder, but in the background of the central character, Sister Talia, who joined the convent from an anonymous central European country and had been involved in violence.

This is a Canadian film. The setting is a huge Abbey, sparsely populated by nuns, with vast exteriors, interiors with huge dining room, corridors, sisters’ rooms and offices.

Audiences with something of a staunch or traditional Catholic background may have some difficulties with the film and its presentation of the traditional way of life in the convent and the contemporary changes.

The superior is found murdered, there is lobbying for the new election of a superior, the new superior asking Sister Talia to investigate and discover the murderer – compounded when another sister is found murdered in the bath and the local mechanic is murdered in the garage.

Strangely, the sisters do not call in the police, but handle the burial of the bodies by themselves. Sister Talia interviews a range of people, has a good friend in Sister Faith, has continual verbal battles and psychological struggles with the older, more traditional and often bitter Sister Jean. There is also the rival to the superior, the business manager of the convent.

There are several revelations, that the mentally impaired sister is the daughter of the superior and was influenced by the murderer. There is also the suggestion, seemingly approved by the cardinal who may want to close down the convent, that the whole plant be transformed into condominiums.

Average with the touch of intrigue.

1. TV thriller, mystery, from Canada?

2. Catholicism, the background, audience expectations? The old abbey and its vastness? Nuns in old habits? New habits? Issues of discipline? Old style community life and communication, freer attitudes?

3. Community life, the role of superiors, the membership of the community? The deaths, elections, lobbying, the results, opinions, expectations? The meals, the discussions?

4. The situation, the finding of the dead superior? The background to her life, being on the roof, the various ambitions of the sisters, the revelation that the Abbey could be turned into condominiums? The nature of the suspects?

5. Sister Talia, attractive, her past, killing in her former country? Her friendship with Faith? The discussions with the mechanic? The new superior taking her into her confidence, asking her to investigate? Her reaction, the nature of an enquiries, interviews? The clashes with Sister Jean and reactions?

6. The range of sisters, the sister who was upset about the superior’s death, intellectually and emotionally impaired? The sister managing the business affairs? The rival superior? The Chinese and her feeling hard done by? Racial issues, the nuns not coming from Canada but from overseas countries?

7. The presence of the clergy, officiating at the funeral, the business discussions with the sister manager, the role of the cardinal, the possibility of closing down the convent? Its transformation?

8. Kinsella, his links with the convent, the relationship with the superior, his daughter, business connections, the death of his nephew?

9. The convent not wanting to call in the police? Fear? The death of the superior, the death of Mary in the bath, the death of the mechanic?

10. The focus on Sister Jean, her age, conventional, ambiguous, bitterness, the discussions with Talia?

11. The cellars, the rival superior, the fight? The solution?

12. Talia and her leaving the convent?

THE JADE MASK

US, 1945, 65 minutes, black and white.
Sidney Toler, Mantan Moreland, Edwin Luke, Alan Bridge.

Directed by Phil Rosen.

This is one of the later Charlie Chan mysteries starring Sidney Toler. Was also one of the several Charlie Chan films in these years directed by Phil Rosen who began his career with Edison and directed many brief films during the 1920s and 1930s into the 40s.

Charlie Chan does not come into the film for about 10 minutes. There is a set up, reminiscent of so many of the Charlie Chan mysteries of this time involving war activities, development of weapons, the concern of government. A very arrogant scientist is murdered – and later his butler as well as his chauffeur. There is a mysterious policeman on a motorbike. There is the son of a rival scientist who wants the dead man’s formulae. There is also his family, a Mrs Danvers-like sister, as well as a visitor who was working with puppets for the scientist and his experiments.

Charlie Chan is invited in as a government representative. Mantan Moreland is present once again with his now politically incorrect comedy which was popular at the time, along with Eddie, Charlie Chan’s fourth son, who becomes involved, rather academic in his approach but just as eager as his older brothers. Alan Bridge portrays the local sheriff and he gets some of the best lines, puzzling about the mystery in a self-deprecating way.

Everyone is assembled in the house very early in the film and the action takes place over a very short period of and night, murders, investigations, clues, a literal unmasking and some reasonably unexpected twists.

JIRGA

Australia, 2018, 78 minutes, Colour.
Sam Smith, Sher Alam Miskeen Ustad.
Directed by Benjamin Gilmour.

The film comes from a religious perspective, the father of the film’s director and cinematographer, Benjamin Gilmour, was a minister. This humane and religious perspective was also a feature of the first film by this director, Son of a Lion, a story of post-9/11 Pakistan.

It is also an Australian film, the main character a soldier returning to Afghanistan on a personal journey.

We are told immediately that Jirga means a meeting of council elders.

The opening invites its audience into military action, a raid on a village, dangers and shooting, all filmed in green night-light. At the end of the episode, one of the men is filmed staring at what has happened, the death.

The director knows the landscapes of Afghanistan as well as the city of Kabul and audiences may well feel as they look at the cityscapes from above, move through the streets and markets into the small hotel, into the shops, that they have been there.

However, this is the story of a personal journey of the soldier from the night raid, Mike Wheeler (played by Sam Smith). It is not clear at first why he has returned from Australia to Afghanistan. He has a large amount of money. He asks a taxi driver to take him to the combat area, the driver refusing many times, resisting the money, but eventually taking Mike part of the way, sharing the journey, some music, a meal, his Muslim prayer and rituals.

As Mike Wheeler continues his journey on foot through the desert, we realise that he is on a pilgrimage, to go back to the village, to confess, appear before the Jirga, the Council of Elders, for them to decide his fate.

For a Catholic watching the film, the parallel with the Sacrament of Penance becomes ever more clear. In this sense, the film does serve as a paradigm for the Sacrament. There is the offence, the perpetrator of the killing deciding that he has “sinned�. He has examined his conscience quite profoundly which leads him back to the Jirga meeting which is his confessional. He is sorry for what he has done. He has repented. But this is not enough. He needs to confess aloud, to acknowledge his sin. He certainly has a firm purpose of amendment. He wants to atone – although some of the locals note that the money he has brought is something of a curse and we see some of it blowing in the wind. He wants to make reparation and to perform a penance.

He experiences both condemnation and forgiveness – and, in the ritual styles of the Middle East, an animal is sacrificed, shedding its blood, symbol of the suffering and reconciliation.

The film is worth seeing as a film, brief, some beauty, some dread. A non-religious audience watching it would appreciate the humane themes while the Christian audience, especially those with a sacramental tradition, would appreciate how the pattern of penance and reconciliation is played out before their eyes.

The film can be recommended for discussion, for religious education.

1. The initial information about the title? Its meaning? The assembly of elders? The end and the trial?

2. An Afghanistan story? The war, foreign soldiers, raids? The people? Suffering? The place of the Taliban? The traditions of late 20th century wars and invasions? 21st-century?

3. An Australian story, military involvement? Judgement on the Australian presence? Military action? Damage? Collateral damage?

4. The location photography, the many scenes of the city of Kabul? Overviews? The streets, hotels, shops? The contrast with the beauty of the Afghan countryside? Mountains, desert, villages, the lake? The musical score?

5. The initial raid, the detail, the green night light and the atmosphere? Mike Wheeler and his role? The shooting? His look into the camera?

6. Mike Wheeler, age, experience, character? The return to Afghanistan? After three years? The airport, the taxi to the hotel, settling into the hotel, walking through the markets, the detail of the markets, hiding from authorities, buying the guitar, the issues of cash? His being apprehensive? The request to the hotel for the taxi driver?

7. The taxi driver, arriving at the hotel, his wariness of going to the destination, the offer of money? His refusals? His driving, on the roads, isolated, camping, at the lake, his prayer, the meal, his leaving?

8. Mike, his determination to get to the village? His motivation? His wandering the desert, his being apprehended?

9. His time as a prisoner, the chains, in the cave, the various reactions of the men, his treatment, food, English-language? The change of attitude of the men?

10. His mission, motivation, his being sorry, repenting, bringing money – but its being considered a curse? The bag, the loss, the money in the wind? The need for atonement?

11. Going to the village, the children playing, the gathering of the Jirga, the variety of opinions, for justice, for forgiveness, for the treatment of strangers? Asking the opinion of the wife of the dead man, the anger towards Mike? Asking the son, his confronting Mike, forgiving him?

12. The symbolic killing of the goat, the symbol of sacrifice and reconciliation?

13. The Afghan war, a just war or not, the message about justice and reconciliation?

14. The director, his background is the son of a religious minister? The screenplay as a paradigm for a “sacramental� experience, for the experience of confession and
reconciliation: offence, sorrow, repentance, confession, purpose of amendment, atonement, doing penance, forgiveness, reconciliation?

MILE 22

US, 2018, 94 minutes, Colour.
Mark Wahlberg, Lauren Cohan, Iko Uwais, John Malkovich, Rhonda Rousey.
Directed by Peter Berg.

This action film is rather exhausting to watch even as we sit in the comfortable multiplex seat. There is a lot of action.

Just to get ourselves into the picture, it is useful to know where Mile 22 actually is. The action of the film, apart from a shootout set in the United States, is in a fictionalised Southeast Asian city (although actually filmed in Colombia). There is some drama in the American Embassy in the city and the need to get a subject to the airport, with the group being continually threatened, which is at Mile 22 from the Embassy.

Director Peter Berg has become something of an expert in making fast action films in recent years. Famous for Friday Night Lights, he has been to Saudi Arabia for The Kingdom, Afghanistan for Lone Survivor, the Gulf of Mexico for Deepwater Horizon, the Boston Marathon for Patriots’ Day. He has worked with Mark Wahlberg in several of these films – so we really know what to expect.

Because of the unnamed country, the variety of racial types, the presence of the Americans and their covert activities, the main part of the film with a desperate mission to get those 22 miles, the plot is not always easy to follow.

In the opening, there is a siege as a house in the American suburbs, agents outside, well-armed, a huge surveillance centre presided over by John Malkovich. It seems there are Russian agents inside. All this serves as an introduction to the covert agents and their supervision. There Is actually a twist which is revealed at the end.

In the Southeast Asian city, Alice (Lauren Cohan), who is also observed in a number of domestic problems at home, his partner with Jimmy Silva, a hyper- intelligent whizzkid, seemingly emotionless agent, played by Mark Wahlberg, has contact with a local policeman who has the key to some kind of code which the agency is trying to open. This man, Li, is played by Iko Uwais whom fans of tough action films will remember from the two Indonesian action shows, The Raid. (In those films he showed an extraordinary agility with his martial arts and get several opportunities to show this agility here.)

The local authorities do not want Li to leave the country and take every opportunity to make the trip to Mile 22 a dangerous obstacle course. This provides a whole lot of car chases, car explosions, detours into dangerous buildings, agents sacrificing themselves with explosives to stop pursuers.

And, as mentioned, there is something of a twist at the very end.

This film might be successful with action fans – but Peter Berg and Mark Wahlberg should move onto the next one (which they apparently have).

1. The political action adventure? Agents? Secrecy? Covert operations? Surveillance?

2. The settings? Southeast Asia? International? This film being made in Colombia – and the visuals of the Latin American city? The musical score?

3. The title, the focus of the main action, the extraditing of the agent, the landing strip, the plane, the journey out of the city and its dangers?

4. The opening, the operation in the US, the couple at the door, the white house and its being blue, the audience then seeing the agents outside with the arms, Bishop, the range of surveillance, his orders and control, orchestrating the operation? The visuals? The voice contact? The Russian connection? The people inside the house, the deaths? And the execution of the young man aged 18? The audience discovering the repercussions at the end?

5. The introduction to James Silva, the background of his life, images, the death of his parents, precocious and intelligent, education, his being recruited, a tough agent? Emotions and lack of emotion? Intelligence?

6. The operation in Asia? Alice and her work, her guaranteeing that Li was genuine? The background of her own domestic concerns, talking with her husband, with her daughter, alienation from her husband, her dedication to her work? The ban on swearing and its cutting her off?

7. Silva, his interactions with Alice, with the other members of the staff, his suspicions about Li?

8. Li, as a policeman, but more, with the code, the operative trying to decipher the code? The time limits?

9. The audience seeing the Russians, and the plane, the two officials, the woman in charge? The plans, the sabotage? And the motivation being revealed at the end – and the death of her son? Her revenge?

10. The testing of Li, the interrogations, the psychological tests, his coming through? His skill in martial arts? The variety of scenes, the attempts on his life? His smooth and charming manner?

11. Getting Li to the airport, Bishop and his control, Silva and Alice in the car, the other agents? Cyclists and their putting things explosives the car, the explosions, the crashes, the need to leave the car, getting into buildings, Bishop explaining ways of escape, providing other cars? In the building with the little girl, her helping Alice? Alice and her fighting off the attackers?

12. The local authorities, the meetings with Silva and the other authorities, their being part of the pursuit, the chief, his death?

13. The various agents, their being shot, the bombs and their giving their lives in the explosions?

14. At the airport, the plane taking off, Silva going onto the tarmac, getting Li and Alice on the plane?

15. The solving of the code, the results coming up on the map, the truth about Li, his being a triple agent?

16. The vengeance of the Russians? Silva left at the tarmac – and the framework of the film with his explaining the situation to the authorities and his being interviewed?

CRAZY RICH ASIANS

US, 2018, 120 minutes, Colour.
Constance Wu, Henry Golding, Michelle Yeoh, Gemma Chan, Lisa Lu, Awkwafina, Harry Shun Jr, Ken Jeong, Chris Pang, Jimmy O.Yang, Ronnie Chieng, Nico Santos, Pierre Png.
Directed by John M. Chu.

Certainly a title that does not deceive its audiences!

The film was based on novels by Ken Kwan, very popular novels. And the film has proven to be not only popular, but box-office successfully popular, especially in the United States. And it won’t do the Singapore economy any harm, especially attracting any crazy rich Asians who haven’t visited Singapore – and, probably, quite a lot of crazy rich Americans, as well is the rest of this.

There is a reference at one stage to Cinderella. So, this is a variation on the Cinderella story except that the heroine, Rachel (an attractive Constance Wu) is not indentured in hard labour and does not have a harsh stepmother or ugly stepsisters. Rather, she is a Chinese immigrant to the US living with her single mother, with a degree in economics and a professorship in Economics at New York University. No slouch!

She is in love with a charming and handsome Singapore man, Nick Ewing (Malaysia and TV host Henry Golding with an impeccable British accent, who lived in the UK in teen years – and, interestingly, most of the Singaporean characters speak with the British heritage). They had been together for a year and she knows little about his background but is pleased when he invites her to accompany him to Singapore for a friend’s wedding. However, gossip social media has photographed the two and before you can say Crazy Rich Asians, everybody in Asia has pictures, asking questions, gossiping.

When they get into the plane to Singapore, Rachel is astonished that she is taken to a first-class suite and realises that when Nick says his family is comfortable she is to understand that they are very rich. In a way, we can guess the rest (or have seen it in the trailer where most is revealed), Rachel being uncomfortable, overcoming hesitations and taking strong stances, Nick continually being charming and loving, introductions to the rest of the family with their problems but, especially the matriarchal (very matriarchal) grandmother who makes decisions about people people’s lives (veteran actress Lisa Lu) and Nick’s rather icy mother, a pleasure to see Michelle Yeoh again.

There is plenty to show in terms of the crazy rich – extravagant parties, huge payments, something which brings to mind an analogy with violence porn, wealth porn. It is showy, in-your-face, exaggerated (we hope), the self-indulgent life of the rich and – fatuous.

Actually, there is a bit of dialogue to indicate this, especially at the end at a party where the women rather hysterically indulge in shopping sprees (with a sardonic remark that the most enthusiastic about freebies are the rich) and massages, along with some catty denunciations of Rachel as a golddigger.

The crazy rich are amusingly satirised by a family with US comedy actor, Ken Jeong, as the father and Awkwafina (who was one of the Oceans 8) enjoying her comic turns as Rachel’s good friend and chaperone.

Of course, everything has to come to a head, the wedding ceremony to which Nick and Rachel had been invited, Rachel denounced, the story of her mother coming from the US to rescue her daughter – and, while it is not midnight with Nick proposing with a glass slipper, there is an ending which hopes for happy ever after. The screenplay clearly hopes for a sequel and, with the financial success of the film, it is already underway.

1. The popularity of the novels, the film? For Americans? Asian audiences? Popularity worldwide?

2. The title, the tone? Soap opera and the memories of Dallas and Dynasty? The Asian setting, wealth, business, in China, Shanghai, Hong Kong, Singapore? The development of Singapore? Real estate? Traditional fortunes, the newly rich? The setting up of classes and superiority?

3. The New York settings, New York University, the lecture about gambling? Rachel and Nick in the bar? Their talk, together for one year, love, the invitation to go to the East, the occasion of the wedding, Rachel not knowing Nick’s background, the plane, the first-class suite, her becoming aware that he was rich?

4. The background of Singapore, the glamorous city, the range of buildings, modern style, the lights, affluence, mansions, the modern Singapore, not the past?

5. The photos, the media, social media and information, gossip and speculation, all around the world?

6. The Young family, their wealth, the mansion, the brother and his making the film, the actress and her inabilities? Astrid, going on buying expeditions, the earings, hiding things
at home, her children, the alienation from Michael, his being a commoner? Alastair? Oliver and his interventions – distant cousin? Camp? Design?

7. Nick, the absent father on business, Nick not wanting to return, the occasion for the wedding, Colin and his fiancee?

8. The role of the grandmother, strongly matriarchal, meeting Rachel, approval or disapproval?

9. Nick’s mother? Her glacial manner, her position, wanting everything for her son, the difficult past, not being approved by her mother-in-law? The ring? Meeting Rachel, the talk, the taunts, the disapproval, the dismissal?

10. Rachel in herself, age and experience, living with her mother, the filling in of her mother’s background story, in China, the father, the affair, Rachel being born, the escape to the United States, the single mother bringing up her daughter?

11. The newly rich family, the mother and father and their excessive behaviour, spoof, wealth, everything gold? The shy brother and his photographs? Peik? Her exuberance, knowing Rachel in New York? Helping with the clothes, chauffeuring her to the party?

12. The reception, the affluence, the extravagance, the house, food, the kitchen, the guests, behaviour?

13. Nick and his mother, her expectations, Rachel staying at the hotel? Nick and his love?

14. The men’s party, helicopters, the battleship, Bernard and his showmanship? Nick and Colin escaping to the island, the discussions, friendship?

15. Rachel and the women’s party, the crowds, the shopping spree, the hysteria of the women, the rich enjoying freebies? The massage? The lawyer, her past relationship
with Nick, her taunting Rachel? The blood and the animal, the words about her being a golddigger? Her reaction, wanting to be strong and determined?

16. The preparation for the wedding, Peik and the range of dresses, trying them on, glamour? Oliver’s help? The make up? Going to the wedding, Nick and his presence, the grandmother sitting in state, Nick’s mother? The revelation about the private investigator and Rachel’s story? Rachel leaving?

17. The effect on Nick, his seeking out Rachel, the proposal, his mother’s ring? Rachel refusing?

18. Nick’s mother, responding with the mah jong game, the play and the police?

19. Rachel’s mother, Nick bringing her to Singapore, supporting her daughter?

20. Nick, Rachel going to the plane, asking her to stay for a day, the encounter with all the friends, his mother present, the approval?

21. The subplot with Astrid, her husband, his affair, the reasons for the breakup, the postscript with the reuniting?

22. the happy ending and the prospect for a sequel?

MARK OF THE AVENGER/ THE MYSTERIOUS RIDER

US, 1938, 74 minutes, Black-and-white.
Douglass Dumbrille, Sidney Toler, Russell Hayden, Stanley Andrews, Weldon Heyburn, Charlotte Field, Monty Blue.
Directed by Lesley Selander.

Mark of the Avenger was one of the many film versions of Zane Gray novels during the 1920s and 1930s. It was renamed The Mysterious Rider.

It has quite some interesting ingredients, two masked stagecoach robbers who turn out to be men in middle age. One is called Pecos Bill who has a long back history, owning a ranch, his partner being murdered, his being accused and having to go on the run, leaving behind his ranch and his young daughter. The other is called Frosty, a friend, a cook.

Even more interestingly, Bill is played by a middle-aged actor, Douglass Dumbrille, a character actor, often a villain, in numerous films. And, Frosty is played by Sidney Toler who was about to embark on a 10 year career as Charlie Chan. As with the other Zane Gray adaptation, Heritage of the Desert, it is interesting to see and listen to Toler as a character in westerns.

Bill and Frosty decide to resolve the situation, Bill wanting to see his daughter, the two of them going as hands on the old ranch, befriending a young man in who is in love with Bill’s daughter, encountering the foreman who was in on the original plot as well as his aggressive son who has just been released from prison. In the meantime, the proprietor of the hotel in the town, is the brains behind the crime as well as the subsequent rustling of cattle.

There is some comedy with Frosty in the kitchen. There is some romance with the daughter and her boyfriend. There is some action with Bill donning his mask, investigating the rustling, finding the headquarters, eventually revealing the truth and a final confrontation with his partner’s murderer.

An interesting Zane Gray Western, popular ingredients but quite offbeat with the casting. The film is directed by Lesley Selander who directed the number of Gray adaptations at this time.

THE SCARLET CLUE

US, 1945, 63 minutes, Black-and-white.
Sidney Toler, Manton Moreland, Ben Carter, Benson Fong, Virginia Brissac, Jack Norton.
Directed by Phil Rosen.

By the time of The Scarlet Clue, the Charlie Chan films with Sidney Toler were nearing the end. After successful films featuring Warner Oland during the 1930s, Sidney Toler took over the role of Charlie Chan in 1939, making numerous episodes, becoming the embodiment of Charlie Chan in his appearance, manner, way of speaking, aphorisms and skill in detection.

As with many of the episodes, this film has the atmosphere of World War II, experiments with radar, with television, laboratories for testing radar.

The film opens with a murder and the identity of the murderer made known very quickly. He is an agent in league with groups wanting to get the secrets of radar and is well placed as a television executive in the same building. Charlie Chan was pursuing him for an arrest – but then has to solve the murder as well as the death of the murderer (and two subsequent murders of members of the radio broadcast cast).

The film shows the world of radio and the initial world of television, some actresses performing in plays, a Shakespearean actor down on his luck performing, a rather bland announcer. They are under the direction of Mrs Marsh, a harridan who is continually stopping her assistant from speaking when he actually hasn’t said a word, merely opened his mouth. There are various suspects, but with a Benson Fong as third son, Tommy, investigating along with the assistant, Birmingham Brown, Manton Moreland who appeared in quite a number of films – providing some by now politically incorrect presentations of African- American comedy. There are two entertaining sequences where he encounters Ben Carter and they have conversations, each interrupting the other’s intervention, those listening in having no idea of any detail, but the conversation ending satisfactorily.

There is a mysterious drug which combined with nicotine kills people. There is a floor in an elevator which gives way with people falling to their deaths. There are laboratories which examine the poisons and cigarettes, laboratories with different temperatures to test radar reactions.

As with some of the other episodes, and a feature of Agatha Christie’s mysteries, an irritating character who intrudes during the story turns out to be the archvillain, this time the very dominating producer of the radio programs who uses machines and words to disguise her voice.

The film is directed by Phil Rosen who worked with Edison, directed numerous short, small-budget films during the 1920s and 30s, and directed six of the Charlie Chan films with Sidney Toler.

HERITAGE OF THE DESERT

US, 1932, 60 minutes, black-and-white.
Randolph Scott, Sally Blane, J.Farrell Mac Donald, David Landau, Gordon Wescott, Guinn Williams, Vince Barnett.
Directed by Henry Hathaway.

This was the first major film directed by Henry Hathaway who is to have a very successful career over several decades, making many westerns up till 1974. It was also the first starring part for Randolph Scott, in dramas, westerns and musicals during the 1930s but from the mid-1940s until Ride the High Country in 1962, a career almost exclusively in westerns.

The film is based on a story by Zane Gray. With its brief running time, it is rather barebones, the story of ranchers and pressure from businessmen outside the law, a stranger coming in and being befriended by the ranchers, falling in love with the adopted daughter, clashing with the son of the rancher who is in league with the criminals.

Quite some action, shootouts and fights, a leading lady who is rather feisty, a romantic ending.

The film was remade with same title in 1939, directed by Lesley Selander who directed a number of film versions of books by Zane Gray. It improves very much on the 1932 version, a lot more subtlety, quite a number of plot and character complexities and interesting character performances.

The present film was rereleased in 1951 with the title When the West was Young.

 

 

 

 

KIN

US, 2018, 104 minutes, Colour.
Myles Truitt, Jack Raynor, Zoe Kravitz, James Franco, Dennis Quaid.
Directed by Jonathan and Jesse Baker.

With a title like Kin, the main expectations might be a story of family and bonding. And, in some ways, it is.

There are quite some intriguing elements in the screenplay. However, there are three main strands of the narrative, eventually coming together though a bit disparate at times along the way. Since there are touches of science-fiction introduced early, the film is a blend of gritty realism and fantasy speculation. Credibility and plausibility are not a major feature.

At the centre of the film is a young African-American? boy, Elijah, Eli, played quite effectively by Myles Truitt. He is bullied at school because of his mother. Suddenly Dennis Quaid appears as his stepfather, a stern man of principle, who warms Eli to be wary of his step-brother, Jimmy (Jack Raynor) who is being released from six years in prison.

Some difficulties at the dinner table, Jimmy going off to see a group of thugs, led by James Franco being sleazily brutal, about paying off debt. Then, we are off on a cross-country car trip, Jimmy and Eli. There is a series of adventures, especially when Jimmy takes his young brother to a disreputable bar, drinks, gets into a fight with the owner, and making friends with one of the dancers at the bar, Milly, Zoe Kravitz.

It is here that the science-fiction opens up, an ultra-powerful weapon that Eli has found in a warehouse where he used to collect scrap metal and has taken this strange box with him, discovering its lethal power.

There is an episode at a gambling den at the back of a farm. There is an episode at the casinos in Las Vegas. Jimmy wants to confess his guilt about what has happened to Eli but is interrupted leading to a drama between the two brothers, an arrest in Nevada, being interned in the police precinct with the thugs attacking the station, a rather brutal shootout, the FBI also arriving on the scene and, some mysterious bike riders (including Michael B. Jordan who produced the film) and an explanation of the science-fiction elements.

This is one of those you might like it, you might not, depending how intrigued you are with the various strands, especially the science-fiction, and how it all comes together.

1. The title? The brothers? Father and sons? The bonds?

2. The American city, home, school, the factory? On the road, the American countryside? Las Vegas, the casino? The police precinct in prison? The musical score?

3. The three different plot strands, the interconnections? How credible?

4. The focus on Eli, at the core of the film, his age, African- American, at school, his being bullied, the fights about his mother? At school, his father and his strictness? His being adopted? The father's principles?

5. Jimmy, his brother, in prison after six years, the return, the meal, the clash with his father, wanting a job? The warning about the influence on his life?

6. The situation, the scrap metal, Eli finding the weapon, the dead creatures and their armour, aliens?

7. Taking the weapon, carrying it? Eventually using it, the shock of the effect, in the bar, the destruction, at the farm with the gamblers, in the police precinct? The final explanations about the aliens, the death seekers, the weapons, and Eli being an alien, hiding on earth? The two aliens on the bike, the chase, the tracking devices, rescuing

8. The aliens, the explanations, Eli and his powers? His future on earth?

9. The thugs, James Franco as the repellent thug, Taylor Balik, supporting Jimmy, wanting the money? The brutality, the thugs and the bashing, the pursuit?

10. Going to the bar, the encounter with Milly, playing, the money, the clashes, the boss and his dominance, Eli firing the weapon, on the run?

11. Milly, her story, bonding with Eli? With Jimmy? Going back to get the money, the confrontation at the farm, the gamblers, the weapon? Taking off, the explanations, the pursuit?

12. Las Vegas, the luxury room, the gambling, the news on the television, Jimmy wanting to tell Eli the truth, the escape?

13. The police, the television story, Jimmy and being taken, in the police precinct? Jimmy's confession? The thugs and their attack, the weapons and the massacre, the arrival of the FBI and the agent?

14. The aliens, the explanation of the mystery? Taylor Balik, his death?

15. Jimmy going to prison, Milly a and Eli? His future?

 

THE FIRST FAGIN

Australia, 2013, 87 minutes, Colour.
Ryk Goddard, Carrie Mc Lean. Interviews with Allison Alexander, Trudy Cowley, Pete Hay, Janet Mc Calman. Narration by Miriam Margolyes.
Directed by Helen Gaynor, Alan Rosenthal.

The First Fagin is an interesting documentary-drama. Many Australian audiences would have heard something of Isaac “Ikey� Solomon and his detention in Van Dieman’s Land. But here is the opportunity to learn something about the background of justice in Britain at the time, transportation, and the actual story of the man who seems to have offered some background to Charles Dickens’ Fagin in Oliver Twist.

There is a great deal of drama throughout the film, the re-enactment of many scenes in the life of Solomon, his wife and family, of society in Britain, the harsh administration of justice. Ryk Goddard is intense as Ikey, in the drama, talking directly to camera about himself. Carrie Mc Lean, who is only acting credit is this film, is his devoted and stoic wife, until a relationship with the policeman in Van Dieman’s Land.

A great deal of attention has been given to the set design for the recreation of the period.

Several historians contribute talking head information and perspectives on the characters and situations. Their interventions are judiciously spaced throughout the film. And there is narration by Miriam Margolyes.

Ikey Solomon did not like Oliver Twist or Dickens using of something this background and his trial for the creation of Fagin.

The film is very interesting in its information, in its historical background, in its portrait of Isaac Solomon, his wife and family.

1. The title, the focus on Dickens’ character, the real-life Isaac, Ikey, Solomon? Solomon as the first Fagin?

2. An interesting documentary, portrait of Solomon and his wife, his life of crime, imprisonment, escape, rehabilitation, trip to the United States, travelling to Van Dieman’s Land, reuniting with his wife and family, his arrest, return to Britain, last years in Van Dieman’s Land?

3. The screenplay, sympathy for Solomon, his crimes, initial pickpocketing, the experience of prison, his becoming semi-respectable, not being a thief, receiver of stolen goods? His experience of marriage, family, the participation of his wife in his business? Prison, escape? His speaking directly to camera?

4. The range of talking heads, expertise, explanation of the social situations of the early 19th century, post-Napoleonic wars, military and navy personnel in London without work, crime, theft, the role of the police, the nature of British prisons, paying off the guards? Situations of justice and its administration? Prisons, executions, transportation? The sequences of court cases and condemnations?

5. The talking heads and their explanations of Ikey Solomon, his Jewish background and the visualising of his wedding, the rabbi, the Hebrew texts – and the end of the story with Ikey and his synagogue and the rabbi in Van Dieman’s Land? Anti-Semitic? prejudice in Britain at the time? Spittelfield and the Jewish community?

6. The influence of Dickens? His being seen transcribing notes at Solomon’s trial? The writing of Oliver Twist? The public and the interest in Ikey, his becoming something of cause celebre? The character of Fagin? Ikey and his reaction to the novel, his dislike of Fagin?

7. Ikey as a person, personality, explanation of his background, his skill in pickpocketing, his accomplice, the locked gate, the arrest, in prison, six years, his unexpected release, giving himself up, his pardon, his marriage and children, the return to Anne and her faithfulness, his determination to be rich, setting up the house, the scenes of his receiving stolen goods, his declaration that he was fair and just in the dealings? Giving the money to the man who needed a coat? The raid on his house, his imprisonment, engineering the escape? His going to New York?

8. Anne, marriage, the children, faithful, sharing her husband’s business? Benjamin and the set up with the watch and the trap, to save his father? Anne in prison, sentenced to Van Dieman’s Land? Her experience there, as a maid, the demands of Mrs Newman, dislike, the children coming, some times of happiness with them? Ikey and his travelling from New York to Van Dieman’s Land? The family being together?

9. Governor Arthur, harsh attitudes, towards the aboriginal people, strict administration of justice, reading the pamphlet about Ikey, wanting to get him, the opinion of the attorney general, correspondence from Britain, getting his way? The trial, the defence, but the exorbitant bail?

10. The trial in England, Dickens and his presence, not guilty as regards the charges of theft, guilty as regards receiving the stolen goods? His return to Van Dieman’s Land? New Norfolk, in Richmond, Port Arthur?

11. The rumours about Anne, Ikey, his angry accusations? His son defying him? Anne standing by him? His daughter’s wedding, the outburst against the policeman and his accusations?

12. Anne, her suffering in the Cascades prison, the return? Ikey in the last years of his life? Restricted? The synagogue and the rabbi?

13. An interesting character portrait, insight into British justice and its administration in those times?