COBY

France/US, 2017, 82 minutes, Colour.
Directed by Christian Sonderegger.

This is a brief documentary, a true story, about a young woman and her transgender journey into being a man.

A French team, interested in medical and psychological issues, photographed the central character over the period of the year in 2010-2011. The setting is a country town in Ohio, with the Hunt family, mother and father who home-schooled their children and did not allow television, their daughter Susanna and an older brother. At school, Susanna found an attraction to girls, thought she was lesbian, the family coming to accept this.

However, she became interested in becoming a transgender person.

The film is framed with home movie interviews with the transitioning Susanna, becoming more masculine, deepening her voice, reassuring those to whom she was speaking. However, the film itself moves backwards and forwards, photos of Susanna as a girl, interviews in the period of transition, often leaping forward to the man, Jacob, calling himself Coby, the removal of his breasts, testosterone treatment, increasing hair on his body including a unit. Is also seen working as a paramedic for which he did a year’s training and discussing gender issues and female sensitivityies with the two women he works with.

Coby becomes quite forceful figure. Always assisting is his friend, Sarah, sharing with him each step of the way – though, interestingly, raising the issue of children, not wanting to carry a child, be pregnant, which means that Coby, who still has a womb, could carry a child. There is much discussion of this issue and he opts for hysterectomy.

There are very interesting interviews with the parents as well as the older brother. The mother has done a lot of study of the issues and, eventually, offers a very understanding perspective. The father is very perceptive in his understanding, reflecting on what the whole experience has meant and how it can support his son, the memories of the daughter, being proud of his son.

In transgender issues, males becoming females is generally the central focus. This is a very interesting study of a woman becoming a man, the medical requirements, the physiological changes, the transition to the psychology of a male.

ON CHESIL BEACH


UK, 2017, 110 minutes, Colour.
Saoirse Ronan, Billy Howell, Anne- Marie Duff, Adrian Scarborough, Emily Watson, Samuel West.
Directed by Dominic Cooke.

Chesil Beach is on the Dorset coast.

The core action of this film, set in 1962, takes place on the beach and in the hotel on the beachfront, Florence (Saoirse Ronan) and Edward (Billy Howell) walking along the pebbles on the beach, formally dressed, in fact, the aftermath of their wedding that day. They are young. They are in their early 20s. They have studied at university and had top results, Firsts. But, despite the contemporary music and the bands, and the beginning of permissiveness of the 1960s, each of them is still, in manner and reserve, back in the rather restrictive 1950s.

While this day at the beach extends over most of the film, there is almost as much time, perhaps even more, given to frequent flashbacks to build up the characters of both Florence and Edward as well as glimpses into their families.

Florence comes from a very conservative family, the father, Samuel West, an industrialist with snobbish attitudes (and mean determination to dominate everyone, especially Edward, at tennis), critical of his daughter despite giving her a financial gift and offering a job at his factory to Edward. Florence’s mother, Emily Watson, embodies and mouths the Conservative views of the day.

Edward, on the other hand, comes from working class stock in working class conditions – to the disdain and comment of Florence’s parents. Edward’s family is far more interesting to watch, a considerate father, Adrian Scarborough, twin younger daughters, and a mother who at first view, naked in the backyard rousing on her children, Anne-Marie? Duff, seems quite strange. However, the sad explanation is given for her mental condition, a sudden accident on a railway station. She loves art and that sustains her with the help of her ever-caring husband and her daughters. When Florence comes into the family, she shows tenderness and sensitivity towards the mother which endears her to everyone and greatly relieves Edward.

The screenplay is based on a novel by Ian McEwan?, celebrated for film versions of The Comfort of Strangers, Enduring Love, The Child in Time and, especially, Atonement (which featured Saiorse Ronan). These are all films about relationships but relationships which are tested, tried, relationships which are misunderstood, which can fail.

This means that this is the bittersweet story of the relationship between Florence and Edward, at moments very bitter. And, at some moments, the audience is tested as to where they might lay some blame, strongly on Florence and her immediate response on the wedding day, and strongly on Edward and his response to Florence.

A film of love, courting, hope for marriage, regrets.

1. The novels of Ian McEwan? Themes of relationships, regrets?

2. 1960 story, the ethos and UK the time, the beginning of changes in the 60s, music, yet rather puritanical approach is to relationships, textbooks on sexuality, virginity, frigidity and fear?

3. The Dorset coast, the beaches, the pebbles? The hotel in the room? The family homes, the factories and tennis courts, backyards, the railway station, home interiors?

4. A transition of 1962 to 1975, the music shop and its atmosphere? 2007, the town, the concert hall?

5. The musical score, the classics to Chuck Berry?

6. The core story, the day in 1962, the progress of the day from the wedding to disaster?

7. The insertion of the flashbacks, Edward story, his exhilaration at getting his degree, the postman, wanting to tell someone, his mother’s reaction, nice, his father’s pride? Going to town, to the meeting, seen Florence, telling her, her first, the talking, going out, the effect? At home, with his parents, his mother, the brain damage, the scene on the railway station? The girls? Florence and her visit, sharing with Florence, the family liking her, her helping and their domestic detail? His father wanting Edward to marry her? His hopes, his sexual approach and her reactions? The intimacy of the kisses – but the effect on the wedding night?

8. Florence, her story, her father and his business, his snubbing her, her mother and her conservative views and expressing them? Her sister? The music, the quartet and her plans, the fifth player, the cello player and his attention to her? The rehearsals? It would watching and listening? The meetings with Edward, the intimacy, her love for him? Reading the sex book?

9. The aftermath of the ceremony, walking along the beach, going to the room, the dinners and the waiters in the awkwardness, they’re laughing, the couple being apprehensive? The awkward approach to sexuality, she is on stockings? Edward, his behaviour, Florence’s reaction? Dismay? Are going to the war, Edward following her? Her proposing that they lived together but no sexuality? Audience response? Florence to blame? Edward to blame?

10. 1975, the shop, the assistant, Edward in his life, relationships and friends? The little girl, wanting Chuck Berry, quoting her mother, his following?

11. 2007, a long period, 45 years, 32 years? The news about the quartet? Florence and her looking older, her husband the cellist, the members of the quartet? Performance, it was tears, saying bravo?

12. A film of deep regrets – and relationships are difficulties unresolved?

C’EST LA VIE

France, 2017, 117 minutes, Colour.
Jean- Pierre Bacri, Jean- Paul Rouve, Gilles Lelloouche, Vincent Macaigne, Eye Haidara, Suzanne Clement, Alban Ivanov, Helene Vincent, Benjamin Lavernhe, Judith Chemla.
Directed by Olivier Nakache, Eric Toledano.

So, that’s life! C’est la vie!

This is one of the agreeably funny films of 2018. It was co-written and co-directed by Olivier Nakache and Eric Toledano, who are extraordinary successful with the film about the invalid and his carer, Les Intouchables.

This film is not quite what might be expected from the title and expectations that this could be yet another French romantic comedy. Rather, it is the story of a day in catering for a wedding where everything could go wrong (and a lot of it does), the hassles for the manager and the staff (sometimes extreme), but where the celebration does go on and many of the guests are none the wiser.

The film also has a large cast and the casting directors have done a very good job in their selection, especially of the staff, men and women, young and old, eccentric and fairly normal, different race representations. So, this wedding celebration is a mini microcosm (though one is cautious to say this because one of the main characters, a former English teacher who has had a breakdown, comments pedantically through the whole film about precise expression, especially pointing out to unwitting users, “pleonisms�, redundancies like “starting from now� or “mini-microcosms�!).

The film opens amusingly with Max, the manager for catering (an excellent Jean- Paul Bacri) to special events, is discussing plans with a pleasant young couple who have thrift, even beyond-thrift, in their suggestions for their own wedding reception. His exasperated response to the invitation to his being inventive, sets the tone of humour, expectations that people have about receptions, and the professional and personal pressures on the managers.

Most of the film takes place between 2 o’clock in the afternoon and almost 6 AM the following morning. Step by step we meet all the people involved, the chefs, the substitute musician and his tantrums, the assistant manager and her seeming inability to stop bursting out angrily to any opposition, the photographer whom nobody will employ except the manager, his friend, a photographer now being redundant as all the guests line up with their phone cameras. There are quite some different types in the staff, the aforementioned former teacher who had dated the bride, a substitute brought in who is accident-prone, turning off the freezing switches when he uses his shaver, ruining the meat. And there are some Sri Lankans who provide some humour, language jokes, and finally some saving-the-night music.

The main target of spoof is the bridegroom, impossibly conceited, giving long speeches, participating in an acrobatic finale that has to be seen to be believed! At many moments, the audience might be thinking that a sequel to this film would be a reception for everyone after the divorce! How could anyone remain married to this oafish narcissist?

Very funny at times. Angers being vigorously expressed at times. But, ultimately, quite a sense of humanity underlying the quirks and foibles as well as the resilience of human nature.

1. The title? Humorous? Irony? Audience expectations from the title? Romance, a romantic comedy?

2. Paris, the Eiffel Tower, the office, outside the office? The countryside? The mansion and grounds, the interiors, the range of rooms, lavish, work rooms? The work and preparations? The celebration?

3. The visuals, the performances, the exuberance, the score?

4. The range of characters, their stories, interactions? The French tone? Use of workers, taxes, deals, the law and inspection?

5. The time indicators, life going on despite all the difficulties?

6. Organisation, sabotage, things going wrong, management, resourcefulness in crisis? The show going on and people being satisfied?

7. Max, his age, in himself, the difficulties in marriage, his relationship with the assistant? To tell his wife are not? The reaction of the assistant? The initial interview with the young couple, their demands, his irony about being inventive? Exasperated? His job, the contact with someone to buy his franchise? Travel to the mansion, the logistics, the setup, his responsibilities, interactions with the staff? Continued exasperation but some tolerance? Picking up Julien, the past contact, giving him the lift? The photographer and employing him when others were taking pictures with their own phones? The 2 IC and the clashes with her, her anger? With James about the music?

8. The groom, his presence, character, pompous and narcissistic, his mother and her adulation, spoiling him? The bride? His lining up the cue for him to be asked to speak, his false modesty, the links, the quotations, people bored? And all the action behind the scenes? His criticism of the music program? The compromises with James? The final performance, his flight and acrobatics, his final fall?

9. His mother, the interactions with Guy, Guy and his interned and getting him to do the work, nobody hiring photographers? Sexual obsessions, the relationship with the mother of the groom? Julien, his range of questions, his behaviour, his pedantry about words and expression, his infatuation with the bride in the past, dancing with her?

10. The range of guests, the behaviour of the guests, the spoiling of the meat, having to eat anchovies, salt, drinking? The comedy yet the difficulties being tided over?

11. Adele, second in charge, his strong personality, quick-tempered, the clashes with James – but the ultimate reconciliation and infatuation? Her ability to manage?

12. James, his macho attitudes, fighting with Adele, playing, improvising, compared, the success on the night? The relationship with Adele after the clashes?

13. The Sri Lankans, language issues, in the kitchen, finding the opportunity and pretext to Interrupt Max to get him off the hook? The cooking? The final triumph with the musical performance?

14. Samy, wanting the money, shaving, turning off the power, the meat rotting, the consequences? His serving, his enthusiasm?

15. Max, coping, the rotting meat, finding the alternative, the travelling, getting supplies from the other restaurant?

16. Everything coming together? Wariness about the man with the briefcase – and Max are speeches, justifying himself and payment, the potential buyer?

17. The finale, the groom, acrobatics and flying?

18. Max, the end of the day, early morning, his severe outbursts, the reaction of the staff? Phoning his wife? His wanting to give up, calming down, people comforting him?

19. The new day, the new job, no sale, life happens, life is good, the humane aspect of the story?

RBG

US, 2017, 98 minutes, Colour.
Directed by Julie Cowan, Betsy West.

Many Americans would know what the initials RBG stand for. This documentary film was an opportunity for non-Americans to be introduced to Ruth Bader Ginsberg, member of the Supreme Court of the US since 1993.

She is quite the personality. On the one hand, she is somewhat shy and retiring, not blessed with a great sense of humour – but marrying Martin Ginsberg, a tax lawyer with quite a sense of humour, having two children, relishing grandchildren – but a lawyer of superior standing and talent. She is very small in stature, especially seen in photos with the other Justices, predominantly male, powerful beyond her stature.

Her presence on the Supreme Court, a woman, more liberal than conservative, frequently dissenting from majority opinions, has been significant for a quarter of a century. At the time of the making of this documentary, 2017, she was aged 84. And her reputation has led to a nickname, The Notorious RBG.

Most audiences for this film will be interested in her contribution to American legislation, the interpretation of legislation, changes in legislation. However, they will also learn some biographical information about the Justice. From Brooklyn, her father migrated from Ukraine, she began college studies in law in the early 1950s, the time of Senator McCarthy? and other targeting of communists. In the 1960s and 70s, she established herself as a champion of equal rights (a significant case was her promoting a widower who was bringing up his children and was not granted financial support by the government because he was not a woman). In her championing of equal rights, there was a great deal to contribute to the rights of women. She had strong human rights and legislative views on abortion choice.

A lot of the film consists of talking heads, as might be expected, supporters from both left and right, especially her personal friendship, and opera-going, with strongly conservative judge, Scalia.

But, there are many sequences of Ruth Ginsberg speeches. Central to the film is her speech before the Senate enquiry into her nomination (Edward Kennedy being seen on the panel), and later comment by Bill Clinton about his meeting her and his decision to nominate her. There is also an address to students at Fordham and/or high school in more recent years. Younger students seem particularly keen to meet her and listen to her. (There are some sequences of spoofs about her manner and behaviour from Saturday Night Live and the Justice laughing and enjoying them.)

Ruth Bader Ginsberg emerges as a very hard-working lawyer and judge, devoted to her husband of over 50 years, grief at his death from cancer, her own battles with cancer, her integrity as a judge – who publicly complained in 2016 about Donald Trump (not as if he didn’t attack personalities in his speeches and tweets). She apologised acknowledging that this was inappropriate comment from a judge.

The documentary is particularly American, aimed at an American audience, but also of interest for audiences outside the United States.

There was a further documentary: Ruth - in her own words.It has some background, especially her marriage to Marty Ginsberg, but interesting excerpts from official speeches as well as meeting with groups.

In 2019, Felicity Jones and Armie Hammer portray Ruth and Marty in the feature film, On the Basis of Sex.

THE STANFORD PRISON EXPERIMENT

US, 2015, 122 minutes, Colour.
Billy Crudup, Michael Angarano, Moises Arias, Nicholas Braun, Gaius Charles, Keir Gilchrist, Ki Hong Lee, Thomas Mann, Ezra Miller, Logan Miller, Tye Sheridan, Johnny Simmons, Olivia Thirlby.
Directed by Kyle Patrick Alvarez.

This film is based on a book by the doctor who conducted this Stanford Prison Experiment. Of interest to film viewers, the story was filmed in 2001 in Germany, very tellingly and powerfully, Das Experiment.

The experiment took place at Stanford University in 1971. The presiding doctor, he played by Billy Crudup, was interested in students doing more than role-play, investing themselves in characters, prison guards and prisoners, so that the doctor and his staff could film the interactions and analyse them, drawing conclusions about power and the exercise of power.

The film shows the auditions for participation in the experiment, students interested in some extra payment, being asked whether they were more interested in playing prisoners or guards. Some of the corridors of the University Hall were turned into the prison, cells, assembly space, guard rooms.

The experiment was intended to last two weeks but, in fact, ended after six days. The students playing the guards entered more eagerly than expected into the exercise of their roles, enjoying the power, enjoying the humiliation of the prisoners, a dark illustration that power corrupts. The students playing the prisoners are more conscious of their role-play, some of them standing up to the guards, enduring long inspections and interrogations, being put into solitary, wanting to rebel.

The group supervising, the doctor and two associates as well as a former prisoner who is called in as a consultant, filmed the proceedings – but, some of the assistants become uneasy as does the doctor’s girlfriend who is critical, especially when they set up a role-play of a parole panel.

The experiment was brought to an end but the doctor continued his work, wrote his book, married his girlfriend.

There are some strong performances by the young actors, both prisoners and guards.

1. A fact-based story? California? The 1970s?

2. The doctor, his book about the experiment? A film adaptation? (Previous adaptations, especially the German Das Experiment?)

3. California 1971, Stanford University and its status, the scenes at the University, the buildings, offices, corridors? The students? The staff? The psychology department? The planning the experiment, no peer supervision?

4. The aim, studying guards and prisoners and the mutual responses, the role of role-play versus experiment?

5. The doctor, his personality, enthusiasm, his aims, his work, his assistants, Christina? Setting up the prison at the University? The corridors? The plan for the role playing? The discussions, policies, his watching and recording? His expectations?

6. The interview of the students, the doctor and the panel, their questions and the replies, the forms, ticking boxes? The introductions to the various types? The motivations? The financial benefit? Students of the 1970s?

7. The group panel, the discussions about selection, the contracts?

8. Assembling the group, the photo, those to be prisoners, those to be guards, the prison itself, the corridors, the cells, the signs, uniforms?

9. The screenplay and the signalling of each of the six days?

10. The setup, those prisoners, those guards? The prisoners within numbers? The lineups, the role calls, the insistence, the drills? The group, the contrast with different individuals, individuality taken over by numbers? The forceful personalities, confrontations, their being punished, solitary, the humiliations, the physical punishment, sexual punishment?

11. The guards, the chief guard and his control, enjoying himself, acting out, harsh authority – and it being easier for those playing guards than those who had to submit as prisoners? The inherent cruelty and the guards? Their banding together? Relishing the punishment and humiliation? The reaction of the doctor, commenting on their behaviour, letting them go?

12. The doctor, Christina, the relationship, the discussions, her disagreeing?

13. The assistants and their stances, watching, comments and criticism? The former convict, his agreeing to participate, his reactions? The growing obsession of the doctor?

14. The parole board, the interrogations, the effect on the prisoners, their personalities coming through, some agreeing, some resisting? Christina and her reaction?

15. The growing obsession, peer codes and pressure, the decision to stop the experiment?

16. The information about the aftermath? The doctor’s career, marriage?

PAWN SACRIFICE

US, 2014, 115 minutes, Colour.
Tobey Maguire, Liev Schreiber, Michael Stuhlbarg, Peter Sarsgaard, Robin Weigert.
Directed by Edward Zwick.

This is a story about the American chess champion, Bobby Fischer. Bobby Fischer has been a fascinating subject for documentaries as well as some feature films including The Search for Bobby Fischer.

This is a powerfully written film by British Stephen Knight (Eastern Promises, Dirty, Pretty Things). It has been directed by Edward Zwick who has made quite a range of genre films from About Last Night to The Last Warrior.

One of the producers of the film is Tobey Maguire who takes on the role of Bobby Fischer, one of his best performances, able to show Fisher’s talent, his response to his unusual Brooklyn background, his drive to win, the various tournaments, the buildup to his famous confrontation with Russian chess master, Boris Spassky, in Iceland, 1973.

There is an interesting supporting cast with Peter Sarsgaard as Father Bill Lombardy, with Michael Stuhlbarg as the entrepreneur behind his success, and Liev Schreiber as Spassky himself.

The film opens with Fisher’s temperamental behaviour on arrival in Iceland, then goes back to his childhood days, his Russian mother and her communist friends, Jewish background (in the film emphasising how Fischer turned virulently anti-Semitic), the boy’s talents, being recognised. The film emphasises Fisher’s strange personality, the matter-of-fact episode where he calculates a situation to lose his virginity, his growing paranoia echoing the Cold War, further suspicions of Russians and surveillance, taking phones apart, thinking he was being observed through the television set… There are also the tantrums and demands as well as the extraordinary skills in his playing, leading up to his surprising move in the Iceland game and here’s beating Spassky.

There is pathos in the information of the aftermath, the continuing paranoia, poverty and vagrancy, playing illegal games and being threatened by the US, settling in Iceland, denouncing the US especially after 9/11 – with some final images of Spassky himself in old age on television.

1. A chess film? Details of play, the players, the observers, the range of moods and skill?

2. Audience knowledge of Bobby Fischer, his talent, his life, victories, the clashes with Boris Spassky? His achievement, his mental health, his later years?

3. The title, play, the famous sixth game in Iceland? 1973?

4. The use of the contemporary television commentary, the TV hosts, International, the commentary?

5. New York, 1951, his childhood, his relationship with his mother, sister, the father having left, his quest for his father? The Russian background, the status of Communism of the time, Red Scares, anti-communist movements? The gatherings? The mother, her role, her friends, the meetings? Her control over her son? His playing chess, his age, the range of games, the various opponents, in the parks, in clubs? His dislike a draw, his being assertive, ambitions, obsessed?

6. The actors portraying him, the continuity? Toby Maguire and his performance? Communicating the inner life of Bobby Fischer as well as his behaviour, tantrums, chess skills? The strong supporting cast?

7. Fisher’s American reputation, coming from Brooklyn, his range of travel, the different championships, defeats, victories?

8. The film using collages of the period, American events, international events, faces, trends, government, music? US-USSR relationships, rivalry, the Cold War?

9. Bobby going to the church, meeting Bill Lombardy, Bill agreeing to help Bobby, clergy, wearing the cassock frequently, less religious manifestations, his knowledge of chess, helping with the rehearsals and articulating the moves, becoming a father-figure, trust-figure, a companion in travels, helping with the rehearsals and training? Working with Paul, managing Bobby? Knowing the moves, at the games, with the board? His exasperation with Bobby, walking out, returning? Bobby’s achievement?

10. Paul, lawyer, approaching, his background with celebrities, his instincts? Seeing the possibilities, promotion, his manner, extroverted, spending himself in support of Bobby, the ups and downs, his work behind the scenes, his connections, with Nixon, the phone calls with Kissinger? Bobby and his whims, Paul meeting his demands, the intensity, the financial details, exasperated, yet ultimate success?

11. The Russians, chess masters, the various games, the ethos, in the Cold War? Spassky amongst the experts? His personality, age, superiority, wins, his touches of paranoia, but seeing through Bobby, the games, Bobby’s tantrums and his patience, yet his touches of wanting moves, suspicion about the vibrating chair? His being outwitted by Bobby, his concession?

12. The effect of the opening, the focus on Iceland, the mayhem, Bobby at the window, the flashbacks?

13. Bobby Fischer and paranoia, American paranoia of the time, the implications of the Cold War? Its influence? Bobby and his Jewish background, yet the strangeness of his denunciation of the Jews, slandering them, ridiculing them? Ousting his mother? His relationship with his sister, conversations? Is Mother going to California? Is visit there, not seeing her? The issue of sexuality, his wanting to lose his virginity, choosing the girl, the meetings, his being matter-of-fact, her reaction? Her later observing Bobby in the
games? His going to the championship, his loss, its effect, his tantrums? Wanting to move out of chess? Is being challenged?

14. The years of travel, winning, his entourage, the scene with Spassky on the beach and his paranoia?

15. Self-centred, sociopathic, hearing voices, thinking there was surveillance on him through the TV, his continually undoing phones, fear of surveillance? His ethos, the decision not to go to Iceland, the pressures on him, Paul and his desperation, the challenge, the comparison with young men going to Vietnam and dying, and his only being required to play game?

16. His celebrity, American fever, television interviews, the role of the media?

17. His going to Iceland, his demands, erratic behaviour, his upset at the television cameras and the sound, the coughs, the various stances? Trying to concentrate? Walking out, forfeiting again? The range of his demands over the years, money and benefactors, a wooden chessboard, a silent room? These being conceded?

18. The play, Spassky and his plans, seeing through Fisher, but Fischer turning the tables, Spassky conceding? The psychological strategy of Spassky? Fisher and his genius moves?

19. Fisher’s achievement? Yet his mental condition, continuing paranoia, the information about his vagrancy, the implications of the Cold War, preoccupation with the Soviets, denunciation of the Jews, the illegal game in Belgrade? Being ousted by the US? Wandering, going to Iceland, his comments after 9/11? The footage of the real Bobby Fischer?

20. The chess genius, a young genius – and some of the comments made in comparison with Mozart and his behaviour and genius?

JACK IRISH

Australia, 2018, 300 minutes, Colour.
Guy Pearce, Marta Düsseldorp, Aaron Pedersen, Roy Billing, Shane Jacobson, Jacek Koman, Deborah Mailman, Danielle Spencer, Damien Richardson, Damien Garvey, John Flaus, Terry Norris, Kate Atkinson, Kym Gyngell.
Directed by Mark Joffe, Kriv Stenders,

Jack Irish is the creation of celebrated crime novelist, Peter Temple. He featured in five movies made for television stirring Guy Pearce as Jack. Guy Pearce made the character his own, a lawyer down on his luck, experiencing depression, failing in relationships, yet loyal to friends. The films were so successful that a six part television series was developed, taking its lead from Temple’s work.

The series had a very strong cast of notable Australian actors. Marta Düsseldorp plays a love interest which fails, and she is a journalist going to the Philippines wanting to adopt a child and meeting a new partner, Jacek Koman. There is a subplot involving racing in all the films with Roy Billing and Aaron Pedersen. Shane Jacobson reappears as a bluff policeman. Down of the local pub, Damien Garvey is the manager, with old-timers sitting at the bar in a relationship with a Chinese woman.

The main focus of the series is on students from Asia, especially India, who become victims of a shoddy exploitative alleged school. There is quite some detail given about the school, the students, the wealthy principal and her double dealings, links with government and issues of visas. But, one Indian student suffers and episode in the street and is killed by a bus. There is a further complication with a courier, a friend of Jack’s, who took a parcel which was never delivered, found several years later by a birdwatcher (comedian Tom Gleason in a cameo) which leads to the discovery of his body and more connections with the school as well as connections with the courier service which is a cover for drug deliveries.

The plot becomes more complicated with the dead Asian students, Jack consulting a psychiatrist, played by Danielle Spencer, which leads to Jack meeting a scientific researcher who is shot at and outside table at a cafe, but has a list of the dead students. This leads to a foundation, a very large grant, experimentation with developing a drug, the students being the guinea pigs – and some disastrous results.

The characters are always interesting. In the plot complications work out significantly at the end.

Directors of the series include Mark Joffe and Kriv Stenders (possibly best known for Red Dog).

1. The work of Peter Temple, the adaptation of his novels? An invented screenplay on the basis of his novels and characters?

2. The Melbourne settings, authentic feel, detail, Fitzroy, Werribee and the races, Caulfield racecourse? The countryside, Mansfield? The city streets, the home and buildings, the pub, the office, government offices, the school, migrant accommodation, the world of the couriers, the drug lab? The musical score?

3. The link with the novels and the television adaptations?

4. Guy Pearce as Jack Irish, in himself, age, experience, lined face, prone to depression, work in the law? His past? The relationship with Linda, the tensions, her leaving, his sending the parcel with the jersey, the note? And Linda not getting it? Leaving for the Philippines? Going down to the pub, his friendship with Stan, with the old men and their reminiscences? Drew and the professional work? Harry, the races, Cam? The police and Barry? His getting help from Simone? His work, the phone calls, the trivial cases about centimetres property? His friendship with the couriers, the discovery of the mail, the various links, the further investigation, following the law, his own independence? Depression, going to the doctor, the reference to the psychiatrist?

5. His personal story, Linda, the parcel, Linda in the Philippines, her fiance, considering adoption? Jack and his phone calls? Linda going to India for the puff television piece, the further investigations, the discovery of the deaths, being warned away, returning to Melbourne? Her marriage, and her husband befriending the old codgers at the pub?

6. The friendship with Drew, advice, Drew and Simone, the breakup, Simone and her personality, dressing up, being happy in the office, her skills with computers and research? Drew and his going to the men’s seminars?

7. Stan, his story, his wife and her leaving, staying at the pub, never travelling beyond Seymour, Cherry Blossom and her presence, tough, his falling in love, her changing the menu, criticism of the old codgers, preparation for marriage, her being reported, deported? Stan and his decision to sell, to go to China? The joy of her return?

8. The old codgers, characters, from the television series, the death of their friend, the vacant chair, the competition for the third chair, Des and discussing the football? Gus and their liking her? Conversation? Linda’s husband and is immediate friendship, occupying the chair?

9. The racing story, self-contained? Jack and his involvement in friendship? Harry, his racing career, retiring, playing golf, being bored, the encounter with the criminal on the golf course? His friendship with Cam, Cam wanting a new, full-time job? The meals, the guests, Jack not turning up? Issues of manners? Harry’s wife, losing the money, Harry and his secret stash, happy to go back to racing? The suspicions, Cynthia and her role as a steward, the meetings, going to the meal? The trainer and his being put upon, awkward in manner? The other horses and the interference? The criminal, his cross-dressing, his assistant? His bets, making money? Harry getting the group meeting together, Jack and his presence, Cynthia and the attack on her house and her change of heart? The owners of the horses? The bets, the plan for the substitution, their winning?

10. The opening in India, the distraught father after the video of his enthusiastic daughter? The scene of her in the street, head on fire, going under the bus? The incident being filmed? The background of the school, the manager and her manner, Jack and the interviews? The racket, the poor accommodation, the visa issues, the complicity with the government? The thugs and their action?

11. Eddie, the courier, friendship with Jack? The parcel for Linda, its being lost? Eddie and his concern about the girl’s death? His disappearance? The comedy with the birdwatcher, finding the parcel, returning it to Jack? Jack and his visits? The going to Ballarat, the mineshaft, finding the body? Going to visit the head of the courier service, his reactions? The range of people working for him, from Asia? The information of his drug empire, and the couriers and their work? Jack setting up a visit?

12. Jack, the visit to the students, the lists, the effect? Documents, visas, the government and double standards and deals? The drugs and the cover?

13. The researcher, living in his car, his list, going to see Jack, his being shot at the cafe? Jack investigating, the car, the pen and its use, Jack finding the list? The true story about the researcher?

14. Rory, her practice, her visits to the students in custody? Jack’s visit, his dossier from his doctor, her life at home, her children, living with her husband for peace, her father at home? Her beginning the affair? The visits to Jack, overnight?

15. Charlie story, his work, carpentry? Death and funeral, Jack’s speech? Gus, the visits, intruding, alienation from her parents, her carpentry work, antisocial behaviour invading homes? Going to the pub, being welcomed by the old men? Her dislike of Rory? Her future?

16. The visit to the foundation, Jack’s discussion with Rory’s husband? The revelation about the project, the money, the research and experimentation with drugs? The father and his empire, his daughter’s loyalty? His bequeathing the business to his son-in-law?

17. The launch, Linda, Jack and his infiltration? The expose, the visuals? Jack taken, the injection? The truth about the research, the experimentation, the role of the professor, the school, the students and their being subject to the experiments?

18. The resolution, the union father and his daughter’s ashes? The expose of the drugs, of the foundation, the school? And the resolution of the pub story, Cherry Blossom and her return, Simone and her continuing to help Jack? The race story? Jack and his future?

A FAMILY MAN

US, 2016, 108 minutes, Colour.
Gerard Butler, Gretchen Mol, Willem Dafoe, Alfred Molina, Alison Brie, Dustin Milligan.
Directed by Mark Williams.

A Family Man is a star vehicle for German Butler. He has proven himself in action shows but here he has to combine business warrior with the demands of being a husband and father. It is a very American story, a contemporary story about the conflict between career and home life.

Butler portrays a headhunter, a job which gives large commissions. He works for a rather self absorbed millionaire, William Dafoe. Dafoe sets up rivalry in working for jobs in his company.

Gretchen Mol plays Butler’s wife, loving and devoted but frequently exasperated by her husband’s career, phone calls, being away from home. This comes to a head when their young son is diagnosed with leukaemia, the father in denial at first, that have having to face the realities of his son’s weakness, of visits to the hospital and some vigils. Ultimately, of course, this does have a transforming effect. Interestingly, the sympathetic doctor is a Sikh.

There is a sympathetic subplot involving Alfred Molina, a man has lost his job, has asked for a search for a new position – which makes demands on Butler and moves him to some kind of selfless compassion.

While the material may be familiar, it is worthwhile looking at this portrait of a very busy man and his having to face the realities of family life.

1. The title, the focus, the American male, father, spouse? Businessman? The expected American male behaviour? Family love, family neglect?

2. The American city, the work offices, homes, hospitals, buildings, factories and plants? The musical score?

3. Gerard Butler, screen presence, his age, experience, career and competitiveness, the marriage, the years, his love for his wife, his work, committed, the hours away, with his children, presence and absence, the son with his lights on for his father’s visit? The discussions with his wife, with the children? His relationship, the sexual relationship, his earnings, financing the lifestyle? The discussions? Elise, her personality, commitment to her husband, the exasperation, the bedroom discussions and behaviour? Her previous work at the bank, having no current qualifications for a job?

4. Dane, presence in the office, the range of deals, continually on the phone, the frenzy, the headhunting, the large commissions, the competitiveness in the office? The young aspirants, training, deals, edging out the elders? Wilson, her leadership, her comments about money, her ambitions?

5. Ed, his personality, ruthless, his position, focus on money, the visit to Prague, fostering the competitiveness and rivalry, his return, the visit to the hospital, the gift for the boy, not going in? The repercussions – and his still firing Dane?

6. The older man without a job, his age, previous experience, his application to Dane, his relationship with his wife, the grandchildren? The set up the interview, the questions, his being listened to, not getting the job? Dane intervening, with the boss, his promise to forfeit the fee? The man happy, moving, closer to the family? His later call to Dane after getting the job, offering him a position?

7. Elise, a good woman, hard-working with the family? The crisis with Ryan?

8. The children, Ryan, not able to jog, walking, his bruises? The visit to the doctor? Dane, in denial, the hard response? The sympathetic Sikh doctor? His diagnosis, honesty? The aide, his help, talking with Dane? Dane and his visits, being late, the son in a coma, the parents talking to him, Dane and his sadness, Elise and her constant presence, her expectations of Dane? The issue of his recovery or not?

9. Ed, his visit, not going into the boy? Seen in his relationship with Wilson? The up-and-coming getting the job done?

10. Dane, his visit to Ed, his being fired? The repercussions, going home, releases joy? A new life, with his family, working from home?

11. A picture of the 21st-century male, at home, at work?

THE CHARMER

Denmark, 2017, 100 minutes, Colour.
Ardalan Emaili, Lars Brygmann, Soho Rejanejad, Austa Lea Jespersen.
Directed by Milad Alami.

The Charmer is a Danish film with Iranian interest.

The film also raises the contemporary issues of migration, migrants and their settling into new and quite different cultures, the effect of authorities supervising them, memories of their old country and relationships there.

The central character of this film is from Iran, has spent two years in Denmark, has been in a relationship which has had such an effect on the woman involved that she kills herself. One of the locals, her friend, wants to take vengeance on the Iranian.

The Charmer himself goes to bars, flirting, offering drinks, wanting to find a woman that he can, if not marry, be in a stable partnership and can prove this to the immigration authorities. The woman that he does encounter says she does not want to marry him for this purpose. She is attracted. He is attracted. She has a mother who was a famous singer and who dominates her. The couple has a rocky relationship, the charmer being charming but, ultimately, pursued by the vengeful man and treated violently, he reacts and his return to Iran.

There it is revealed that he has a wife and children, has been speaking to his father-in-law by Skype, has been sending money – but now has to reconcile himself to being back in his native country and making something of his marriage.

1. The title? The tone? The context?

2. The settings in Denmark, the Danish way of life, society, locals, Ukrainian migrants? And the end in in run? The musical score?

3. Esmail’s story, the audience meeting him, the experience of charm, his relationship with women, sex? The initial relationship? The focus of the woman, in the bedroom, going to the window, her suicide? The consequences? For Esmail and his conscience, his behaviour? For Lars, his friendship, his anger, confronting Esmail, fighting him, the wound?

4. Esmail, in Denmark for two years, the Skyping with his father-in-law, the words with his wife, the audience not knowing about his wife and children in Iran until his return? His sending the money?

5. His status, visa, the rules, going to the office, his being in a partnership, the mystery presence of the woman? His motivations?

6. His going to the bar, meeting with the women, the range of flirting, buying drinks? His failing, going home? Meeting Sarah and her friend in the bar?

7. Sarah, her personality, flirting, stating she would not marry Esmail for the visa? The variety of meetings, the attraction, parties? At her home, the help, Sarah and her mother relying on him? Sarah’s mother, her singing, her personality? Sarah frustrated, at home, the sexual relationship, drinking, her behaviour taught Esmail in company?

8. Esmail in himself, his age, experience, hopes? Sarah and the possibilities, her rejection? The gift of the suit, going to the party? His reactions, breaking the picture glass, leaving?

9. His return home, the family, his daughters, meetings wife again, the father-in-law?

10. His memories, but keeping silent on Denmark?

11. Issues of migrants, settlers, the Ukrainian migrants in Denmark, the old men and their memories and stories? Yet contemporary migrants and their feeling crushed? Return home?

FANatic

Canada, 2017, 90 minutes, Colour.
Betsy Brandt, Benjamin Arthur, Katie Breier, Alison Louder, Stefanie Drummond, Jake Epstein.
Directed by Jean François Rivard.

Beware mad fans.

Betsy Brandt and Benjamin Arthur portray a married couple, actors, stars of a cable series which has been playing for seven years. It is a kitschy kind of version of Star Trek with costumes derivative, with dialogue even more derivative. The cable TV fans have liked it, a heroine but always in distress and rescued by the hero.

But this is the background to the main story which focuses on Katie Breier as the loyal assistant to the couple, getting everything ready, providing the scripts, rehearsing… She seems a very earnest young woman. However, she has her own little band of loyal fans with their dress, with their language from the television series. She is also building up a shrine to the show. In fact, by Kathy Bates in Misery, she is the number one fan of the show.

The actress is thinking of leaving, is offered a lead in a play. Her husband, on the other hand, is very satisfied with his career and his salary. The fanatic and also gets a crush on the actor, setting him up and filming him in compromising situations – and this being released on social media, providing a crisis for the couple, setting up a mad finale for the fan, and threats to lives, as well as the death of one of her friends and of the series writer.

Not bad as this kind of film goes!

1. Title, the emphasis, the tone?

2. The horror genre? The mad fanatic? The targets? Manipulation? Outbursts into violence?

3. The basic presupposition? The married couple, stars on cable television, the limited outreach, ambitions for better things? The science fiction story – with the touch of the ludicrous, make up, costumes, dialogue, behaviour? The fan and her devotion to the show?

4. The American city, the studio sets, the trailers, apartments, the fan and her huge set up with relics from the show? The exhibition in Atlantic City? Echoes of Star Trek, space stories, language, appearances, fans and their devotion? The musical score?

5. Audience response to the show? Seeing Tess in her make-up and costume? With Hunter? Growing sympathy with them? The seven years, Tess wanting something better, the offer of the play, Hunter satisfied that he had a star and salary? Tess and the sexism of the plots, male rescuing female? The writer indicating that this was what fans wanted?

6. Nikki, assistant, present, alert, attractive, with the pages, rebuked by the writer, defended by Tess? Her friends, devotion to the show, their own language, pledges? The two friends and their personalities, costumes? Dana and her devotion? Charmaine and her scepticism?

7. Nikki, her boasting, stealing things, the woman at the exhibition and hitting her, taking her week? Her boasting about the affair? Drugging Hunter, in bed, the photo, showing to her friends? The identifying tattoo? The friend putting it online, everybody knowing? Nikki suspecting Charmaine? The truth about Dana?

8. Tess, her upset, Hunter’s past behaviour, her inability to perform? Nikki taking her to the motel, there in secrecy? Hunter and his concern?

9. Tess, the conversation with the writer, wanting to be out of the show, intending to take the performance in the play, the clash with Hunter and his desperation about the performance of the show?

10. Nikki’s reaction to Tess wanting out, hitting her over the head, abducting her, the elaborate cell? Tess and her pleading? The two friends, Dana and her devotion to Hunter, Charmaine and her criticism, Nikki pushing her down the stairs? The visit of the police? Hunter arriving, in the cell?

11. Trying to deal with Nikki? The explanations, her brothers and building them sci-fi sets, a remark about a psychologist and control? Her absolute devotion to the show, Dana and her wanting to let them free, Nikki killing her, putting on the armour, the fight from the show with Tess? Nikki’s being arrested?

12. The finale, Nikki in jail, watching the show, the others laughing, her devotion?