WAYNE

Australia, 2018, 98 minutes, Colour.
Directed by Jeremy Sims.

In 1987, Wayne Gardner was an Australian celebrity, an Australian sport icon. It was the year that Jeff Fenech was a boxing champion and Pat Cash won Wimbledon. Wayne Gardner was voted sportsman of the year, winning the world championship in motor bike racing.

This is an opportunity to look back on Wayne Gardner’s life, his sports history, his achievement, the years after his achievement. So, this is interesting as a piece of Australiana. However, for those who do not have a passion for motor bike racing or motorbikes, it will not be so compelling.

Wayne Gardner himself is an agreeable interviewee, talking straight to camera, quite genial, remembering his past in industrial Wollongong, his first five dollar bike, the encouragement of his sometimes reticent father, his enthusiastic mother, a range of friends from Wollongong itself. Also very agreeable and articulate talking to camera (and being seen in the historical footage over many years) is Gardner’s girlfriend, Donna Lee.

While the film is a portrait, generally agreeable, not so many warts and all, it is also a look at the development of motor bike racing throughout the world from the 1960s to the 1980s, many of the personalities, Japanese promoters, American rivals, Australian collaborators. And, it has its excitement, as Gardner comes up through the ranks, eventually achieves his championship goal at quite some energy cost. But it also shows his subsequent history of developing Phillip Island as a venue in the late 1980s for the sport – and the excitement of his achievement on winning there.

The film has some dramatic and romantic overtones with the wedding of Wayne and Donna in 1989 – and a surprise for those who don’t know the subsequent history, a divorce after five years, strange given Donna’s years of devotion and support to Gardner. The film ends with scenes of Gardner supporting the racing career of his son, Remy.

A film for its niche audience, an opportunity for the wider audience to think about sport in Australia, celebrities, as well as an opportunity to think about the status of motor bike racing.

THE HAPPYTIME MURDERS

US, 2018, 91 minutes, Colour.
Melissa Mc Carthy, Maya Rudolph, Elizabeth Banks, Joel McHale?, Leslie David Baker. Voices of: Bill Barreto, Dorien Davies.
Directed by Brian Henson.

Brian Henson is the son of the celebrated Jim Henson, creator of the Muppets and developer of the Jim Henson’s studios. He died prematurely and his son, Brian, took over the studios.

It is not recorded whether there was a severe rumble of Jim Henson’s grave when The Happytime Murders was announced. Did he turn in his grave? The material and treatment of this story, cowritten and directed by Brian, is not exactly in the spirit of the Muppets. Though…

Of course, it is an amusing idea. This is a private eye story from LA, echoing the conventions of the famous private eyes and their investigations. The difference is that Phil, voiced by Bill Barreto, is a puppet, close cousin of the Muppets. And, as with so many other films, he has a significant secretary in the office – and very amusing performance by Maya Rudolph, spoofing the role with her manner, talking, frequent change of fashion. But, almost immediately, Phil finds that he has a client, Jessica who, despite her wearing spectacles, is shown as a variation of Sharon Stone in Basic Instinct.

Phil has had his difficulties in the past, a dramatic flashback showing the cause of his being dropped from the LA police force, his falling out with his former partner, Edwards (Melissa McCarthy? doing her usual raucous thing), and the accidental shooting of a father in the presence of his daughter.

Mention of the word ‘raucous’ is probably very relevant to the film and its dialogue, lots of coarse language, some explicit sexual behaviour and language, plenty of innuendo beyond the explicit.

Allowing for this, which many will probably not allow, the plot takes it usual course, a number of murders of the group associated with Phil, his investigating despite the interventions and disapproval of the local police, teaming up with Edwards again, a buildup to a dangerous shootout and heroism all round.

Actually, the idea is not bad, but had it been done with a little more subtlety, a little more finesse in the raucousness, it could have been a more entertaining spoof that a wider audience could have enjoyed.

JIMMY BARNES, WORKING CLASS BOY

Australia, 2018, 99 minutes, Colour.
Directed by Mark Joffe.

This documentary about singer, Jimmy Barnes, has a lot going for it. And it offers quite a lot as well.

The film is based on interviews with Barnes himself as well as with relations and friends but also on a performance at this State Theatre in Sydney, where he recounted his story as well as offering a selection of his songs. And, there is a great deal of historical footage included in the film which brings alive Jimmy Barnes’ past both in Scotland and in Australia.

Jimmy Barnes (born James Dixon Swan) is well-known to most Australians, one of the most successful singers as well as for his presence in the band, Cold Chisel. This film is about him more than about the band.

While the film does have quite a number of Barnes’ songs, they tend to be longish excerpts rather than whole songs and are all related to particular themes as he recounts his story. He sings with his current musicians, with some members of his family, but especially with his daughter, Mahalia (her name given because of her father’s admiration for Mahalia Jackson), a powerful singer in her own right. For some songs he teams up with Ian Moss and David Walker, who initially auditioned him for their band in 1973 and went on to success together has Called captures all. He also introduces his son, daughter of his girlfriend in the early 70s, who was brought up by his maternal grandmother and only as a young boy discovered that Barnes was his father, singer David Campbell, who also joins his father on stage and sings a duet with him.

The film is very interesting as an autobiography, quite a deal of attention given to Barnes’ origins in Scotland, in very harsh streets and homes in Glasgow, many clips of the city and the environment, comments from some of his relatives. His parents were married very young, had six children, fought continually, his mother a hard woman, his father a champion boxer who never achieved expected fame in Australia, hard drinker who often abandoned his family.

The film is also interesting in its presentation of the migrant scheme from Britain in the 1950s and 1960s, the family coming to Australia, going to Adelaide, being settled in the newly developed town of Elizabeth. Barnes has quite a deal to say about the hard life in the town, his absent father, his mother leaving for several years before she returned with a genial man, Reg Barnes, who married her for the children and served as a father figure. Barnes took his name. He also notes that his own father was his father but Reg Barnes was his dad. There is also testimony from Barnes’ sister, Lisa.

Growing up in Elizabeth was particularly harsh and, eventually, Jimmy started to repeat the patterns of his father, the drinking, chasing the girls, drug experimentation.

It was a music which saved him, although he did have hard years of drinking and drugs during his musical career. After a successful audition, he was accepted into the band which became Cold Chisel – and a hugely successful career.

Barnes’ wife, Jane, also appears, a good wife and mother, a stabilising influence in her husband’s life.

And, at this stage of his life, where he says he is happy, he has come a long way through many difficulties, many of them enough to crush a less strong personality. He is a good raconteur, has an ironic sense of humour, engages with his audience, not only in song, but in conversation.

Directed by Mark Joffe, who directed many feature films as well as episodes of Jack Irish), this is a very well-made documentary, always interesting, always engaging.

THE LAST SUIT/EL ULTIMO TRAJE

Argentina, 2017, 98 minutes, Colour.
Miguel Angel Sola, Angela Molina, Martin Piroyanski, Natalia Verbeke, Julia Beerhold, Olga Boadz, Jan Mayzel.
Directed by Pablo Solarz.

This is a very fine film, a film that makes life worthwhile for a film reviewer. It can be well recommended.

The basic setting for the film is Argentina, opening with a joyous celebration of the Jewish community, music, dance, a reminder of the old traditions. However, the keeper of the traditions in this film is an 88-year-old patriarch of the family, significantly called Abraham, who is terminally ill, has a leg which strictly needs amputation, who is being sent by his daughters and their families to a retirement home. On the surface, he seems to accept this, but… He is played persuasively by Miguel Angel Sola.

In the middle of the film, when he reluctantly seeks out his youngest daughter in Madrid after he has been robbed, having previously refused to apologise for his disinheriting her in favour of her two sisters, there is a strong reference to the plot of King Lear. The daughters in Argentina who are sending their father to the retirement home have professed their love for him while the youngest daughter, Claudia, accuse them of hypocrisy. (There is an explicit reference to Shakespeare and King Lear in the final credits.)

The film is also a Holocaust memorial film. Abraham lost his family in the camps ini Poland, was able to escape with the help of a friend. He had been able to migrate to Argentina but had let contact with his friend lapse. As he faces his death, he decides to return to Poland and the bulk of the film shows his journey.

He is a resourceful old man, relying on a literally underground agency to get his ticket to Europe. He imposes himself on a quiet young man on the plane – who later does ask Abraham’s help and offers to drive him in Madrid. Before he gets his train to Poland, Abraham goes to an old hotel, encounters Maria who runs the place, who takes him to a club where she sings after he misses his train and they reminisce about the past.

There are various episodes, all interesting and entertaining, as Abraham pursues his travels, getting tangled with language in Paris, being helped by a young woman archaeologist who is able to speak Yiddish – who then has to bear the brunt of Abraham’s hostility towards Germans, not wanting to set foot on German soil as he makes his way from France to Poland. As with his daughter, so with this young woman, Abraham has to learn to let go of some of his angers and hostility and appreciate the kindness of others.

There is also great kindness in Poland, especially from the nurse in the hospital where he is taken after collapsing on the train (aggravated by his memories of the past, seen in flashbacks, his injuries after the war, his seeking help from his friend, but a cruel sequence of memories where he is mocked by decadent German soldiers and their women).

There is great emotion at the end of the film, great hope in a film which acknowledges human weakness but also invests in human resilience, forgiveness and reconciliation.

1. A moving and humane film?

2. The title, symbolic for Abraham and his friendship and loyalty?

3. Universal story, but specifically Jewish, Polish background, World War II, the concentration camps, the experience of the Holocaust, survival, migration to Latin America?

4. The exhilaration of the opening, the Jewish people, the singing, the dancing, the mood, celebration?

5. Abraham story, the symbolism of his name? His age, late 80s, his health, his bad leg, the initial photograph, the granddaughter not wanting to be part of it, her mercenary attitude, the bargaining, the bribe? His losing his home, giving the rights to his daughter’s and their families? Not his house? The presence of the maid, her comment about the situation to Abraham?

6. The prospect of going to the nursing home? His decision to leave, the taxi, the driver disrespecting him by calling him grandpa, his visit to the underground agency, getting the ticket? Immediately going to the station? On the plane, wanting conversation with Leo, Leo and his reluctance, the music magazine, conversation about musicians, Leo moving?

7. Madrid, the authorities, the interrogation, his not having a return ticket, his money? Leo and his asking assistance? Abraham helping? Going to the hotel? Settling in?

8. Maria, at the hotel, tough, the issue of the room, Abraham sleeping, missing his train? Maria taking into the club, her singing? Their talking, the stories? The return, the open window, his having been robbed? His reliance on Leo for driving him? Going to his daughter, the past story of the daughters and the declaration of love, Claudia refusing, criticising her sisters, Abraham cutting her off, her going to Madrid? His reluctance to visit her, finally ringing the bell, the conversation, seeing his granddaughter, Claudia giving him the money?

9. The revelation of the King Lear connection, old man, his unwise decisions, the response of his daughters? And the possibility of looking at the other connections with King Lear, Maria, Leo, the German woman on the train – as guides, companions in films?

10. On the train, going to Paris, the taxi, going to the second station, the language difficulties? Ingrid helping, yet his bitterness, her speaking you to Yiddish and his reactions? His rejection of Ingrid, not wanting to go through Germany and tread on German soil? The meeting on the train, her story, research, learning Yiddish? Comforting Abraham? The class and his not treading on German soil? At the station, her apology to him for the treatment during the war? His relating?

11. The flashbacks throughout his journey, to the end of the war, his going to the house, his suffering, being helped by Peter, the father and his fear that the house would be taken over? Peter and his comforting Abraham, Abraham survival?

12. Going to Warsaw, the flashbacks to the train ride, the Germans and their decadence with the women, taunting Abraham about circumcision? His remembering these sequences? Collapsing?

13. In the hospital, the nurse, Gosh, the details of his story, identifying him, his leg – and his request to find Peter?

14. Culture and her help, going through the city, the street, the buildings, people not able to identify the place? Knocking on the door, no answer? Abraham wandering up the street, looking at the window, the two men looking at each other, recognition after over 70 years? The delivery of the suit, remembering the pattern, the bond between the two men?

15. The emotion in the end, reunited, the men and all they had endured, the end of their lives? But a film of hope?

THE SPY WHO DUMPED ME

US, 2018, 117 minutes, Colour.
Mila Kunis, Kate Mac Kinnon, Justin Theroux, Sam Heughen, Gillian Anderson, Jane Curtin, Paul Reiser.
Directed by Susanna Fogel.

No mistaking the direction in which this espionage adventure will go. The keywords are spoof and mayhem. And, in fact, there is plenty of both and increasingly veering towards over the top.

It was James Bond who was “The Spy who Loved Me�. Actually, there is an English agent in this film although he is played by Scots Sam Heughen, a regular in the television series, Outlander. There is also an American kind of James Bond equivalent, played by Justin Theroux. He is the spy who does the actual dumping. The important word, of course, in the title is “Me�.

It doesn’t sound particularly grammatical to ask “who is Me?�. But, that is the question. In fact, she is a regular American woman, in her 30s, Audrey, played by Mila Kunis. She is an attractive character, tends to put herself down a bit, is, obviously, more than a bit put out to find that she has been dumped but even more put out to find that the man who dumped her is a spy.

But, she does have a best friend who is the exact opposite of her, Morgan, played by Kate Mac Kinnon. Kate Mac Kinnon has excelled on Saturday Night Live with many impersonations, madcap satire and spoof, was one of the new Ghostbusters, and takes every opportunity here to excel even more. While she is outspoken, zany in her attitudes towards life, even finishing up performing on the trapeze with high wire acts at an arty reception.

When the dumping spy is shot, he asks Audrey to get his important sports trophy and to take it immediately to Vienna where she will find a contact at a restaurant. What else are the girls to do but immediately book a flight, get to Austria, go to the hotel, misinterpret contact and so begin a series of adventures that will remind audiences of the more serious shows while sending them up in terms of danger, escapes, drawing on desperate resources, anything available or improvising, to fend off danger.

And, there are some travels into the bargain, careering around Europe, from Vienna to Amsterdam and tourist spots in between.

As with all spoofs, some audiences will find a particular episode extraordinarily funny while the person sitting next to them might be offering a mild smile. It is that kind of screenplay, but one rushing from one episode and send up to the next, audiences identifying with Audrey, wondering what Morgan is going to do – and, what Gillian Anderson is doing as the controller at MI 6 and whether the blonde protector is the hero or the traitor.

And that, probably, is enough for a smiling or laughing-out-loud night out.

KEEP THE CHANGE

US, 2017, 94 minutes, Colour.
Brandon Polansky, Samantha Elisofon, Jessica Walter, Jonathan Tchaikovsky.
Directed by Rachel Israel.

A New York story, combining the familiar, the wealthy self-confident family, along with the unfamiliar, a course for young adults with a variety of disabilities.

The focus is on David, a young man, from the wealthy background, an only child, spoilt by his doting mother who is also controlling and his more genial laid-back father. He has been required to go to this course and is seen being driven by the family chauffeur. At the course, one of the participants he encounters is a very talkative Sarah, enthusiastic about many aspects of the course, partnered with David for a project (the supervisor hoping to get David involved instead of playing with his phone).

This seems an unlikely partnership, audiences probably feeling rather critical towards David and his seemingly arrogant attitudes, but feeling rather sympathetic towards Sarah although probably thinking that they would find it very hard to go out with her and experience her continual enthusiastic chatter.

It emerges that the course is for those with a variety of disabilities. David’s is not immediately evident although he does have peculiar mannerisms, a facial tic which is disguises as a sneeze. Sarah is more obvious and very quickly explains to David that she is autistic and has learning disabilities.

David has felt the need for relationships with women and is a constant devotee of online dating – and we see him on one of the dates which concludes almost instantly, the woman walking away.

But, probably to our great surprise, David forms something of an affection for Sarah, especially when they have to go to the Brooklyn Bridge and write a report of their visit, she always broming with enthusiasm.

On the whole, this is a very gentle story about two needy people, autistic men and women dealing with their disabilities, forming bonds, David taking Sarah home to his disbelieving mother, Sarah, always full of life, becoming very hurt when David seems to neglect her. He has an actor cousin who shows an immediate awareness of Sarah and her needs, something of a relief to the audience that there are people who are sensitive.

How can this develop? What are the challenges in terms of personality, abilities and disabilities, affirmation of personalities, love and sexuality, hurt and possibilities for reconciliation? The only answer to these questions is that audiences should go and see – and find this brief film with its unexpected focus rather rewarding.

1. The New York story? Universal story? The title, the reference to Obama?

2. New York City, the education centres, theatre, the streets, the buses, the mansion on the beach? The musical score?

3. Themes: disabilities, possibilities, issues and relationships? Audience understanding and empathy?

4. The introduction to David, his age, his attitudes, with the chauffeur, going to the course, his reluctance, keeping aloof, interaction with the other students, the coordinators? The men, the conversation, the gay man? David’s cousin? Meeting Sarah, his resistance the course, being on the phone, being drawn in, the project of the Brooklyn Bridge, the visit, his reactions? Sarah and her response?

5. The group, the personalities, the men, the women, auditions for the theatre, performance?

6. Sarah and her impact, incessant talking, her personality and enthusiasm, conscientious? Her age, learning disabilities, autistic? Home work, the Brooklyn Bridge and her exhilaration, trying to relate to David? The visit to her grandmother and her drinking? Only able to get the bus home?

7. David, continually on-line, the dating, his profile, the women, the visit to the restaurant, his manner, the woman talking out on him? The others responding online and hostility?

8. His parents, his controlling mother, her concern, the laid-back father? Their lifestyle?

9. With Sarah, the bond, talking, listening, his sneezing tic, excusing himself? The outings, Sarah’s company, communicating with her? The restaurant? Taking her home, his mother’s reaction? The visit of the cousin, going down to see them, the conversation, having been to the theatre, Sarah’s reaction, autistic, wanting to sing, David and his embarrassment, leaving, the consequences? Sarah hurt, ignoring him?

10. The theatre, the auditions, the range of people, Sarah’s performance, just standing in letting out her inner glow?

11. David, his realisations, seeking out Sarah, her ignoring him, going to the bus stop?

12. David trying to get into the bus, here are the bus, inexperience, the problems with getting the cash, Sarah coming to his help, David getting into the bus – and a future for the couple?

THE INSULT/ L’INSULTE

Lebanon, 2017, 112 minutes, Colour.
Adel Karam, Kamel El Bashah, Camille Salameh, Diamand Bou Abboud, Rita Hayek, Talal Jurdi, Christine Choueri, Julia Kassar.
Directed by Ziad Doueiri

A film to be recommended. It was the Oscar nomination for Best Foreign Language film from Lebanon for 2017.

The title is very straightforward. And, in some ways, so is the incident which leads to the insult but does not anticipate many of the dire consequences.

It can be said at the beginning of this review that the director has explained that his screenplay is based on a real incident, and that it involved himself, an outburst of criticism and insult to a plumber. The consequences were not as he expected and they made demands on him for some kind of reconciliation – but it provided personal experience on which to base a screenplay which takes the insult much further.

It is not necessary to know a great deal of the history of Lebanon in recent decades to appreciate this film. It is something of an allegory of resentments, hatreds, angers and conflicts in the Middle East. However, it introduces immediately a militant Christian group in Lebanon and its fierce loyalties, as well as a background of hate talk on the radio. The central character, Tony, is a garage mechanic in Beirut, a Christian area which contrasts with the Palestinian camps. The other character is Yasser, a Palestinian refugee, living in a camp, a calm man generally who is supervising building sites with great success and finesse.

The insult incident is trivial in many ways, Tony hosing his balcony, an open pipe spilling the water onto passes by. Yasser confronts Tony, tries to fix the pipe, Tony smashing it, leading to a verbal confrontation, provocative because of the hate messages on the radio, and a punch which leads to broken ribs in hospital. Tony demands an apology of Yasser. Yasser is not prepared to give it.

This part of the drama is interesting in itself, the director creating quite a sense of tension, Tony absolutely fixed and rigid in his stances and prejudices, Yasser remaining calm but then provoked.

The main part of the action of the film actually takes place in the court. Tony decides to sue Yasser. A top Beirut lawyer, Christian, interviews Tony and prepares a spirited and somewhat bigoted prosecution of Yasser. The irony is that Yasser’s defence lawyer is the daughter of the prosecutor, her first case, quite a rivalry. There are three judges who preside – and the trial proceeds with interrogation of witnesses but spontaneous interventions from both lawyers.

The trial gives the opportunity to the audience to appreciate what is behind the hostility, the experience of the Palestinians, the behaviour of Israel, the role of the PLO, the refugees in camps in Lebanon. But it also gives the opportunity to appreciate the experience of the civil war in Lebanon in the 1970s, the role of PLO and Palestinians, massacres in Christian villages and still-unresolved animosities.

While the film is involving and itself, audiences off-put by the angry Tony, appreciating the calmness of Yasser (and the introduction of complications of Yasser’s behaviour when he was a young man in the camps and involved in violence), the film asks its audience to think about the conflicts in the Middle East, what is behind them, and possible solutions for peace if not reconciliation.

1. The directness of the title? Insults and consequences? Far-reaching?

2. Beirut, 2017, the visuals of the city, the poorer neighbourhood, the wealthy areas, the buildings, offices, the courts? The musical score?

3. The film based on the experience of the director, his being in the wrong, the consequences? His imagining further consequences? His own Christian religious background, support of the Palestinians, the authorities critical of his films, attempts to ban his films – this film getting the Lebanon on Oscar nomination?

4. Audience knowledge of Lebanon, the history of the Palestinians, the PLO, Israel and antagonism, the refugees in Lebanon, the camps? The background of factions and the government, the background of the Civil War, social differences, religious differences? The past massacres, angers, deep-seated desire for revenge over the decades?

5. The film as an allegory of the Middle East?

6. The enthusiastic opening, the political rally, the speeches, Tony and his presence, devoted, coming home, his wife and her pregnancy, the relationship? His job, working the garage? His wife, keeping the accounts? The different clients? His ordinary life – yet the radio background of propaganda and hate language?

7. Yasser, Palestinian background, living in the camp, a man of quiet dignity? His supervising role, the range of jobs, his efficiency, the loyalty of his crew, working for the agent, his wanting the best in terms of tools and finished work? His wife, his situation, precarious because of the camps?

8. The incident with the hose, the water coming out of the drain, Tony and his watering his garden? Yasser and the others getting wet? The reactions, the talk, Tony assuming that Yasser was insulting him? His being thin-skinned? Yasser and the substitution of another pipe, Tony breaking it? Tony demanding an apology? The two men digging in?

9. The reactions to the men, their wives, all-round reactions, the small incident, escalating? The agent, trying to apologise, the gift, Tony rejecting it? The Deputy and his responsibility? Wanting Yasser fired?

10. The scene in the garage, the talk between the two men, the radio and the hate language, the comment about Sharon and killing all the Palestinians? Yasser’s reaction, punching Tony, breaking his ribs, Tony going to hospital?

11. Tony, his anger, going home, his wife and wanting to move to their hometown, his refusal, his bond with his father, the memories?

12. Going to the garage in the night, lifting heavy weights, falling? His wife dragging him and getting him to the hospital? The premature birth? The child in the crib?

13. Tony and his decision to sue, his righteous stances? The contrast with Yasser, his stubbornness, conscientious and silent?

14. The preparations for the trial, the top lawyer in Lebanon, the meetings, his team, interviewing Tony, the interpretation of the events, the Christian prejudice against the Palestinians? His daughter, and her work for the defence? The personal sequences between the two, the rivalry? Her first case?

15. The trial, the presence of the judges, the style of the cross-examination, the range of witnesses, the interventions of prosecutor and defence? The decisions of the judges?

16. The political implications, the background of the civil war in Lebanon, the role of the pest in Palestinians, the Christians?

17. Tony and his visit to his hometown, his initially being unwilling when his wife asked? The memories of the town, the Christians, the Palestinians, the war, the massacres, visualising these? Tony and his anger and resentment?

18. The story of the camp, the Palestinian children, the cook and his testimony, Yasser and his violent attack because of the treatment of the child? The truth of the story – but Yasser being young, and the cook actually being one of the soldiers?

19. The films of the past, the visualising of the past?

20. Yasser, visiting Tony, taunting him, Tony losing his temper, hitting Yasser and breaking his ribs? The images of mutual provocation?

21. The lawyers, the summing up of the case, the media and expectations, the impact on Tony and his wife, her history of miscarriage, Yasser and his wife, the judges bringing their verdict? The reasons for the decision given?

22. The consequences for Tony, losing? The consequence the Yasser? Possibilities for apology, reconciliation?

23. The film being an allegory for conflicts in the Middle East?

THE DARKEST MINDS

US, 2018, 104 minutes, Colour.
Amandla Stenberg, Mandy Moore, Bradley Whitford, Harrison Dickinson, Gwendoline Christie, Skylan Books, Patrick Gibson.
Directed by Jennifer Yuh Nelson.

For those not in the know about the novel on which this film is based, the title, at first glance, might indicate one of those many current horror films, sinister characters, blood and gore. However, this is not the case.

The novel by Alexandra Bracken is described as a Young Adult novel. There has been something of a proliferation in recent years of Young Adult novels and films set in a post-apocalyptic world, challenge to young people, some kind of internment and categorising of them in terms of dangers and capacities, the urge to break free, the expose of the authority figures. In film terms, it was probably The Hunger Games which set the tone, followed by such series as the Divergent films, The Maze Runner, The Giver. However, these films were made in a way to attract an adult audience as well is the Young Adult audience.

The Darkest Minds seems to be aimed at what might be called a Younger Young Adult audience, and audience still in their teens. Another film like this in past years was The 5th Wave. The characters are younger, also still in their teens. Another feature of this film is that it is multi-racial in its characters, the central character is African- American as is another in the group, a rather nerdish young man. There is also an Asian American. However, the hero and the villain are both white males.

The central character, Ruby (Amandla Stenberg) offers a voice-over, indicating mysterious illness and deaths of children, the repercussions at school, in families, even including the son of the American president. Ruby is 10, has a strange and threatening experience with her mother, but is then rounded up with other children and taken to a camp, tested and catalogued, those in the green space being less dangerous, yet interned in a camp, those classified orange as the most threatening. No surprise to find that Ruby is orange but is able to manipulate tests to pass as green.

The main action takes place six years later, the audience being introduced to the League, with adults like Mandy Moore trying to rescue the children to escape from their servitude. The guards, needless to say, are brutes.

Ruby encounters a small group, Liam (Harrison Dickinson), the leader, Chubs (Skylan Brooks) the nerd, plus a young Asian American girl. The group bonds, roaming the countryside escaping pursuit, trying to find the camp which is the refuge for the threatened children.

When they do, all is not plain sailing as might be expected and this builds up to danger, confrontations, escape, the role of the League…

There is no fixed conclusion to this episode – and, one presumes, the producers are hoping that this film is successful at the box office to get the finance for the expected sequels.

1. The title? The beginning of a trilogy? For Young Adult audiences? – For younger Young Adult audiences?

2. A post-apocalyptic story, heroics? The focus on the younger generation? Combat, survival?

3. The the niche audience, age, gender, race?

4. The portrait of the US, post-apocalyptic, ordinary, homes, school, transition to politics in Washington DC, the countryside, the rebels, the camps, the Centre for the young people? The musical score?

5. Ruby, the narration, the children, the suffering from the illness, the death of the young girl, reactions, the wide infection, the children in danger, the president and his sick son, the rounding up of the children, the classifications by colour, green to orange, dangers to society?

6. Ruby, 10 years old, at home with her parents, her birthday celebration, the keychain and the gift, her keeping it throughout the film, giving it to Liam? Her being taken? The effect of her disease, in bed with her parents, touching her mother? And the later revelation of how she deleted their memories?

7. Six years later, in the camp, McManus? and the guards, the brutality, the treatment of the children, hard labour? Ruby as orange, the interview with Dr, affecting his mind, classified as Green, are living in peace in the camp?

8. The treatment, the representatives of the E, offering to help, the league being feared, the escape, the pursuit, the encounters, the battles, McManus? and the guards, for the brutality?

9. The encounter with Liam, Chubs, Sue? Together, the bond, males and females, multiracial? The adventures? The dangers? Out in the open? Liam and his character, his participation in the League, not wanting to be a soldier? Chubs, the murdered?

10. Finding the camp, the welcome, grey and his leadership, some of the president, the ordinary life, the hard work, the feeling of being interned? Grey and his advance on Ruby? Her reaction?

11. Liam, training as a soldier, Chubb the computers?

12. The ability of the children, the mind control, Liam and his ability to move things, save the group from the fire? Job, being burnt?

13. The future, the representative from the League, hopes of the future, the revelation of the truth about the president and his son? The dictatorship? Ruby and the farewell to Liam, raising his memories?

14. The future, the League – and a sequel?

 

 

 

 

CRAIG'S WIFE

US, 1936, 74 minutes, Black-and-white.
Rosalind Russell, John Boles, Thomas Mitchell, Elizabeth Risdon, Billie Burke, Jane Darwell, Dorothy Wilson.
Directed by Dorothy Arzner.

Craig's Wife had already been filmed in the silent era and was to be filmed again in 1950 with Joan Crawford in the central role, the title focusing on her character, Harriet Craig.

The screenplay was based on a Pulitzer prize-winning played by George Kelly. Significantly, it was directed by Dorothy Arzner, a pioneer for women directing in Hollywood in the 1930s and 1940s.

The film is also a star vehicle for Rosalind Russell who was emerging as a strong screen presence at this time. While she could do light comedy very well, she could also do this kind of huaghty and imperious character. John Boles plays her sympathetic husband who is ultimately disillusioned with her.

The film has a brief running time, has various complications of plot, but is an intriguing look at a cold woman, suspicious of the world and of everyone, something of a sociopath in her inability to relate to people but who ultimately has to come face-to-face with herself.

1. The film based on the Pulitzer Prize play?

2. Dorothy Arzner, singularity as a female director of the 1930s? Her cast?

3. A film of dialogue, adapted from the play? Interiors, the Craig home, the hospital ward, the home of the friend? The musical score?

4. The title, the naming of Craig, but the focus on his wife? People's comment about Craig's wife and her having him on a leash?

5. Introduction to Craig, genial, romantic, his aunt living with him, the agreement with his parents that she should have a home, the maids, their work, the neighbour, Mrs Frazier, her flowers? Talk about Harriet?

6. Seeing Harriet at the hospital, her sister sick, her niece upset, coming from studies, her engagement to the professor?

7. Rosalind Russell is Harriet, strong personality, control? Her explanations to her niece about the marriage, not love in the conventional sense, but making a choice for security? The importance of a home? Bringing her niece back to the city? Not taking account of her sisters illness and her death?

8. Craig, going out to play poker, his friend, upset, his wife going out, the other friend entertaining his father in town, the others not turning up for the poker game? The friend and his agitation? Learning that he had shot his wife and himself?

9. The police investigation, Harriet return, seeing the note with the phone number and curiosity, phoning? The reporting to the police? The visit to her, her lying?

10. Harriet, her home, everything in its place, obsessive? The vase, her husband later smashing it? Her pedantic manner, fuss? The security of having a home, building a home? Her criticism of the maid, her friend coming into work in the kitchen, firing him? The cook, her reaction to Harriet, to her husband, leaving with the aunt?

11. The aunt, inviting Mrs Frazier in, Harriet's criticisms?

12. Walter, a good man, romantic, loving his wife, obeying her? The strong scene of his aunt's criticisms and exposure of Harrie's character? His sitting up all night, smashing the vase, smoking the cigarette butts?

13. The confrontation with Harriet, the cook explaining about the note, the visit of the policeman, Harriet denying any knowledge? Water and his realisation of the truth, the words of his aunt, his leaving?

14. Harriet, left alone, the close-ups of her face and expression and Mrs Frazier coming with the flowers? Her taking them after criticising flowers previously? Mrs Frazier sympathetic, leaving? Harriet alone and the statement about those who are focused on themselves being left with themselves?

 

PAN DE SALAWAL

Philippines, 2018, 95 minutes, Colour.
Bodjie Pascua, Miel Espinoza, Madeleine Nicolas, Soliman Cruz, Ruby Ruiz, Anna Luna, Felix Roco, JM Salvado.
Directed by Chesica Espiritu.

This film could be seen as something of a pleasing version of stories like Our Town.

While the film begins with realism, details of life in the town, an introduction to a range of characters, especially an ill old man, an older woman, living in her imagined past, the newspaper seller, the man who owns the meat shop, also ill, and his son who is attracted to the young woman selling in the opposite stall, the film is engaging in its presentation of its strange characters – who, it should be said, are, after all, normal enough.

But, at the centre of the action is a mysterious little girl. No one knows where she came from, who her parents are. She seems a pleasant young vagrant. However, she possesses an extraordinary power, a power of healing. The comic touch of the film is that her touch is not gentle – rather, she prods and pokes and punches so that the person suffering gets some relief.

She stays with the old man although she does not quite cure him. The little girl acting the part, Miel Espinoza, is quite credible and has a keynote word, striking for the characters as well as for the audience, ending her activities with a cheerful “Bye�.

So, the film moves from some kind of realism to Magic Realism, many humorous moments, a great number of moments of pathos, a story that, in fact, is full of hope.

1. The Filipino title? English title? Tone, whimsy, expectations?

2. The locations, the edge of the area of Manila? The bakery, the meat seller, the shops and homes, the barber, the backyard? The man delivering the news? The musical score?

3. Sal, his introduction, his age and illness, on the train line, his pain, wanting to die, then the film chronology going back a week?

4. The sense of realism? The sense of fantasy? Delightful impossibility in real life? The material for an animation film?

5. Sal and his encounter with Aguy, her age, little, her manner, clothes, saying she was from here, there and everywhere, the haversack, wandering, sleeping on the floor, no relations, her personality – and are always calling out “Bye!�?

6. Her healing power, touch, but inflicting pain, the power of healing? Soothing the barber with his hands? Bruno and the tumour in his breast? His son with the foot injury? The young girl and her mother after the stroke? Pilar and her sore throat? The driver and the news and his nose? The different kind of inflicting pain for healing?

7. The character of the barber, no clients, the photos, his shaking hands, healing, trying to persuade Sal to have a haircut and cutting him? And is restored and giving him the proper haircut, the photo?

8. Bruno, selling meat, his sons, his wife’s death from cancer, his unwillingness to go to the doctor, diagnosis, the tumour in his breast? His surliness towards the girls flocking to his son’s store? The son, self-conscious of his foot, looking across the way to the young girl, her being attracted, with her mother, her mother former dancer, the younger brother, chubby, eating, delivering the meal? Aguy and her touching each of the characters and healing them?

9. The man delivering news, his nose, and her touching it?

10. Pilar in her backyard, the crown, her slip, the laundry, her cough, Aguy choking her, recovery? Aguy taking her underwear and wearing it as a hat?

11. With Sal, asking him to bake the bread, not having any salt, her going to buy the salt and coming back with it? The outings, the kite and the underwear? Sal in his recovery, happiness, inviting her to stay? Her having to leave, her enjoying the bread? His wanting her to come back and stay? His continued illness? The week passing, going to the train, the train missing him, the apparition of Aguy, her healing, his happiness, her disappearance?

12. The salt-fall and its covering the town?

13. The recoveries, the circle of life and dancing in the street, joy?

14. Sal, his continued pain, the apparition and his recovery? His future?

15. Love, hope, the people prospering, loving – and delightful impossibilities?