ML

Philippines, 2018, 90 minutes, Colour.
Eddie Garcia, Tony Labrusca, Lianne Valentin, Henz Villaraiz.
Directed by Benedict Mique.

ML is a genuinely frightening film.

It had audience acclaim at the 2018 Cinemalaya Festival as well as winning awards for editing and the performance of its central character, veteran Filipino actor, Eddie Garcia, making this film at the age of 88.

It is a film about Martial Law – but, with quite some differences.

The premise of the screenplay is that the younger generation has forgotten about the realities of Martial Law, strongly in the 1970s and 1980s but, coming to an end, with the overthrow of the Marcos dictatorship in 1986. In fact, the screenplay suggests that current students and the younger generation look back to this era with a kind of hallowed glow, a time of discipline, a strong sense of nationalism which they consider has been dissipated since.

A frustrated teacher gives his class an assignment to meet someone who lived through the era and to learn from their experiences. The brighter student in the class contacts retired Colonel who lives nearby. He is welcomed – but, the Colonel, suffering from some dementia and having been seen as brutal towards a dog which snarled at him, imprisons the young man, tricks his friend to come as well as deceiving the girlfriend. He tortures them all very graphically, making the young audience realise what happened in the past, the cruelty, the irrationality of the interrogations.

Some critics had a difficulty in using the harsh realities of martial law is a subject for this kind of film, touches of grim humour, a reliance on the popular horror conventions in American films of this time. The defence would be that this is the way to reach the young contemporary audience, in styles that they are accustomed to, but jolting them into some kind of realisation about and questioning of the past.

1. The title? Martial Law? The experience of the 1970s and 1980s and the Philippines? The ending of Martial Law? The defeat and exile of the Marcos family? The decades after the end of Martial Law?

2. The memories of those who lived through it, the victims of torture, memories of those were killed or disappeared? The contrast with the younger generation, in school, callow, the beginnings of fascist attitudes, the criticisms of the rebels of Martial Law, the accusations of communism? The condemnation of later generations, not managing freedom, mismanagement of politicians, their not understanding the past and not interested in examining it?

3. The setting, school, the suburbs and streets, the houses? The Colonel’s house? Upstairs, welcoming, the basement, the torture chamber?

4. The atmospheric musical score?

5. The director and his screenplay, the use of the conventions of the horror genre – and effective at that level? Criticisms that the memories of Martial Law were too serious to use horror conventions, playing to the younger generation and the love of violence without understanding themes?

6. The director’s decision to be very graphic in the portrayal of torture? Urged on by the other filmmakers? To make the points about the horror of what happened under Martial Law?

7. The opening, the Colonel, his age, getting the haircut, payment and the tip, putting on his beret with its metals? His going home, fumbling with the key? The savage dog, its teeth and barking? The criminal defying the dog? Preparing the bowl with the food, whistling for it to come? Then bashing it to death with a hammer?

8. The teacher at school, the offhand attitudes of Carlo and Jaze? Jaze as defiant and mocking? The teacher being upset? Giving the assignment, to investigate and talk with somebody who lived through the period?

9. Carlo, playing basketball, the Colonel passing by, the players indicating him and his experience of Martial Law? Carlo and the contact with Pat? Her studies, texting, phoning, love for Carlo?

10. Carlo, at the house, the Colonel watching, Caarlo coming in, his explanation, the Colonel offering water? Hitting him, taking him to the basement, tying him up, the bashings, the interrogation? The impact on Carlo? The phone, Jaze and his contact, his being invited, coming in, the Colonel welcoming, bashing him, tying him up?

11. The nature of the humour in the Colonel’s Alzheimers, his living back in Martial Law days, wanting information about headquarters, leaders? The friends going to the Valkyrie club and the Colonel’s interpretation of it as headquarters?

12. The intensity of the Colonel, his appearance, look, interrogation, sadistic, reliving his past – and this becoming more vivid for the audience as they watched was happening to the carefree students in the present?

13. The range of torture, the urine in the cloth in the mouth, taped, tied up, the extraction of the fingernails, the nodes on chest and genitals? Audience response to such graphic presentation?

14. The clever writing of the visit of the daughter, her husband and children, the other aspect of the criminal, the discussion about Martial Law and torture, the joking of the husband, the comments about extrajudicial executions? The children playing, hearing the noise, the victims overturning the table, audience expectations, but the children going home?

15. The Colonel, the contact with Pat, the phone, her coming to the house, being hit, tied up, the brutality of the bottle and her virginity, the cigarette burns on her breasts and genitals? The impact of this on the audience watching?

16. The Russian roulette, the initial threats, his shooting Jaze, taking his body, dumping it in the road, with a sign that he was a drug dealer?

17. Carlo and Pat getting out, coming upstairs, the confrontation with the Colonel, his getting the phone call, the playful conversation with his granddaughter and her request for a gift for her birthday? The couple escaping?

18. The Colonel cleaning up the blood, his denial of wrongdoing, the police having no evidence, not believing the young people, suggesting drugs? The photo of Jaze dead and showing it to Carlo’s parents?

19. Carlo, his desperate nightmare, his getting the knife, going to the Colonel’s house, the Colonel dead, his frustration?

20. The Colonel, his funeral, his being honoured?

21. The repercussions for Carlo and Pat, their lives?

22. Return to school, the teacher, asking Carlo his opinion – and Carlo unable to speak?

LIWAY

Philippines, 2018, 100 minutes, Colour.
Glaiza de Castro, Dominic Roco, Kenken Nuyad.
Directed by Kip Oebanda.

Liway was the winner of the audience award at the Cinemalaya 2018 Festival. It takes its audiences back into the era of Martial Law in the Philippines.

Not only is the film based on a true story, but the little boy who appears during the film, Liway’s son, turns out to be the writer and the director of the film, a memory of his parents and his own upbringing, a tribute to his mother.

Much of the film is set in the detention camp for rebels and protesters. Liway is a mother who has joined in protests, along with her husband who is also interned. It is only late film that there are flashbacks to her family life, troubles, uprisings, arrests.

The film shows life in the camp with great detail, the men with the women, families, a sympathetic warden, harsh outside authorities, a combination of humanity with rough treatment. There is a significant episode when the little boy is able to go outside the compound, with the help of a politically active nun, to address a crowd, opening up his eyes to a different kind of world.

The film is a salutary reminder of the oppression from the years of Martial Law – the film ending in some kind of triumph with the overthrow of the Marcos regime.

1. The impact of the film as a drama? A story of Martial Law? The audience discovering that this was a true story? And the little boy grown up and the writer and director of this film?

2. Audience knowledge of Martial Law, the 1970s and 80s? The Marcos regime? The Marcos family wealth? Soldiers, rebels in the camps, guerilla work by the rebels?

3. The film recreating the atmosphere and characters of the period?

4. The action taking place within the camp, the interiors of the dormitory, the yards, the place of the adults, the children playing, the various tasks? The interactions of those interned? The visual impact of the camp? The contrast with the jungle, the homes and villages, the action sequences? The contrast with the little boy, travelling outside the camp, the rally, the mannequin in the shop, going to the family to stay but running away? The musical score?

5. Day, seen in in the camp, her becoming the centre of the film, her past, relationship with Toto, with her children, with Dakip? The condemnations of her as Liway, the enchantress who encountered monsters? Dakip wanting to hear the story, his mother eventually telling him? The work in the camp, the tension between herself and Toto, with the baby, having given up the child, the visit of the mother with the boy, the grapes and Dakip spitting about? The two boys playing? The role of the warden, authority, yet kindly? The flirting man and Day threatening him? Her care of her son, fostering his dreams, the ball over the fence, the gates opening, everybody free? Toto’s hesitance about it being unrealistic?

6. The effect of the animation style for the portrayal of the enchantress mythology?

7. The warden, his character, the soft touch, the rules, his being dismissed? The new warden and his military background, his threats?

8. The flashback to the past, the village, the countryside, Day and her mother and father, her friend Fiel, sending the card and its being returned? The troops coming, the burnings? Day and her role with the guerrillas, Toto, her reputation? The group of rebels and then being caught and killed? Day and the surrender? The pregnancy, trying to hide in the ground? The birth of the child?

9. Dakip, his age, becoming a centre of the film, his point of view on the camp and life there, limits of playing, but his bond with his parents, his wanting stories? The nun, the human rights questioning of the regime? Toto wary, Day wanting her son to go out, his travel in the car, the countryside, going to the shop, trying to talk with the mannequin, at the rally, the speeches his own speech, going back, going with the family but his returning to the camp?

10. The separation of the men and women, the young traumatised girl and her father’s care? Dakip with his father? The new commander, calling everybody out? The end of Martial Law?

11. Marcos and his family fleeing to Hawaii? Their wealth?

12. The decades after Martial Law, the endnotes saying what had happened to Day and Toto, the separation? Dakip, his being baptised, choosing the name Kip?

13. The screenplay and its indication of life in the Philippines in the 21st-century? The extrajudicial killings, the regime of President Duterte?

14. The story of Kip, his growing up, writing and directing this film, Day and her continued social action – and some of the financing of the film coming from the secret Marcos
millions?

BUYBUST

Philippines, 2018, 107 minutes, Colour.
Anne Curtis, Brandon Vera, Victor Neri, Levi Ignacio.
Directed by Erik Matti.

This is a tough watch. It echoes the regime of President Rodrigo Duterte of the Philippines, his declared war against drugs, dealers and addicts, corrupt authorities leading to many “extra-judicial killings�.

For many, this film is reminiscent of the Indonesian thriller, The Raid and its sequel, a focus on police, police action, the attack on criminals, the raid taking place in a multi-story building. This time the focus is on the police, final revelations of corruption within the police and manipulation of police activity, a strong squad dedicated to its work, and the action confined to a particular settlement outside Manila, allegedly drug-free but oppressed by drug Lords and dealers.

The film introduces authorities in the police, interrogation of dealers, getting information. It also highlights a crack squad and gives a great deal of detailed attention to their training.

The bulk of the film is a mission to the particular area, the seeking out of the chief drug lord, a focus on different individuals in the team but especially to of the leaders, one of whom is played by Anne Curtis (Australian father, Filipina mother, growing up in Yarrawonga, Victoria).

The film is in the vein of police action but, as the film proceeds, it seems to go over the top, set up another top and go over that, continually raising the bar of what is the top, a lot of brutal action, a high body count, a rebellion of the village people against the drug dealers, the revelation of the overall boss and his confrontation with the leader, and then the final revelation of corruption and betrayal.

A commercial success in the Philippines, it also received an American release.

1. The Philippines in the 21st-century? Drug problems, dealers, addicts? The decisions of the President Duterte and his war against drugs? The extra-judicial killings?

2. The title, the drugs and set ups, the role of the police, set-ups and betrayals?

3. Manila, the drug areas surrounding the city, Blue Zones having been cleared? Slum areas and the visuals of the slums and activity there?

4. The introduction, the police interrogation, the dealer, wanting to find the top dealer, Biggie Chan, the torture, the threats? The dealer and his suggesting a way to trap Biggie Chan? The role of Delacruz and the police leader? Later seeing the ironies?

5. The sequences of military training, tough, men and women? The details? Manigan, her past, her squad and everybody lost, her survival, a sense of blame? Her defying the authority, being told off, the appeal to teamwork, her agreeing? Being part of the squad?

6. Time sequence of the film, the main action overnight, the indication of particular times, immersing the audience in the experience?

7. The importance of editing and pace, the busy detail in the background of the sequences, the use of close-ups? The town, the interiors, the alleys? The effectiveness of these sets? The musical score, pace and action?

8. The action sequences, the work of the police, the dealers, the bosses and their brutality, the locals and their being caught in the crossfire? Protests?

9. The drama of the police, the attack, the leader and his effectiveness, Manigan, the other members of the squad, being separated from the other group?

10. The detail of the action, the fights, the mounting deaths, the brutality? The police being trapped?

11. The dealer, with Delacruz, the comments about betrayal, the Judas? The secondary bosses, their stances? The discovery of betrayal? Accusations against Delacruz? His lies, saying that he phoned, no signal? Manigan and her response, suspicions, denunciations?

12. Manigan and the boss, helping each other, the desperation of the fights, attacks, pursuits, the boss and his charm, ultimately dying? Manigan and her confronting the traitor?

13. Her finding Biggie Chan, his manner, talking, subtle than violent, the attack, the truth about the police chief? His death?

14. The people, the rebelling against the dealers, the treatment by the police? The possibilities of some kind of peace and reconciliation? The role of Manigan?

15. The sensibilities for watching this kind of film, in the Philippines in the contemporary situations, for audiences outside the Philippines?

NUNAL SA TUBIG

Philippines, 1976, 110 minutes, Colour.
Directed by Ishmael Bernal.

Ishmael Bernal was one of the top directors in the Philippines from the 1970s to the 1990s. Most notable was his film of 1981, and expose of life in the capital during the Marcos regime and Martial Law, Manila by Night/ City after Dark. He also won awards with his religious themed In Himala.

This 1976 film is set on an island away from the capital. It focuses on life in the village, day by day life, fishing, family gatherings, deaths and funerals, difficulties from the outside, especially the contamination of the fish. It also highlights the range of seasons, a very strong sequence dramatising a storm and its effects.

There is also an openness to the outside, the daughter of the midwife of the village going into the town, attending lectures by doctor on birth and reproduction, intending to move from the island. There are relationships, a young woman working with her mother and her mentally disabled aunt, a young man who has a ferry but decides that he wants to leave the town for the Navy, leaving a young woman pregnant and enduring a difficult birth.

The film is something of some moments frozen in time, life in the Philippines in the 1970s – and, with its naturalistic look at the environment, people and situations, it is reminiscent of the Italian Neo-realism of the 1940s.

1. The status of the film? A Filipino classic? Of the 1970s? The significant social themes? The work of the director?

2. The locations, the provinces, the islands, the coast, the ferries and the people, the small town and village, the larger town? The musical score?

3. In the tradition of Italian neo-realism of the 1940s? Glimpses and snapshots, episodes? The lack of causal continuity, rather the juxtaposition of episodes? The audience making the connections?

4. The overall impression, the impact of the locations, the weather and the fierce storm, the people with their livelihoods, family life, homes, changes in society, relationships?

5. Benjamin and his story, his father leaving the boat, the motor, his relationship with his mother? His wanting to leave and be a sailor? His place in the village? The attraction towards Chedang, the relationship with Maria, the sexual encounter, his leaving, return, finding Maria, wanting to reunite with her?

6. Maria, at home, her mother, the presence of her aunt, her aunt and her mental condition? The work, friendship with Chedang, her dreams? Talking with Benjamin, the sexual encounter, the pregnancy, with her aunt walking through the village, the buildup to the birth, wanting Chedang in to assist, the difficulties of the birth, the head of the child, its a death? The reaction? The touch of catatonic? Benjamin’s return?

7. Chedang, working with her mother, the mother as a midwife, the processes and recipes for herbs, the health of the women, to procure abortions? Chedang going to the town, the doctor, his classes, birth and processes? Her leaving the town, the relationship with Benjamin, returning, being with Maria, her death? A future?

8. Families, arriving on the ferry, shelter in the house, the devastation of the storm and its details? Surviving?

9. The boy and the young man, the circumcision experience?

10. The dead man, being carried, people’s grief, gathering together, the interactions, discussions, the prayer and the wake, the meal, the rituals?

11. The contamination of the lake, the dead fish, drying them out, trying to sell them, the inspector coming, the enquiries? The possibilities for change, the inspector giving a talk to the fishermen and the four-month delay?

12. The aunt, her character, the focus on her face, her place in the house, mental condition, going out for walks, supporting Maria, the official coming with the questionnaire and her claiming to be the leader of the village? The subsequent mockery?

13. The boys coming to the town, interrogating people as to whether they went to mass?

14. The absence of a priest, the new priest arriving, the boat and his case going into the water? Comic touches?

15. The two sides of the lake developments, decline, plans, over time?

16. A picture of the Philippines in the provinces in the 1970s, the period of Martial Law?

BATCH 81

Philippines, 1982, 108 minutes, Colour.
Directed by Mike De Leon.

This is a very tough film, made during the years of Martial Law by classic director Mike de Leon.

At the centre of the film is a group of students who are at college of the University. In the American vein, there is a fraternity with its Greek capital letters, its ethos of bonding and, particularly the action of this film, initiation rites and some brutal hazing.

The film focuses on one of the students, a potential leader, but one who is absolutely committed to belonging to the fraternity, willing to undergo all the tests, encouraging fellow students, some of whom waver, arguing the case, becoming more and more committed – and, it is easy to see that he might develop into the kind of character of the senior student who is overseeing the hazing.

The scenes of the hazing can be quite confronting, the physical brutality, emotional humiliation, the sexual repercussions.

In retrospect, the film can be seen in the light of the ethos of Martial Law at the beginning of the 1980s, the discipline of dictatorship, the pressure on individuals who feel themselves weaker and want to opt out, the reinforcement of strict attitudes by those who are committed to a cause.

There is some background of the family and relationships but these are secondary to the focus on the experiences of Batch 81.

1. The status of the film? A classic? Digitally restored?

2. The impact of the story, the characters, at college, the fraternities, the hazing? The American influence? In the context of the 1980s? In the context of the years of Martial Law and the reference to Martial Law?

3. The fraternity, the chapters on the hazing, the headings on the screen, the descriptions, the motivations and effects, the slogans and chants?

4. The college, the buildings, the theatre, the basement, the use of the rooms for the hazing? The contrast with the home sequences? The classroom sequence? The insistent score?

5. The credibility of the plot, this behaviour in the 1980s, the 1980s audience? Later audiences, in the light of Martial Law?

6. Colleges, fraternities, the explanation of alpha kappa omega and the significance of the Greek letters? The ethos?

7. The importance of brotherhood, the sense of belonging, the fierce desire for the young men to belong, and even for the teacher who had no friends even though married? The emphasis throughout the dialogue of this deep-seated need for fraternity?

8. The rituals of hazing, the reasons, the nature of the behaviour, brutal, sexual, sadistic, humiliating…?

9. The introduction to the characters, the decisions of the young men to join the fraternity, to go through the initiation rituals? The variety of the characters, the son of the senator and the expectations of his father, his wanting to drop out? The teacher and his wanting fraternity? The other young men, their characters, getting to know them throughout the rituals? The importance of Sid and his presence, taller, more striking, leadership?

10. Vince and his associate, embodying the ethos of the fraternity, their role in imposing the rituals, the touch of the sadistic, leering, brutal? How convincing their belief in what they were doing? The assistant and his being humiliated in the classroom, photographed?

11. The use of blindfolds, the stripping (and the sounds of girls laughing and the discovery that it was on a tape recorder)? The young man dropping out because he refused to strip? The beatings, the rituals and the beating of the buttocks? The blindfolds and their being led to different rooms? Kneeling, prostrating themselves? The ritual of the drink in the spitting on the drink? The boy being sick? Photographed? The set up with the girl, the sexual encounter and its being filmed and the others watching, reaction when he discovered the truth? The young men and their defence? The boy’s father coming and his boy in the chair, the electric shock, having to have the right answers, especially about Martial Law? The questions, the others having to press the button? The irony of it being set up, the boy obeying his father and being congratulated by him? The reinforcement of trust and loyalty in the group?

12. The psychological effect of the hazing on the men, some criticisms, the group going along with what was asked despite their difficulties?

13. Sid, his leadership, his intensity, believing the propaganda about the fraternity, the need for brotherhood, defying the others, criticising them? His talk with the girlfriend and her wanting to break off, his choice between her and the fraternity? His rationalising the remarks of the leadership?

14. Sid, his mother, divorce, going to America, his possibilities, wanting to remain?

15. The theatre, rehearsals for Cabaret, the long performance of the songs from Cabaret, the kinkiness of the original, and the fact that this was the fraternity’s choice, cross-dressing, sexual innuendo? The contrast with the other group and their indigenous rituals?

16. The boy with the girl, the leader of the other group and his defence of his sister, picking the fight?

17. The brutality of the fight, Mano a Mano, the time limits, rules, forgetting the rules, the bludgeonings, the beatings, knives, deaths? The aftermath and Vincent talk about not being caught and denying what had happened?

18. Sid’s mother and the aftermath?

19. The climax of the film, the young men, blindfolded, beaten on the buttocks again, then given the candles, all the members of the fraternity coming, singing Gaudeamus Igitur? Their acceptance?

20. Images of fascism, totalitarianism, dictatorships, young men wanting to belong, not counting the cost, being humiliated, but being rewarded by acceptance?

KUYA WES

Philippines, 2018, 90 minutes, Colour.
Ogie Alcasid.
Directed by James Robin Mayo.

This is a Filipino comedy which could travel happily outside the country.

The central character is a simple soul, a nice man, a Mr Nice Guy, who works in a finance agency, rather constricted, with quite a range of local characters coming in for money exchanges. He is assisted by wisecracking woman and the office is guarded by a simple-soul security man.

There is not much explanation of why the central character is so simple. However, he boards with his brother and his family, their willingly taking his money but generally ignoring him at home. The main action of the film concerns his infatuation with one of the customers, his awkwardness in relating to her and her initially negative reaction, his getting help from the assistant in the office, the meetings and discussions with the woman and his wanting to take her out, buy uniforms for her schoolchildren…

There comes a time when she agrees to go out with him but is late for arriving at the restaurant, their going to an ordinary street cafe, their both enjoying the meeting – only for a powerful twist for the audience when this sequence is only in the man’s imagination.

The film is bittersweet but, with the revelation, and the fact that the woman is married and her husband is returning home from work, means that there is some bitterness at the end.

Given the look of the actor, comedian, playing the role, it is the kind of role that Robin Williams might have played had there been an American remake.

1. A gentle Filipino comedy? Sweet? Ultimately bittersweet?

2. The city settings, the money office and the interiors, the place of the customers? The streets, traffic, restaurants? Homes and interiors? The musical score?

3. Wes, his age, background, staying with his family, not really being made part of the family, their ignoring him, playing, watching television, yet demanding money from him and expressing disappointment when he doesn’t pay, accusing him of having money and wasting it on other things? The tension in the house, the effect on Wes, the final fight with his brother?

4. Romantic, lacking the experience of romance? At work, punctual, putting the notices on the wall, generally cheery? His working with Joy, her friendship, her mocking him, yet her growing in support of him? The variety of customers, their stories, performances, comedy?

5. Wes as a simple man, hopes in life? Seeing Erica and her children? The immediate infatuation, his reflecting on his experience, the experience of love? His wanting to do things for Erica? Joy as a sounding board, the security guard and his playing the flute? Their encouragement?

6. His spoiling the opportunity by being blunt with Erica, her bad reaction? His disappointment, puzzled about his behaviour, brooding on it? Joy and her explanations and support?

7. Erica’s return, the apology? The sweets for the children? The cake for Erica and their sitting and eating it? Talking? The lack of money, the need for the children’s uniforms, her refusal but Wes going and buying them, washing them, the gift? His buying the perfume and putting it all over himself?

8. Wes inviting Erica out, the plan for the restaurant, his nervousness, being asked about the table? The plan, the rendezvous, his going to the restaurant, waiting, the restaurant closing up? Erica’s late arrival, the traffic, the going to a cafe, getting the food, her enjoying it, the music, the dancing? And then Wes waking up – a fantasy? From sweet to bittersweet?

9. Wes going to the house, seeing the husband returned from work, Erica in the street smoking? His grief and disappointment? Joy and her comfort?

10. Erica coming to the shop, her apology? The effect on Wes – the experience, the disappointments, discovering love, possibilities for his future or hopes dashed?

CHARLIE CHAN IN PANAMA

US, 1940, 67 minutes, Black-and-white.
Sidney taller, Jean Rogers, Lionel at will, Mary Nash, Send Young, Caine Richmond, Lionel Royce, Jack LaRue?, Addison Richards.
Directed by Norman Foster

By this time, Sidney Toler had made the character of Charlie Chan his own, distinctive presence and bearing, manner of speaking, always with the Chinese aphorisms, his family – and his second son, Jimmy (Sen Yung) always finding himself present to help with the investigation as well as often unwittingly sabotaging it. (There is an explanation of how he actually got from California to New York and then to Panama where he stupidly took photos of military installations and found himself in prison.)

By 1940, the Charlie Chan films were topical in terms of World War II, City in Darkness being a story of the occupation of Paris and unmasking saboteurs.

While the entry of the US into World War II was still almost 2 years off when this film was made, there is a military alertness, especially risks to sabotage in American ships being photographed by fifth column agents and the blowing up of the ships passing through the canal.

The film gets its characters together rather neatly, a group deciding not to sail through the canal but to fly by flying boat to Panama. One of them is an undercover British agent who goes to his contact, an owner of a shop which sells Panama hats – who turns out to be Charlie Chan in disguise. The man is poisoned by a cigarette and collapses, Charlie being arrested, taken to jail where he encounters his son. He is taken to the governor and they discuss the presence of a mysterious saboteur conclude that the saboteur was one of the passengers on the flying boat.

There is a very suspicious doctor who insists on carrying his own baggage with experiments on animals for bubonic plague. There is a mysterious Egyptian who owns the shop across from the Panama hat shop who sells cigarettes. There is also a dashing young naval engineer who is attracted by a singer at a nightclub managed by a rather dashing gigolo-looking proprietor. She in fact is a refugee from Czechoslovakia after the annexation. There is also a novelist from London. And, for a distraction, as well as some comic touches from a spinster teacher from Chicago who is wanting to let her hair down by travelling to Latin America, Miss Finch.

The thought does go through the mind that she in fact could be the villain because she acts in such a way that she could not be. There is another murder, Jimmy getting tangled by visiting rooms and being threatened. The time for the ships to go through the canal is getting very pressing.

There is something of a climax inside a vault in the local Cemetery, owned by the Egyptian, which also has a workshop under the tomb. In the meantime, a Panamanian transports the nitroglycerine to the site for the explosion. He comes to the cemetery but is pursued and shot – and it turns out that he is the nightclub proprietor. Meanwhile Charlie Chan, Jimmy and Miss Finch have spent hours trapped in the vault.

Finale, as usual, all the suspects in the site for the explosion with Charlie Chan so that eventually the villain will reveal where the nitroglycerine is. In fact, it has all been discovered but Charlie wants the villain to incriminate not himself, but herself, for it is indeed, Miss Finch. A similar plotline was used for Charlie Chan in the Secret Service (1944).

Quite an entertaining mystery.



CHARLIE CHAN FILMS

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

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

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

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

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

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

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

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

MISSION IMPOSSIBLE: FALLOUT

US, 2018, 147 minutes, Colour.
Tom Cruise, Henry Cavill, Ving Rhames, Simon Pegg, Rebecca Ferguson, Sean Harris, Alec Baldwin, Angela Bassett, Vanessa Kirby, Michelle Monaghan, Wes Bentley, Wolf Blitzer.
Directed by Christopher Mc Quarrie.

What more is there to say about the Mission Impossible series? It began on television decades ago, enjoyed a gimmick where messages detonated within five seconds of their being read, at a theme melody by Lalo Schiffrin which stayed in the imagination and was transformed, even inflated, into a huge-budget, star-filled drama by Brian DePalma? in 1996. It consolidated the action career of Tom Cruise – if it actually needed consolidating! And that was over two decades ago. And then, sequel upon sequel, the box office and audiences reinforcing the popularity.

So, here is Cruise’s Ethan Hunt now in his mid-50s, not slowing down at all, and the actor continuing to do his own daring stunts. Christopher McQuarrie? has been writing screenplays and directs for the second time.

There is some continuity with the previous film, the villain played by Sean Harris, the presence of Rebecca Ferguson as an MI6 agent, the continued support of Ving Rhames as Luther and, comic touches, with Simon Pegg as Benji. In a sense, we know where we stand.

This film opens with action adventure, plutonium deals in Berlin which go awry, talk about an arch-villain who wants to control world power with nuclear weapons, and associates who proclaim a bizarre philosophy of peace coming through violent upheaval.

Authority figures appear, Alec Baldwin in charge of mission, Angela Bassett asserting authority from Washington DC, and a kind of minder imposed on Ethan Hunt in the form of agent Walker, played with some customary stolidity by Henry Cavil.

One of the attractions of watching these espionage stories, tough fights, traditional car chases through cities, slam banging into traffic, motorbikes and mayhem, is the interspersing of the action with vistas of cities, this time the landmarks of both Paris and London, attractive helicopter flights over the cities. The use of St Paul’s in London, the cupola and the roofs creates excitement. But, the best is kept to last, the action taking place in Indian Kashmir, a village with medicos from the West working with the locals, vast mountainscapes and deep valleys, cliff ledges, and some final climax moments with both Walker and Hunt literally cliffhanging.

The basic plot is not particularly new, mad villains, nuclear threats, dominating authorities, betrayals… However, for some minutes at the end, Michelle Monaghan appears as Hunt’s former love interest (having appeared in two previous films).

Audiences will know what they are getting – and, because this is what they want, they will be satisfied.


1. An extraordinarily successful franchise? 1996 to 2018? And a perennially energetic Tom Cruise?

2. The basis in the television series, the secret agent, the messages, disguises? Nuclear disasters, split second timing to avert disaster? And the musical score by Lalo Schiffrin?

3. Audience response to Ethan Hunt? And the Tom Cruise persona? From his 30s to his 50s? Yet, still being an agent, still active, still athletic, doing his own stunts?

4. The presuppositions of this film, the collaboration of Luther and Benji, the past relationship with Julia, the fight with Solomon Lane, the CIA authorities…

5. The use of locations? An opening in Belfast? Transition to Paris, the beauty of the city, the helicopter shots? The contrast with the darkness of Berlin? The transition to London, the landmarks of the city, the helicopter shots? The climax in Kashmir, the landscapes, the village, the mountains and cliffs, the rugged beauty? The musical score?

6. The situation with the plutonium? Dealers and sellers? The set up in Berlin, Benji and Luther, Luther tricked, the shootout, the mysterious Master spy, his identity?

7. The transition to Paris, gala celebration, the crowds, the lively music, the set up with the White Widow, her being a broker, a mysterious brother and his associates, her looking for the mysterious mastermind?

8. The CIA, the mad scientist, his message of destruction and peace, in the hospital, the deal with him to reveal the identity, agreeing to broadcast his manifesto, Wolf Blitzer and the CNN news? The revelation of the truth that this was fabricated – after sequences of the Vatican in Rome, Mecca being destroyed?

9. Alan Hunley, work in the CIA, reliance on Ethan, the meeting, the discussions? The contact with Erika? Her taking over, the introduction of August Walker? Tension within the group?

10. Walker going with Ethan to the Paris party, trying to track down the mastermind, going to the men’s toilet, the innuendo, fighting the man, his being a decoy? Ethan presenting himself as the mastermind, the discussions with the White Widow, her attraction, ruthless?

11. Deals? The involvement with Solomon Lane? For him to be freed and exchanged? Audience knowledge of him from the previous film? His appearance, bearded, taken, kept?

12. The atmosphere of Paris transferring to London? Solomon Lane? Taking him? The White Widow and her dealings? The masked police, assailants?

13. Good old-fashioned car chase through London, cars, streets, dead ends, cyclists, crashing traffic?

14. The elaborate chase in St Paul’s Cathedral, the dome, along the roofs of London, Benji and his directions – and making mistake in directions?

15. The confrontation in London between Erika and Alan Hunley? The exposing of Walker as the mastermind? The death of Hunley? The intervention of Erika?

16. The setup, Lane seemingly taken away, yet sitting in the chair – and Benji revealed as sitting in the chair, with the mask?

17. Ilsa, part of the pursuit, shooting but not wanting Ethan? Her work with MI6, her being blamed for the failure in the previous film? Her wanting to get Lane and be indicated? Erika promising to do this?

18. The transition to Kashmir, the encounter with Julia and her husband, their work, humanitarian? The chance for Julia to communicate with Ethan, meeting a genial husband? Her being where she ought to be?

19. Yet the tension, searching for the bombs, the detonator? The possibilities for defusing? The tension for the search? Lane, urging Walker to go on the helicopter, his remaining, being willing to die? Trapping Benji? Luther pursuing? Also and her interventions? The fights, the danger, the time? Julia helping with the cutting of the wires?

20. Ethan, the helicopter, climbing, the cargo ball, slipping down, climbing up, the pursuit, the attempts to crash into the other helicopter? Walker and his behaviour? The climax with the two helicopters crashing, the continued fight, the detonator, the fight on the edge of the cliff, both going over, climbing back, the literal split second timing, getting the detonator, no explosions?

21. Mission accomplished - and audiences ready for another episode?

THE BRADY BUNCH MOVIE

US, 1995, 90 minutes, Colour.
Shelley Long, Gary Cole, Christine Taylor, Christopher Daniel Barnes, Jennifer Elise Cox, Paul Sutera, Olivia Hack, Jesse Lee Soffer, Henriette Mantell, David Graf, Florence Henderson, Jack Noseworthy, Jean Smart, Michael Mc Kean, Mickey Dolenz, Davy Jones, Peter Tork, Ann B.Davis, Barry Williams, Christopher Knight.
Directed by Betty Thomas.

The Brady Bunch was a significant television success from 1969 to 1974, with Robert Reed and Florence Henderson as the parents of six children, three boys, three girls – and a cook. It showed something of the American image of the period, the Father Knows Best, The Partridge Family kind of entertainment.

The present film is something of a time capsule in so far as it looks as if it is presenting the Brady Bunch in its 1970s incarnation but is actually an extended spoof of the family, its over-optimistic way of life, the ingenuous love and enthusiasm of the parents, the eccentricities of the children – but placed in the 1990s in which they are completely anachronistic.

For those who take this rather literally – and the many who took the very satirical spoof sequel, A Very Brady Sequel (2002) and disapproved – the plot and characterisation make not much sense at all.

The jaunty title song, the absolute earnestness of Gary Cole as Mike Brady, taking himself terribly seriously, the absolute devotion of Shelley Long as Carol… Christine Taylor is vanity herself, always combing her hair, looking ini mirrors, as the self-absorbed Marcia. Jennifer Elise Cox has the difficult role of the middle child who actually hears voices, is overlooked, and loved, has to wear glasses, runs away from home, as Jan. The littlest girl has a compulsive urge to telling the truth with her father giving his usual story about not being a tattletale.

Interestingly, the boys are far less interesting, the oldest attracted to the girls at school, wanting to be a singer called Johnny Bravo, creating inane lyrics for his song. The next boy, Peter, experiences his voice breaking. The youngest boy is almost negligible.

Henriette Mantell is the tough cook, always cheerful, with a wisecrack, and, surprisingly for such a film, in a relationship with the local butcher, David Graf, who stays overnight.

In fact, there is quite a lot of innuendo in this film, possibly none of it in the original television series. The film received a PG-13 in the US and the IMDb indicates this was for “racy innuendo�. There is a young girl at school who is infatuated with Marcia, is in bed with the ingenuous Marcia, is attracted to another girl at school who seems infatuated with her. And, when the final option fails, amongst the neighbours there is a gay couple.

If you are in the mood for a spoof on Americas wholesome self-image, there is much to enjoy in a fairly obvious way.

Direction is by Betty Thomas, acting in the 1970s and 80s, directing a great deal of television and some light movies including Dr Dolittle.

CHARLIE CHAN IN RENO

US, 1939, 71 minutes, Black-and-white.
Sidney Toler, Ricardo Cortez, Phyllis Brooks, Slim Summerville, Kane Richmond, Sen Yung, Pauline Moore, Kay Linaker, Robert Lowery.
Directed by Norman Foster.

Sidney Toler assumes much of the presentation of Charlie Chan as established by Warner Oland. In his first film, the 13 children appear – except for Lee who is said to have gone to art school in New York. This enabled Send Yung to appear as the second son, Jimmy, and he was present in over 10 of the Charlie Chan films. Continuity with the Warner Oland films comes with directors Norman Foster and H. Bruce Humberstone.

There is a murder in Reno Nevada where a young woman goes for a divorce, her husband infatuated with a very unpleasant character who is murdered. Because the young woman is from Honolulu, her husband asks Charlie Chan to go to Reno to investigate. Second son Jimmy is studying in California and tries to help his father, waylaid by hitchhikers who threw him out of the car and steal it. He is arrested and is seen in the lineup by his father.

This quite a range of suspects including Ricardo Cortez as a doctor in Reno, the proprietor of the hotel, one of the women working there who welcomes guests, a young man who is infatuated with the murdered woman, the dead woman’s minerals-expert husband. The local police investigate, admiring Charlie Chan, but there is some comedy with Slim Summerville as the local sheriff is not really happy with Charlie Chan coming, is prone to rush into arrests.

Jimmy finds the maid to the murdered woman, Chinese, and together they contribute to the investigation.

At the end, all the characters gather in the room, the killer unmasked but shown to have defended herself against attack – and some revelations about the doctor and he is arrested as well.



CHARLIE CHAN FILMS

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

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

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

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

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

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

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

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