BRING IT ON

US, 2000, 98 minutes, Colour.
Kirsten Dunst, Eliza Dushku, Jesse Bradford, Gabrielle Union.
Directed by Peyton Reed.


An engaging piece of cinema fluff about cheerleaders (female and male) who put an extraordinary amount of energy into their routines for national competitions (and could make a case for it being an Olympics sport!).

Fine young actress Kirsten Dunst gives her life to her team despite jealousies, betrayals and stolen routines. It pokes some fun at its subject but is not a black comical spoof as was Drop Dead Gorgeous which attacked beauty pageants and which also starred Kirsten Dunst.

It had five sequels with Bring it on in the title and it influenced many of the prolific spate of dense competition films as well is films like Pitch Perfect and its sequels.

1. High school comedy? The intended audience? A film for girls? The response of boys? Parents?

2. California, the end of the 20th century? Students at home, family sequences? Students at school? The cheerleaders? The football? The rehearsals?

3. Kirsten Dunst as Torrance? Age, enthusiasm, with her parents, with her brother and their clashes, Aaron as her boyfriend, adviser? Her wanting to be captain of the team? The announcement and her success? Taking over, the rehearsals?

4. The members of the team, supporters, critics, clashes? The men? The performances at the sports matches? The rehearsals for the competition?

5. In class, Cliff, the boys slinging off and his reply? The friendship with Torrance? The range of auditions, the comedy of the various competitors? Missy, gymnastics, surly? Her abilities? Torrance going to find her, encountering Cliff? Attracted? Dreaming about him?

6. Torrance, the friendship with Missy, the drive to see the rival group, Isis and the African- American group? Their moves – and the fact that the former captain had stolen all the moods?

7. Aaron, fickle, giving advice about the choreographer? His arrival, manner, martinet, their collecting the money?

8. Going to the competition, their performance, and their performing the same routines? The reaction of the public? The disappointment, not being expelled because of previous wins? Isis and the girls coming to demonstrate the routine at the football match?

9. Their having to form their own routines? Gymnastic, athletic, their preparations?

10. Torrance getting her father give the money to support Isis and the girls coming to the competition, offering it, Isis and her defiance, tearing up the check?

11. Torrance breaking off with Aaron and discovering him with the other girl?

12. On-again, off-again with Cliff? His coming to the performance, pretence, the reconciliation?

13. The competition, the performers, Torrance and her group, success? Isis and her group? The awards, Torrance coming second and satisfied with that, congratulating Isis and the others with their win?

14. Cheerful, audiences enjoying all the routines, the ethos of the cheerleaders, men and women, competitions and rivalries?

CARGO

Australia, 2017, 105 minutes, Colour.
Martin Freeman, Anthony Hayes, Susie Porter, Caren Pistorius, Kris Mc Quade, Natasha Wanganeen, Bruce R.Carter, Simone Landers, David Gulpilil.
Directed by Yolanda Ramke, Ben Hollows.

Were one to ask the average filmgoer whether they wanted to see a zombie film or not, the answer, most likely, is not. On the other hand, a younger demographic might well answer that they would. And, whatever the age or generation, aficionados of the long spate of zombie films, especially in recent decades, as well as television series like The Walking Dead, might well rush to say that they definitely would.

Best to say immediately, Cargo is a zombie film.

Best to say immediately afterwards, Cargo is not your usual zombie film and it could well have a much wider appeal than just for zombie fans.

It began life as a seven minute short film. The writer, Yolanda Ramke decided to expand the short into feature length and joined with fellow-director, Ben Hollows, to make this feature. They went out into the landscapes of South Australia, choosing desert landscapes, bush landscapes, the Murray River… All of which are filmed beautifully using helicopters and drones. This is a very attractive countryside for the living dead. Not that we see so many of the living dead. That is one of the more relaxing features of watching this film.

The focus throughout is on Andy, played with quite some sensitivity by British actor, Martin Freeman (best known for, take your pick, the Hobbit or Dr Watson to Benedict Cumberbatch as Sherlock Holmes). As with the quiet horror film, A Quiet Place, the setting is post-Apocalyptic, an epidemic not explained at all, decimating the population and turning many into the living dead. Andy is on a boat on the Murray with his wife Kay (Susie Porter) and their one-year-old baby, Rosie. They are in search of food, the parents wanting to protect their daughter at all costs.

It is not really a spoiler to say that Kay becomes infected and dies, leaving Andy to travel through the bush, trying to find food and shelter, with a wristband counting down 48 hours since he potentially became infected.

At the opening the film, a young aboriginal girl, Thoomi, is seen running through the desert. She will later appear again and become an important character in Andy’s journey to safety. In fact, with white paint on her face, she has been feeding her transformed father and is in search of the Cleverman who has the power, she thinks and hopes, to heal her father.

Andy meets very few people along the way, only a smattering and scattering of the living dead. He gets to the small town and meets a former teacher who is very hospitable (Kris Mc Quade) who urges him on. He rescues a man pinioned by cylinders, Vic (Anthony Hayes) who has been working on a gas line who takes him to his temporary home where he finds the wife of one of the workers, Lorraine (Caren Pistorius). One of Vic’s pastimes is to put a zombie in a cage which then is a taunt to the other living dead to come to consume it, meanwhile firing his rifle to destroy as many zombies as possible. He urges Andy to learn to fire a rifle and join in.

Time is running out, and Andy wants to find a safe place and sympathetic people to look after Rosie. He does encounter a family – but that turns out tragically for the family. He persuades Thoomi that she has done her best for her father and she then serves as a guide and protector for Andy and Rosie.

What makes this film different from so many other zombie films which concentrate on the horror and gore and the dangers of infection and madness, is a deep humanity in Andy, audience response to the care for the baby, and Martin Freeman’s very sympathetic performance as is that of Simone Landers as Thoomi.

The aboriginal theme pervades the film, the latecomer to the land being infected, some aborigines, who are able to listen to the land, escaping infection and providing shelter and hope among them for the little white baby. The film released in cinemas in Australia but was booked for almost immediate screening on Netflix.

1. A post-apocalyptic story, world epidemic, survival, transformation to the living dead, a zombie film?

2. An Australian story, South Australian settings, the nature photography, aerial and drone shots? The landscapes, the desert, vegetation? The River Murray? The gas fields, the towns, the Bush? Atmosphere? The blending of beauty with the sinister? The musical score?

3. The title, Andy and his carrying Rosie, to protect her?

4. The introduction to Thoomi, in the desert, running, her presence, care for her father, his being a zombie, licking the blood from the tree, getting food and putting it into the pit? Her quest for the Cleverman, his healing powers? The encounter with Andy, with Rosie? In the cage? Vic and his menace? Her mother and the others searching for her? Painting her face, protection from the spirits?

5. Andy and Kay, on the boat, with Rosie? Concern, care, love, protection? Seeing the family picnicking on the riverbank? The yacht, the need for food, Andy collecting it, Kay going into the boat, the noise, her being wounded? The measurement on her wrist for 48 hours? Her being firm, wanting to make the decision? Andy, binding her wounds, care for her, to get her to the hospital? Kay, the injury, her being transformed, death and burial?

6. Andy and Rosie, walking through the desert, looking for the town? The small town, Etta and her survival, the teacher, the photos, the photo with Thoomi? Helping, fondness for the baby? Sending them on?

7. The range of zombies, wandering the countryside, the noise, roaming together, destruction?

8. Andy and his encounter with Vic, the vehicle, Vic stuck, Andy helping him, getting him out of the hole, from the zombies? His house, Lorraine, the situation? His explanations? The death of the others at the gas plant, Lorraine’s husband? Her having to live with Vic? Lorraine, tea, shelter, care of Rosie? Vic, the rifles, with Andy, teaching about shooting, the vampires drawn to the cages? Their being shot? Andy and his reaction?

9. The possibility for escape, Vic catching the group? Lorraine trying to protect, her being shot? Andy and Thoomi in the cage? The zombies, and his ingenuity in getting the rope, their raising the cage, getting out? The escape?

10. Encountering the picnicking family again, the father with the gun, his wife and children playing, offering the gun and two bullets to Andy, the sound of his shooting his family and himself?

11. Andy and his progress, the hours left, the nights and the symptoms, the need for blood, transformations? Thoomi and her help, carrying the baby? Painting the baby for protection? Andy and his plea, not understanding her quest? Aboriginal rites being explained to him? Thoomi and her quest to help her father? Travelling? The decision to help Andy and the baby? The Railtrack, the tunnel, the zombies with their faces to the wall, Vic standing guard, the fight with Andy? His death?

12. Andy, coming to the end of his quest, learning from Thoomi, his plea to her?

13. The aborigines, survivors, the banner with No Fracking ? Their killing the zombies?

14. Andy, his death, the pathos, the farewell to Rosie? Thoomi, coming through the smoke, the family and their killing the zombies? Thoomi and Rosie being saved? Rejoining her family?

15. Andy, buried in the branches on the the tree?

16. The social issues in the background of the film? Indigenous people? Losing the land, but surviving on the land, returning to the land? And the acceptance of the white baby amongst aborigines?

THE PENALTY

US, 2018, 90 minutes, Colour.
Directed by Will Francome, Mark Pizzey.

The directors of this film also wrote the screenplay and acted as cinematographers, following a number of stories for some years.
The Penalty is an American documentary focusing on three cases, examining the issues of the death penalty and some of its repercussions. It takes stances against the death penalty, considering the prevalence in the United States in the past and those states still retain the death penalty, with a particular focus on Ohio and Florida.

While the film is documentary, it tells three stories in quite a dramatic way, eliciting audience interest and sympathy.

The first case concerns the murder of a young woman during a hold-up in a store. The young man was apprehended and interrogated. Dramatically, his black, not well educated, with a low IQ. He is shown in various scenes, interrogated, in the court room.

However, the story is about the murdered girl’s mother, her grief, her having to come to terms with her daughter’s death and facing the killer. She also has another daughter and, at the time of the death, a 16-year-old son. The story takes place over several years, her having to testify at various times, the toll that takes on her, the upset to her children, the daughter having to cope, the boy growing up and taking a very hostile attitude towards the killer.

The situation would have been settled had the Florida attorney general agreed to a plea bargain, that the killer would admit to guilt and accept a life sentence. However, the attorney general was of his campaign for the death penalty and, for years, would not accept the plea of the deal. The film shows, in interviews, in her campaigning and becoming more vocal over the years, the mother’s acceptance of the plea and her hoping that that would be the end of court appearances and of the family could begin a new life.

The Atty Gen is interviewed, reaffirming her strong stances, criticising the mother as a publicity seeker and that there were many others in the same situation who did not make such a fuss. Then it was time for re-election and a more moderate and considered candidate nominated for the position and, with scenes from the campaign and various speeches, she won over the previous incumbent. She then allowed the plea, the court scene is shown and the matter is legally settled.

A second story concerns a young man condemned to death but held in prison for over 15 years, much of the time sitting his cell for 23 hours a day, seeing the sky only spasmodically, somehow rather surviving, even with his sanity.

He had been arrested, interrogated for a long time with great intensity, pressured by the police and eventually confessing to the killing. Eventually, DNA evidence proved that he was not guilty and he was released. There are pictures of him as a very young adult and the audience sees him emerging from prison at age 38.

The film follows his story, seeing him emerge from prison, reunited with his mother, finding a girlfriend by correspondence and eventually going to California to be with her. He is various jobs, is a truck driver. Although rather an educated, he is quite articulate and eventually goes on a tour, speaking to audiences around the country about his situation and issues of prison injustice.

The third story is set in Ohio, the state still retaining the death penalty. The focus is on a murderer who is to be executed but the state has difficulties in procuring drugs appropriate for lethal injection. The murder is execution is delayed but, eventually, he is subjected to the death penalty with an experimental mix of drugs, struggling to die for 23 minutes. While there is no sympathy for the criminal and his crime, his son another family appeal against the barbarity of his being used and is an experiment for testing drugs.

In the meantime, the film also focuses on the man responsibility for executions and injections. There is also a focus on a lawyer campaigning against Ohio’s legislation. The audience sees the executioner, his family, interviews with his wife, the pressure on being present for the executions and his hope that these will be lessened and that he will have a more normal life. There are various speeches of campaigns and discussions of the pros and cons of capital punishment.

While the film is only 90 minutes, it contains a great deal of information, inviting the audience to participate in stories and offers the stories as a basis for rational considerations of the death penalty.

CHAPPAQUIDICK

US, 2018, 107 minutes, Colour.
Jason Clarke, Ed Helms, Jim Gaffigan, Kate Mara, Bruce Dern, Olivia Thirlby, Clancy Brown.
Directed by John Curran.

It is surprising to find that this episode in the life and career of Senator Edward Kennedy, the last remaining son of tycoon and diplomat and powerbroker, Joseph Kennedy, has not been the subject of a feature film before this. Many documentaries, inquiries. In June 2019, it will be 50 years since the events portrayed.

Audiences have varied responses to members of the Kennedy family. There is great sympathy for President John F. Kennedy, the appeal of his personality, the speeches of idealism despite bungling of some of the confrontations, especially with Cuba in the 1960s, the impact of his assassination. Robert Kennedy also made a great impression as attorney general, advisor to his older brother, and then the impact of his assassination. The oldest brother, Joe, whom his father had destined for the White House was killed in action in World War II.

For many in the audience, 1969 will be something of past history if not ancient history. For those who remember the times, they may have strong views about Ted Kennedy and his behaviour at Chappaquidick. Audiences may not remember that the events and the death of political aide, Mary Jo Kopechne, happened at the very time of the moon launch and Neil Armstrong walking on the moon, a fulfilment of John F. Kennedy’s hopes, the seeming beginning of a new era for the human race – but was also a time of political unrest, Richard Nixon’s presidency, disaster for Americans in Vietnam, a transition from the enormous social changes of the 1960s.

The action of the film takes place over a week. Australian actor, Jason Clarke, with touches of make up that make him sometimes uncannily look like Ted Kennedy, and with his New England accent, gives a strong performance of a man who, at this stage of his life in crisis, seems a weak man. Ed Helms has a good role as his cousin and adviser, Joseph Gargan. Kate Mara has some scenes as Mary Jo Kopechne, Jim Gaffigan as the Massachusetts Attorney General and an advisor, Clancy Brown dominatingly ruthless as Robert McNamara?. Bruce Dern communicates the strong personality of Joseph Kennedy despite his being inarticulate, chair-ridden, because of a stroke.

The situation is re-created, an evening party, Ted Kennedy still morose about the death of his brother a year earlier, the memories of the President, the expectations of his father (which seem to be rather low). Some drinking, some brooding, giving a lift to Mary Jo Kopechne, the bad turning onto the bridge, the car going over the bridge, his escaping from the car and sitting on the bank, Mary Jo Kopechne drowning after some time trying to breathe the remaining air in the car. While the episode was an accident, Ted Kennedy’s behaviour was that of the hit-run driver, in denial, going to get friends to try to remedy the situation, promising to report the accident to the police but failing to do so, going to bed, having breakfast at the hotel with friends until he is confronted and has to act.

The screenplay has him saying to his friends as they arrive at the scene of the accident that he won’t be President in 1972. And, with ups and downs, with phone calls to his father, with a visit to his father, with all the legal advisers and political bosses trying to make the best of the scenario, continually sabotaged by statements released by the police to the press, changes to the story, and even Joe Gargan advising him to do the right thing and resign, he is weak.

The theme of the film is summed up by Gargan telling Ted Kennedy that his television broadcast to the people of Massachusetts in which he accepts responsibility for leaving the scene of the accident, should be seen as a situation of integrity and not of opportunity.

The film ends with people being interviewed about their views on Kennedy and his broadcast. There is a great deal of sympathy for the family. How much to forgive? How much to forget? In fact, Kennedy was re-elected to the Senate and the end of the film reminds us that he finished as being the fourth longest serving senator, contributing to the politics of the United States.

Chappaquidick raises issues of responsibility and blame, of authenticity in people from privileged backgrounds, issues of human weakness and possibilities for redemption.

1. A piece of American history? The 1960s? The history of the Kennedy family? Edward Kennedy? The title and audiences knowing about the events in the place? Those who lived through it? Chappie is a piece of old American history?

2. Massachusetts, the island, the beaches, the bridges? Hotels? The scenes at Hyannis Port, the Kennedy compound? Police precincts, the courts, the press? The advisers and their meetings? The musical score?

3. The portrait of Edward Kennedy, Jason Clarke and his performance, impersonation? The initial interview for the television, his statesmanlike behaviour and answers? Policy, politics and the tradition of the Kennedys? His three older brothers and their deaths, the effect on him? His father’s low opinion of him? The status of his father? In the Senate, his prospects, presidential nominations? Yet moody, relying on Joe Gargan, his cousin, the relationship and friendship? The party for Robert Kennedy’s supporters, the Boiler Room Girls? Thanking them? The personalities of these women, their working on campaigns? Mary Jo Copechne, Rachel? On the beach, the conversation? The grace and his experience, rivalries?

4. Mary Jo Copechne, in herself, her friends, spirit, campaign work, on local campaigns after the death of Robert Kennedy? On the beach, the party? Her return home, in the car, stopped in talking with Ted Kennedy, the police moving them on? The crash, into the water, seeing her struggling for air, her death? In the flashbacks? Her parents, Ted Kennedy phoning them, then having blame, the atmosphere of the funeral, the supporters, the priest, the Mass, seen consoling them?

5. Ted Kennedy and the crash, getting out of the car, sitting there, pensive? Going to find Joe and Philip, their dismay, at the scene, urging him to report the accident? Rolling across the bay? His return to, stunned, in bed, not telling anyone, the social breakfast and his reaction to being interrupted? His statement that he would not be Pres in 72? His motivations for not confessing? Week, issues of responsibility, Jo urging him to go to the police? His plan, stating that Mary Jo was driving?

6. The advisers, the number of them, their positions, Robert Mc Namara, Ted Sorensen, the doctor and his not examining? Lawyers? Legal issues, political issues, cover-up, seizing opportunities, the debates, the strong personalities? Avoiding issues of morality?

7. Ted Kennedy, his story, his eventually telling the truth, the police, in the office, phoning his father, making a statement? The advisers wanting it secret, the police releasing? The response of the media, the reports, the interrogations, James Reston, the inconsistencies of the report? The group still supporting a week Ted Kennedy?

8. The funeral, Joan Kennedy and the estrangement? The argument about wearing the brace, his looking foolish, admitting his mistake? His behaviour at the funeral, consoling Mary Jo’s parents?

9. The television interview, his idea, the preparation of the speech, written by Ted Sorensen? Joe Gargan, his dilemma is, wanting to pull out of supporting Kennedy? Ted Kennedy and the idea of resigning, encouraged by Jo? Jo writing the speech? Holding the cards, Kennedy not resigning? Joe Gargan and his comment on integrity rather than opportunity? His leaving?

10. Ted Kennedy, the phone calls to his father, visiting the home, his father disabled, not being able to speak, the stroke, in the wheelchair, slapping his son, disdain – yet watching the speech on television?

11. The interviewers with the people afterwards, actual interviews from the period, support Kennedy?

12. The impact of this episode at the time, Kennedy as a celebrity, treated differently from other people involved in accidents? And the impact on his career?

THE EXCEPTION

Belgium, 2017, 107 minutes, Colour.
Lily James, Jai Courtney, Christopher Plummer, Janet Mc Teer, Ben Daniels, Eddie Marsan.
Directed by David Leveaux.

The title for this drama, quite worth seeing, is not at all exceptional. However, the title of the novel on which it is based, The Kaiser’s Last Kiss, is more evocative.

There always seems to be an audience for British films or films from the continent which deal with World War II. Some are based on fact. The screenplay here is based on a novel but grounded in fact.

The setting is Holland in 1940. The Nazis have just invaded Belgium and Holland. One of the principal residents of Holland is the former Kaiser, Friedrich Wilhelm, living in exile after his resignation in 1918 in a mansion in the Dutch countryside, living with his wife and an entourage. He keeps out of the way, working on the property, proud of his collection of military uniforms, feeding the ducks. He is still ideological, fixed in rather aristocratic ways (after all he was one of the many grandchildren of Queen Victoria), longing for a restoration of the monarchy.

In Berlin, a young officer, Captain Brandt, wounded in battle, reacting against an officer who had massacred many people in a village, now has a desk job but is assigned to be head of security for the Kaiser and his wife. On arrival in the town, he encounters the local security officials, the officer who manages the Royal household, the Dutch staff, including a very attractive maid.

This is a fictional story about the Kaiser and his wife but it some commentators have indicate close relationships to facts.

The Kaiser is elderly and portrayed excellently by Christopher Plummer. Janet Mc Teer is certainly very good as his wife, more ambitious than her husband, with connections in Berlin, machinating behind the scenes so that the couple will be restored to their status by Hitler.

The captain does not seem at first a particularly interesting character. He is initially seen back in Berlin with a prostitute. He is immediately seductive of the maid. He is played by Australian Jai Courtney. She is played by Lily James.

There are power struggles in the mansion, the Princess rather haughty in her manner and proud of her household, Sigurd (Ben Daniels) is the proper officer who protects the couple, making sure that the Kaiser is not indiscreet in any outbursts, especially about the Third Reich.

There is news of a British spy in the village and audiences do not have to be particularly astute to realise that it will obviously be Mierke, the maid. While she is in a relationship with Captain Brandt, she steals off to the village to meet the pastor who sends messages to Britain and receives instructions. And the captain follows into the town.

He begins to doubt his loyalties in his relationship with Mierke but there is to be a significant event. Himmler announces that he is to visit the Kaiser and his wife and dine with them. Eddie Marsan and has only a few sequences as Himmler but makes the most of them and the sinister dialogue, especially a dinner table anecdote about experiments on young children and poisoning them. The Kaiser and his wife are in fact quite repelled. Captain Brandt then questions his loyalty to his country – with the Kaiser advising him to ask what his country really is.

The possibilities raised for the Kaiser and his wife to go back to Berlin – but Himmler throws doubt on the idea. The security agents track down the radio signal and so, as you might imagine, the finale of the film is how to get the spy out of the mansion, out of danger after the pastor has been arrested and tortured. What is the Kaiser’s attitude towards the maid and her behaviour? What will Captain Brandt do?

And so, there is action adventure, symbolic of the microcosm of the film and World War II focused on small Dutch village and the Kaiser’s mansion.

This film, and its cast, should appeal to those who enjoy World War II stories, fact or fiction.

1. A World War II story? The blend of fact and fiction?

2. The film’s title and the focus on Brandt? The novel, The Kaiser’s Last Kiss, focusing on the Kaiser?

3. Berlin, Hitler and the Nazis? The Berlin offices? The contrast with Holland, the country estate, the mansion, the forest, the town, the pastor and his radio, the presence of the SS? The mansion, the interiors, the hut? The musical score?

4. The screenplay and its reliance on facts about the Kaiser and his wife, his role during World War I, dismissed after the war, his life in exile, his ideology, his family, his appearance, grandson of Queen Victoria, his age, exile, the Nazis? His hopes for reinstatement? The visit of Himmler? The spies and the contact with Britain?

5. The introduction to Brandt, age, loyalties, soldier, being wounded? His office? Being appointed to protect the Kaiser in newly-invaded Holland? His arrival, the encounter with the SS in the town, clashes? The introduction to the Kaiser, the household?

6. Brandt and his relationships, with the prostitute, in his office, in the town, the encounters with Dexter and security, the information that there was a spy in the town? Work, getting used to the job? The attraction to Mierke, sexual encounter, his coming into the house from the hut? Mierke’s room, his going, the encounters? His detecting the oil in the guns?

7. Dexter, his personality, security, arrogance, his background, the equality of the Third Reich? The pastor, his radio, and Mierke’s visits? Brandt following? The search of the rooms for security, his searching, to save her? The two of them caught in the room, the reaction of the Kaiser’s wife, her hostility? The Kaiser and his being more lenient, talking with Mierke ? The explanation of the subpoenas and children?

8. The announcement of Himmler’s visit, the secrecy, Dexter making Brandt swear? Yet the Kaiser’s wife, the phone call, everybody knowing? The detail of the preparation?

9. The Kaiser as a character, his past, World War I, the loss, exiled, living in Holland, his work, the uniforms, feeding the ducks, love for his wife, relying on Sirgud, an old school German, and Sirgud having to check any outbursts? The discussions with Brandt about management? The Kaiser’s ideology, restoration, aristocratic perspectives?

10. The arrival of Himmler, his appearance, reputation? The Kaiser’s wife coming to visit Himmler, seeing the sex companion, offering the bribe? At the dinner, the promise that the Kaiser and his wife would return, his story about the children and the poison experiments and they are deaths? His going to Brandt, explaining that the arrangement was merely to find out those loyal to the Kaiser? This to be kept secret? The Kaiser’s wife, her excitement, with the maid, thinking about new wardrobe, packing? The Kaiser not wanting to leave, her supporting him, staying?

11. The arrest of the pastor, his being tortured, over time, revelation about Mierke? The phone call naming her?

12. Brandt’s crisis, loyalty, the Kaiser asking which country he was loyal to? Giving the information to Sirgud? Mierke, his love, the Kaiser and his help?

13. The plan, the Kaiser in the garden, his collapse, calling the ambulance? The Kaiser and the message via Mierke from Churchill, his turning it down? Brandt driving the vehicle, shooting Dexter, the escape, Mierke going through the woods? The Kaiser happy about her escape?

14. Berlin, planes flying over, Brandt at his desk? In London, pregnant? Her sending the copy of Nietschze and the message?

15. An entertaining World War II fact and fiction story?

DEADPOOL 2

US, 2018, 119 minutes, Colour.
Ryan Reynolds, Josh Brolin, Julian Dennison, Marina Bacarin,Zazie Beetz, Brianna Hildebrand, TJ Miller, Terry, Rob Delaney, Alan Tudyk, Eddie Marsen, Leslie Uggams, cameos: Brad Pitt, Bill Skarsgaard, Matt Damon, Terry Crews.
Directed by David Leitch.

The original Deadpool was very well received by the public. It was something of an acquired taste which moviegoers were eager to acquire. While it derives from the Marvel Universe, so-called, its characters are really at the periphery (although the film does open with a joke about Logan, a little statue impaled, with Deadpool speaking derogatorily about Wolverine – who does get the chance to appear in Hugh Jackman form at the end of the film – and uncredited, so many of the characters popping in from the X-Men? series).

Deadpool is certainly an example of pop culture. However, with its tone of parody, with a variety of spoofs and send ups, with the in-references to movies and actors and actresses, with the sudden appearance of Barbra Streisand singing Papa can you hear me from Yentl, a CGI fight with Dolly Parton singing 9 to 5 in the background, with a buildup to a climax with the singing of Tomorrow from Annie, Deadpool might be considered and is an example of “flip-culture�. (Trivia, like that in the film: Barbra Streisand is Josh Brolin’s stepmother – and she thanked in the credits for giving permission to use the song and clips from Yentl.)

As regards plot! Prior to the initial credits, Deadpool, with his costume on, confronts an enormous range of villains from Hong Kong to the US with all kinds of martial arts and stunt work. And then, in a moment of quiet, he visits Vanessa “Morena Bacarin) and they discuss domestic possibility of having children. Not to be. An assassin intervenes and Deadpool, unmasked and his remnant-of-burns face is tearful.

Actually, the initial credits are examples of the flip culture with all the technical aspects being parodied by descriptions rather than by actual names, the director being referred to as one of those who were responsible for deaths in John Wick (which actual director, David Leitch, was).

And who would believe that the centre of the main plot would be a 15-year-old, chubby, New Zealander called Russell? It must mean that The Hunt for the Wilderpeople served as a marvellous audition and an entree for Julian Dennison, is able to make strong rapport with his audience, to become an international star. He has superpowers of fire in his hands but is confined to a sinister orphanage, presided over by Eddie Marsan, who parodies Gospel Beatitudes with “blessed are the wicked…� And there is a whole atmosphere that he and his staff are paedophiles.

Enter Cable, Josh Brolin taking time off from being Thanos in the Avengers series. He can time travel. He has experienced disaster in his own life, knows how the world is going to end (badly!) And wants to prevent Russell from becoming a killer. This leads to a prison break, Deadpool and his friend Weasel (TJ Miller) auditioning their own X-Force? of rather inept heroes, one of the funnier and gruesome sequences in the film being their skydiving and their various spectacular demises.

The screenplay is very conscious of equality for women, so Domino (Zazie Beetz) is now black, is an extraordinary truck driver (she says her talent his Luck) and her commandeering the truck, driving through the metropolis, an enormous smasheroo sequence with probably more cars destroyed in this film than the body count!

In one sense, the final confrontation to liberate Russell is fairly low key – but, a lot is made of it with Deadpool’s heroics (which he remarks to the audience he hopes have been filmed in slow motion) combined with a giant fight between the metallic Colossus (on Deadpool’s side) against the even bigger and gigantic Juggernaut (the enemy).

If this film is successful, as initial box office seems to indicate it will be, there are all kinds of directions it can go in for a sequel – time travel and remedying the past certainly enables all possibilities. (And, in the final credits, Ryan Reynolds who has made Deadpool his own, with the heroics and the deadpan references and talking to the audience, suggests that The Green Lantern isn’t his most favourite film.)

Ordinary cinemagoers will have to adjust fairly quickly to the tone and style of the film. Aficionados will want more.

1. The Marvel universe? Deadpool at the periphery? Yet the anonymous appearances of Logan, as Wolverine, and the range of the cast of the X- Men series?

2. Characters, dialogue, situations, treatment? Over the top? Parody and spoof?

3. The mock heroics contrasting with the Marvel Universe heroics of the superheroes?

4. The flip culture, pop culture, movie references, the fourth wall and Deadpool talking to the audience, the use of different genres and conventions, the songs, from Yentl, Dolly Parton 9 to 5, Annie and Tomorrow? The range of fights, the villains, Hong Kong, chases, martial arts, beyond possibility? The flip/pop imagination?

5. The focus, the sequel, presupposing the original film? Ryan Reynolds Is Wade Wilson, the burns, his crisis, disfigurement, his title, Deadpool, his disguise and uniform, hero, exploitation, his past and surviving?

6. The introduction, the Logan and Wolverine jokes? The discussion about dying in the film? Setting himself alight? The range of fights, the range of criminals, taxi driver and his hopes of being a killer, his small stature, fears? Rescuing Deadpool? Returning to Vanessa, love, the possibility of having children, the gift of the diaphragm? The assassin, following the bullet, Vanessa killed? The time travel, the end and his meeting her again, Heaven, killing the assailant, his return to his mission?

7. The situations, the explanations, saving people, defying dangers?

8. The Russell story, meeting him, his powers, age, from New Zealand, at the school, experiencing the abuse, the power of his fire, the desire to rescue him? The headmaster
and the assistance, callous, the background of paedophiles? Russell taken to prison, the other prisoners, the cells?

9. Cable, his story, his identity, from the past, the death of his wife and children, the effect on him, his appearance, part armour, knowing the future, knowing the world’s end and its bad end, his decision to stop Russell from being a killer?

10. The orphanage, the abuse, the range of orphans, treatment? Domino helping them to escape through the bus?

11. The bus, the transport through the city, the prisoners in their cages, the pursuit, the smashing chase and enormous destruction of vehicles?

12. Wade, going to his grandmother, their talking, her blindness? His being cut in half, returning home, the infant legs, the nudity, his growing, the Basic Instinct parody?

13. His audition for his squad, X- Force, not X- Men? The interviews, the particular talents, even the manager? Domino, her interview, strong stances? The reliance on Weasel for the interviews, the offhand advice – with a touch of cowardice, revealing every bit of information?

14. The team, in the plane, the skydiving, the parody of all the deaths?

15. Domino, driving, smashes, the clash with Cable, on the bus, the fight? Saved?

16. The two women, the relationship, superheroes, the Asian background, friendly with Deadpool, helping at the end and the rescue of Russell?

17. Colossus, his size, made of metal, the relationship with Deadpool, the sexual innuendo? His moodiness, joining again, the fight? The battle with Juggernaut? Juggernaut, his appearance, the fights, his comeuppance?

18. Deadpool, pleading with Russell, Russell pursuing the headmaster through the corridors, the fire? Deadpool and his declaration, taking the bullet for Russell? His dying, the varied speeches while he was dying? Russell and his change of heart? The pursuit of the headmaster and his destruction? His denunciations and the Beatitudes of the wicked?

19. The group of Deadpool and his friends and survivors, including the taxi driver who was able to kill?

20. Cable, turning back time, Deadpool returning, encountering Vanessa, repeating the taking the bullet situation, Deadpool hoping that it was done in slow motion? His new mission?

21. The final credits, the jokes, Ryan Reynolds and the jokes about Canada, and his dismay about The Green Lantern.

TEA WITH THE DAMES

UK, 2018, 84 minutes, Colour.
Dame Judi Dench, Dame Maggie Smith, Dame Eileen Atkins, Dame Joan Plowright.
Directed by Roger Michel.

If you ever wanted to sit in on a conversation, chat between the four famous Dames, this is definitely the opportunity. Actually, there are very little tea seen, if any, but rather water and champagne! The original title, seen on the clapper boards is the quote from South Pacific, Nothing Like a Dame.

The four senior actresses, in their 80s, agreed to go to Joan Plowright’s home in the countryside and to sit down and talk. There are some conversation with the filming crew, some of the new technicians at their work, and some questions from director, Roger Michel (best known for such films as Notting Hill, Changing Lanes, My Cousin Rachel).

The conversation begins outside in the garden, a sunny afternoon – but rain soon started to fall and everybody having to adjourn inside. And the conversation is very entertaining, the four ladies laughing with great gusto at some of the stories – and the audience somehow rather empathising so strongly that they also laugh at times with great gusto.

The film is based on anecdotes. And it is supported by quite a number of photos, some home movies, some sequences from televised plays, some film clips. In the short amount of time, there are quite a number of clips but are many in the audience would be hoping for even more.

Each of the actresses has quite a distinctive personality. Joan Plowright is the matriarch. She is legally blind, with hearing aids, still bears herself with great dignity, being assisted by a walking stick as well as her daughter guiding her. Questions are asked about her marriage to Laurence Olivier, her status as Lady Olivier, her meeting with the actor, her appearance in The Entertainer, subsequent appearances as well as the story of their children, the travels, his work in the National Theatre. And there are glimpses of Joan Plowright’s appearances on stage and on television. In some ways she is rather proper but she also has a sense of fun and is enjoying the conversation and the memories.

Eileen Atkins is less well-known than the other three women but has had a distinguished career on stage, on television, in cinema. She speaks about her childhood, dancing, moving to acting, appearing in some kind of burlesque. She comments on her stage experience and the actors she has performed with, including her first husband, actor Julian Glover. She has something of a sardonic tone, especially about her appearance, not pretty, but having a talent for acting and enjoying her career. Interestingly, when asked what she would change from her past, she says she would be less angry and less confrontational – something which doesn’t quite appear so strongly during the conversation.

Maggie Smith probably has the widest reputation, beginning in films in the 1950s, having good roles internationally, in the UK and in the US. She won an Oscar in 1969 for The Prime of Miss Jean Brodie, winning another in the 1970s as Best Supporting Actress in California Suite. And, all the time, she was appearing on stage. She has quite a lot of comment, partly teasing Joan Plowright, of how severe Laurence Olivier was with her, with some clips from various performances including the stage and film version of Othello (where, in close-up, he seems rather a ham). With a stage career of more than 50 years, Maggie Smith is particularly well-known. But this film does not include many striking performances including those for playwright, Alan Bennett. She is asked about her relationship with her first husband, Robert Stephens, and there are some scenes of them acting together in a novel card would play. While he had many difficulties, including alcoholism, she says she prefers to remember the happy times. (She knows that she has not had time to look at all of Downton Abbey even though they gave her a box set!)

For the last 20 years, Judi Dench has been quite a significant stage and screen presence. She had performed on stage for many decades, part of the Royal Shakespeare Company in the 1960s. There are also photos and sequences of her performance in Miracle Plays in the early 1950s. With the flashbacks and the clips from plays, she has had quite a range of performances from Cabaret to Cleopatra in Anthony and Cleopatra. There are scenes from Mrs Brown which brought her to the attention of the world of cinema, winning an Oscar the following year for her portrait of Queen Elizabeth in Shakespeare in Love. There are clips from Tea with Mussolini (Joan, Maggie and Judi), from The Best Exotic Marigold Hotel (Judi and Maggie). She has quite a sense of humour, laughing vigorously at so many of the stories – and a surprising angry swearing at an insensitive carer! There are also pictures of her with her husband, Michael Williams, in their televisions series A Fine Romance and on stage.

The conversation ranges widely. It is not a portrait or study in depth. Rather, the audience sees the actresses in themselves, in their performances, in the changes over the decades. They do have quite a lot of commentary about performing, being apprehensive and fearful, techniques, the effect of experiences. There is also a sequence for each of them when they were made Dames, presented by the Queen or by Prince Charles.

This is a pleasure of a film – but, something of a pleasurable treasure for those who admire the actresses.

THE CROOKED WEB

US, 1955, 77 minutes, Black-and-white.
Frank Lovejoy, Mari Blanchard, Richard Denning.
Directed by Nathan Hertz Juran.

Not a bad supporting feature. It certainly is a crooked web, with several twists in the screenplay in the first 20 minutes.

Frank Lovejoy, a veteran from World War II, seems very earnest in Los Angeles running a diner. A blonde seductive type is played by Mari Blanchard and Richard Denning turns up as her brother. They clash, go to a nightclub, Richard Denning trying to interest Frank Lovejoy in an illegal money venture. Mari Blanchard is in love, urging him on.

Then we see that Richard Denning and Marie Blanchard are a couple, deceiving Frank Lovejoy, she pretending to love him and continuing to play on his attraction to her.

Then we see that Richard Denning and Mari Blanchard are in fact government agents, involved in a sting, with flashbacks indicating that Frank Lovejoy was involved in the black market after the war and had killed a fellow soldier. The case had been going on for 10 years.

With this change in perspective, the trio go to Chicago where an alleged murder is staged with a partner. Then they have a luxury cruise to Germany, with the danger of a past friend recognising Denning. They drive across Germany, go to a cemetery where they start to dig up gold, melt down one of the items, relying on the his one to make police badges for them. There are various difficulties, with the couple covering for each other in difficult situations, liaising with the local police. The plan even involves Denning being persuaded to reenlist in the air force so that he can have access to the new Air Force Base where the treasure is buried.

Some difficulties, but the two agents are able to improvise at short notice and perform their undercover work well – with the result that Lovejoy is arrested and the sting is over.

1. The title, the screenplay and the crooked characters, twists?

2. B-feature, good cast?

3. Los Angeles, German locations, authentic? The musical score? The introduction to Stan, his placing the bet, running the diner, Joan to work for him, flirtatious, Frank and his arrival, confrontation, the story of the family, brother and sister, going out, at the nightclub, Joan drinking, dancing, the bonding? Frank and his plan, Stan interested, Joan persuading him?

4. The twist, Joan and Frank and their work, a couple, the plot, going to Chicago, Joan persuading Stan, his hesitations? The partner in the car, the argument, his being shot, the body disposed of, the radio report of the death? The separating? Stan going to New York?

5. The truth, the police group, Joan and Frank as agents, the plan, 10 years in pursuit of Stan?

6. Looking at Joan as seductive, then seeing her as an agent, her relationship with Frank? Persuading Stan?

7. The flashbacks, Stan and his black-market deals, the attack, shooting the soldier? His escape? His being honoured? The investigations, the search for the bullet and identifying Stan? The officer and his grief?

8. On the boat, the drunken friend, insisting on identifying Frank? Frank and his being shrewd and fending him off? Leaving the boat, the friend being picked up by the police?

9. Germany, driving through the countryside, the role of the police, the cemetery, digging up the gold, getting one object, escaping, melting it down, as a spanner? The agent and his working with the gold? Making the police badges?

10. The holiday, on the beach, Joan and Frank covering the other, the plans, leading Stan on, his increasing urgency? The return to the cemetery, the police pursuit?

11. The escape, Frank having a shower, Stan in his room, seeing the badges, Frank’s plausible explanation? Going to the worker on the gold?

12. Meeting a friend in the restaurant, the issue of enlistment, Frank being jovial, deciding to enlist, as a cover to get into the cemetery area? Finding that there was a fence, an Air Force Base? Frank and his failure of the test? Urging Stan to reenlist?

13. Stan, the confronting Frank, telling the truth to Joan, the authorities hearing his confession? Arresting him? And then the happy ending…?

13 EAST STREET

UK, 1952, 72 minutes, Black and white.
Patrick Holt, Sandra Dorne, Sonia Holm, Robert Ayres, Dora Bryan, Michael Balfour, Michael Brennan.
Directed by Robert S. Baker.

This is a small supporting feature with a familiar enough plotline. However, the audience is not informed about the police inspector going underground until about 20 minutes into the film.

The film opens with a Scotland Yard inspector the dressing a group of colleagues and telling the story of Gerald Blake (Patrick Holt Is a stalwart kind of hero). The film then shows him in a bank robbery, his being pursued by the police, eventually arrested. In custody, he attracts the attention of a small-time thug, Joey, Michael Balfour, and finally shares a cell with him. Gerald is very straight up-and-down but, when they are transferred from one prison to another, Joey feigns of coughing fit and they escape from the train. Joey leads him to his boss, Larry (Robert Ayres) and despite the misgivings of Mack, Michael Brennan, who had met Gerald before, when being arrested, but could not remember who he was.

The film shows Gerald being incorporating into the gang, involved in robberies and black-market sales. Larry’s girlfriend, Judy (Sandra Dorne, later married to Patrick Holt) does a line for Gerald.

Gerald also keeps in contact with a fellow officer who ultimately, is gunned down. He also is able to keep in touch with his long-patient wife (Sonia Holm, married to Patrick Holt at this time).

There are several tangles providing some excitement, Gerald being called on to assist in the final robbery at a wharf, illegal furs. He is able to get through some kind of communication with headquarters who then turn up for surveillance. The final climax is a chase through the wharf and warehouse, Mack wearing a coat that Larry had given to Gerald with Mack being jealous of it, with the result that Larry shoots Mack thinking it is Gerald.

Mission accomplished. Very tidy, very British – and a reference to a charge of the king versus… Which means that it was made at the end of King George VI’s reign and released when Queen Elizabeth had begun her reign in 1952.

WHEN GANGLAND STRIKES

US, 1955, 70 minutes, Black-and-white.
Raymond Greenleaf, Marge Millar, John Hudson, Anthony Caruso, Marian Carr, Slim Pickens, Mary Treen, Morris Ankrum, Addison Richards.
Directed by RG Springsteen.


This is a rather folksy film. While it begins with a murder in a bowling alley, two men enjoying a game and a sinister gangster killing one of them, his then going to Sing Sing to meet a prisoner being released, accompanied by his lawyer, they stop in the small town to deliver a letter. However, the gangster opens the letter with his lawyer and discovers a means by which he can put pressure on a prosecutor getting the murder case transferred to a more favourable court.

Then the film shows the prosecutor at work, a genial elderly man, Raymond Greenleaf, who prosecutes a young man from the town who is accused of robbing $27 from a businessman. The prosecutor so praises the military record of the young man and his heroism, that the jury spontaneous proclaim him innocent. The businessman is upset and starts a petition to remove the prosecutor from office. Complications – the prosecutor’s daughter is in love with the businessman’s nephew who is also a lawyer.

When the case opens, the killer presents the prosecutor with a copy of the letter from the prison, in fact from a woman whom the prosecutor had sent to jail, pregnant, her husband killed during a robbery, and her giving birth in jail with the prosecutor adopting the baby as his daughter. She does not know. The prosecutor then does not cross-examine any of the witnesses and the case is dismissed – however, with one of the charges waived, it is still open and the young man decides to prosecute.

The killer arrives, confronts the businessman hoping to bribe and leaving the copy of the letter. The prosecutor then gently lets his daughter know, read the letter, and she accepts the reality and rushes to meet her boyfriend only to find that the killer has shot the businessman and she is accused and charged with murder.

There are complications for the prosecutor who wants to retire eventually and go fishing with his friend, a strong comic presence of Slim Pickens. However, the housekeeper also has her eye on him.

While the prosecutor comes from out-of-town, savvy wanting publicity, the prosecutor devises a way to test the bullet, asking for court protection against the killer’s chauffeur at the back of the court, the killer losing his temper, getting his gun out, firing his gun into the roof – and so convicting himself.

Happy ending for the girl and the new town prosecutor – and, going fishing for the prosecutor and his friend.

The film was directed by RG Springsteen, a veteran of small budget films, this time at Republic Studios with a much lesser known cast. Raymond Greenleaf is genial as the prosecutor, Anthony Caruso sinister as the killer, Slim Pickens with his comedy and familiar supporting faces like Morris and crime as the corrupt lawyer, Richard Deacon as the second prosceutor and Addison Richards as the upright lawyer.

The blend of crime and folksiness.