LIVE FLESH/ CARNE TREMULA

Spain, 1997, 104 minutes, Colour.
Javier Bardem, Francesca Neri, Liberto Rabal, Angela Molina, Jose Sancho, Penelope Cruz, Pilar Bardem.
Directed by Pedro Almodovar.

Live Flesh has, as might be expected, some intense sex scenes. They are in the context of love, betrayal and violence. Pedro Almodovar has been making films in Spain for many years now, colourful melodramas with a touch of soap opera.

This one is entertaining and is based on a Ruth Rendell novel, adapted successfully to Spanish culture. The opening is politicised, a critique of the end of the Franco era. But, in more modern and open Spain, there are still social problems that have emotional consequences. This is more of a drama than a thriller, a story of obsession and betrayal.

Javier Bardem has a central role with a cameo by Penelope Cruz. Liberto Rabal comes from a prominent acting family, including his grandfather, Francisco Rabal.

It is all done with emotional Spanish flair.

1. The title? Life? Stories of the flesh?

2. The work of the director, the transition from the 1980s to the 1990s? Spanish dramas, melodramas, the touch of soap opera?

3. The mood of the opening, Isabella in the apartment, her screams, the landlady, the pregnancy, getting downstairs, the taxi refusing, hailing the bus and kneeling in front of it, driving, stopping for the birth, the crotchety driver and his change of attitude, the joy of the birth, biting the umbilical cord, going to the hospital? The visual aspects – and the action inside the bus with the audience looking at long shot of the bus with the activity within?

4. The acclamation of the birth, the mayor, the bus company director, the gift of life travel on the bus?

5. 20 years later, the son, Victor, the mementos of his mother, her grave in the cemetery, bringing her flowers? On the bike, the encounter with Elena, the phone call, the appointment, her breaking it, in the bus, miserable, seeing her on the balcony, his getting out, going up, her waiting for a drug deal, the antagonism, the police, seeing the struggle, coming in, the fight, the guns, Victor confronting the police, sent show and his anger, David and his fears, trying to keep peace, the gunshot, the arrest, Victor going to jail.

6. Victor in jail, watching the television, David and his injuries, paraplegic, the sports? Victor getting out of jail? Going to the house, cleaning it, settling down?

7. Elena and her marrying David? Care for him? His sensitivities? Her father’s funeral, Victor going to the funeral, speaking to Elena? Her telling David, his angry reaction?

8. Victor studying in jail, education qualification, theological studies, reading and quoting the Bible? His seeing where Elena worked? Employed, his way with children? The encounter with Clara? The irony of the audience knowing who she was, her marriage to Sancho?

9. Victor, wanting sexual prowess, the affair with Clara? Her antagonism towards her husband, his jealousy, violence? His ultimately confronting Victor? Clara and her wanting to leave, the gun, wounding Sancho, his discussions with David, David taking the photos of the encounters between Victor and Clara?

10. David and Elena, respectability, her work at the centre? David and his talking with Victor, antagonism? Elena, evading Victor, finally going to him, the night together, its consequences?

11. The buildup to the confrontation? Touches of violence? The erotic experiences? The future?

CROOKED HOUSE

UK, 2017, 115 minutes, Colour.
Max Irons, Glenn Close, Stefanie Martini, Honor Kneafsey, Christina Hendricks, Terence Stamp, Julian Sands, Gillian Anderson, Christian Mc Kay, Amanda Abbington, Preston Nyman, John Heffernan, Jenny Galloway.
Directed by Gilles Paquet- Brenner.

Another Agatha Christie murder mystery.

This is one of her stand-alone novels, a young private detective involved in an investigation, not relying on her super-sleuths Hercule Poirot and Miss Jane Marple. The setting is England in the late 1950s.

The film opens with the news of a murder, the private detective, Charles Hayward (Max Irons) seeing the newsreel about the death of a millionaire from Greece who came to settle in England. His granddaughter, Sophie (Stefanie Martini) who had had a romance with Charles Hayward in Cairo but broken it off, comes to his office (a bit poor and seedy with few clients) and invites him to come to investigate the death – the audience having seen only a hand an alarm in the filling a syringe and it being inserted into the old man’s arm in bed.

The first part of the film, as expected, is the detective going to the mansion where three generations of the family live. It gives the opportunity for him to meet each of the suspects and for the audience to get some information, begin to get suspicions, start to make a preference list of who is the most likely murderer and who the least likely.

He meets the grand dame of the family, the dead man’s sister-in-law, Edith De Haviland. We are already on familiar ground because she is played by Glenn Close, at times rather similar to her sinister presence as Cruella de Ville. There are the dead man’s two sons, one bailed out of a bad gambling debt, Philip (Julian Sands) who now lives at the mansion with his would-be actress wife, a sardonic dilettante a and alcoholic Magda (Gillian Anderson). The other son is Roger who manages the family business, although ineptly, (Christian Mc Kay) and his somewhat disgruntled wife, a scientist, Clemency (Amanda Abbington). Magda has three children, Sophia, her very young little sister, wise beyond her years, Josephine (Honor Kneafsey). She tells the detective that she too is doing her detective work and writing everything in her diary. There is also a handicapped son, Eustace (Preston Nyman), rather bitter and offhand. The millionaire’s young wife, Brenda (Christina Hendricks) whom he met as a dancer at a casino he owned in Las Vegas also lives in the house, resented by everyone, except by Laurence Brown, Eustace’s tutor, (John Heffernan) who is obviously in a relationship with Brenda. Finally, there is the family nurse who looks after Josephine (Jenny Galloway).

And there we are. Whodunnit?

It is rather old-fashioned in its visual style, dialogue (with Julian Fellowes, the Downton Abbey, is one of the writers).

Each of the characters, of course, has suspicious moments. The film consists of a lot of interviews with each of the characters, and there are some red herrings about the dead man’s links with the CIA and anti-Communist movements.

Terence Stamp also appears as a detective from Scotland Yard. He has ups and downs with Charles Hayward but, eventually, there are some arrests. Or are they wrong arrests?

The payoff and the murderer is not bad – depending on how high the suspect was on your list of most probable released probable.

Perhaps best recommended as an entertaining Agatha Christie night out for those who are more senior rather than those who are more junior.

1. The popularity of Agatha Christie murder mysteries? The puzzle, the suspects, the clues, the investigation, the revelation?

2. Crooked House as a stand-alone Agatha Christie mystery? No Poirot, no Miss Marple?

3. An old-fashioned film, visuals, directing style, as a film of its period? The late 1950s? Costumes and decor? The dialogue and interactions?

4. The wide range of songs, and highlighting characters?

5. The opening, the newsreel, Charles Hayward, his office, few clients, his secretary? Sophia and her arrival? The past relationship between them, her work at Sotheby’s, his diplomatic work, their presence in Egypt, the affair in Cairo? Sophia breaking it off? The effect on Charles? The explanation of the murdered man, from Greece, to England, multi-millionaire? Sophia as his granddaughter, inviting Charles to investigate the case before the police arrived?

6. Charles, in himself, his age, the reputation of his father, police, his father’s murder, no solution? His interest in investigation, private detective? His relationship with Taverner, Scotland Yard, explaining the case, Taverner giving him two days? Taverner later wanting Charles to get information about the family for various cases concerning the millionaire?

7. The CIA connections, financing Greek anti-Communists, Charles and his connection from the US, his car being followed, the Scotland Yard policeman?

8. The screenplay Charles driving to the house, the visuals of the large house, the various generations of the family living there? His interviewing all the characters, in bits and pieces to move the drama along? Audiences meeting all the characters, listening to them, their body language and attitudes, forming suspicions?

9. The audience seeing the arm and the hand with the syringe, injecting the millionaire? Sophia finding him? The portraits of him around the house?

10. Charles and the manner of his interviews, the variety of rooms, the grounds, the tree house, the stairs leading to the turret and roof?

11. Edith De Haviland, Glenn Close in the role, her sister having married the millionaire, her early death, Edith remaining to bring up the children, the two sons? Her outgoing manner, some sardonic comments, suspect, the meal table? Shooting the moles, and the later cyanide? Friendly, her relationship with the other characters, supporting Josephine? Reasons for her being the murderer? Her going to the doctor, terminal illness, with Josephine, her knowing the truth, hiding the diary, the promise of an ice cream, driving her away, crashing the car and killing themselves?

12. Philip, gambling, his father getting him out of debt, the older brother, despising his younger brother? His wife, acting, not successful? Philip writing the screenplay for her, Exposure? Asking his father for production money? His surly attitudes? The contrast with his wife, languid, drinking, her relationship with her children? Motivations?

13. Roger and Clemency, their marriage, his attraction towards Brenda, Clemency forgiving him? His father giving him the company, the catering firm, his difficulties in managing, almost bankrupt, the issue of the cheque and his father bailing him out, his wife not wanting him to accept this? His brusqueness with Charles? Clemency and her opinions? Their decision to leave the house, to tear up the cheque, to manage on their own?

14. Sophia, under suspicion despite finding the body? The oldest of the children, poise, her grandfather choosing her for management? Collaboration with Charles, going to London, the rock ‘n’ roll, the jazz club? Her moods? With Josephine?

15. The issue of the will, everybody present, thinking that the millionaire had signed it, blank? The second will, leaving everything to Sophia instead of to Brenda, his wife?

16. Brenda, the Las Vegas showgirl, marrying the millionaire, alleging love? The interviews, her deceptions, the relationship with Laurence, his presence as the tutor to Eustace, his ghost writing the memoir? The disappearance of the manuscript, Sophia burning it? The hostility of the rest of the family? The finding of the box of love letters between them? The arrest, jail? One of the motivations for Edith killing Josephine so that Brenda and Laurence were innocent?

17. Eustace, the limp, his age, tutor, standoffish attitudes, questions about Charles and the affair with Sophia?

18. Josephine, her age, precocious, notebook, telling Charles she was doing detection work, her dislike of the nanny, the hot chocolate? Listening in, taking notes? Her relationship with everybody in the family? The cutting of the ropes in the treehouse, the secateurs? Her fall?

19. The nanny, fussing, the hot chocolate? A suspect? Her death?

20. Taverner, investigations, the visit to the house, the arrests? The other police, medical examiners?

21. Josephine a suspect or not? The explanation? The ballet dance in her resentment towards her grandfather? Her reasons for killing him? The killing the nanny? Telling Charles
that she knew who the murderer was, not concerned with Edith taking her for the drive? Her death?

22. A satisfying Agatha Christie novel and adaptation?

BREATH

Australia, 2017, 115 minutes, Colour.
Samson Coulter, Simon Baker, Elizabeth Debicki, Ben Spence, Richard Roxburgh, Rachael Blake, Jacek Koman, Megan Smart.
Directed by Simon Baker.

The immediate interest in Breath is that it is based on a novel by celebrated author, Tim Winton. It is also a celebration of Western Australia, Tim Winton’s home state.

This is a beautifully crafted film, especially with its theme of surfing and the spectacle of the waves in the Indian Ocean on the south of Western Australia’s coastline. The surfing is a reality of the lives of the central characters but it also serves as a metaphor, challenge, achievement, excitement and exhilaration, a contribution to personal development and, in the case of adolescents, their journey towards manhood.

The director is Simon Baker (himself a competitor in surfing in his younger days). Having directed some television episodes in the US, he makes an auspicious film debut as a director at home. He also contributed to the screenplay along with veteran writer, Gerard Lee (sometimes a collaborator with Jane Campion) and Tim Winton himself – who also supplies the voice-over narration for the film.

This is the 1970s. On the one hand, life in Western Australia seems fairly conventional, a traditional home, pleasing mother and father with their son – which does contrast with a dysfunctional home, an alcoholic father who is abusive to his teenage son. The boys go to school, rather formal in its way, everyone in school uniforms, and looking forward to a rather proper social, and teenage dancing. The son has a quiet relationship with his father, a sympathetically gentle performance from Richard Roxburgh – and some sadness that, ultimately, he does not or cannot confide in his father or his mother, Rachael Blake, quietly in the background.

Yet, with a focus on the central character, a 13-year-old boy, Bruce Pike, nicknamed Pikelet, this is a story of growing up, friendship, sexual education, disappointments, physical and psychological challenges, self-knowledge, possibilities for failing and success. His friend is Loonie (Ben Spence). This is Samson Coulter's first film. He is completely convincing as is Ben Spence as Loonie.

Simon Baker is Sando, a surfer, a man of seemingly independent means whose life and exhilaration is riding the waves. Sando is a sympathetic character, meeting the two boys who have taken to the surf and enjoying it, offering them his shed where they can leave their boards as they go home. He becomes a mentor to them, bonding, affirming, challenging. At home, in house which Loonie describes as hippy, there is Sando’s wife, an American, Eva, played by Elizabeth Debicki. A skier, she has been hurt in an accident and has moved as far away from snow in Utah as possible. Initially she seems an enigmatic character, somewhat distant, even to her husband.

At the core of the story is the relationship between Eva and Pikelet. He is intrigued by this woman, beginning with an adolescent crush, moving to infatuation. There is a seduction sequence, an affair, enthusiasm moving beyond puppy love – and the inevitability of the relationship coming to an end.

Watching these sequences, while knowing that they take place in the 1970s, audiences can bring a contemporary sensibility, an adult exploiting an underage adolescent, seeing this kind of behaviour now as criminal. In some ways, the screenplay seems to indicate that this is possibly normal behaviour. It raises the question of seduction, who seduces whom, who exploits whom, and the question of the younger participant’s willingness to be exploited. In fact, further questions could be asked from 21st-century hindsight about Sando when he takes Loonie on a long trip to surf in Indonesia, unaccompanied.

And the title? The film opens with holding one’s breath underwater, understanding that breath is life, the sound of gentle snoring by Pikelet’ father as he sleeps, the control of breath in surfing, being toppled by waves and emerging to the surface, and a sequence of sexual hyperventilation with plastic bag and belt, the risk of suffocation and loss of breath.

Complex, a significant contribution to Australian cinema.

(Interesting that Tim Winton should include in the novel:
"Had my parents known what Sando was getting me into, I doubt they would have been so trusting. Back then, the idea of a grown man spending so much time with teenaged boys wouldn't have troubled them or anybody else, for all that sort of fear and panic was far into the future."

And again:

" Perhaps it was irresponsible of Sando to lead us into such a situation". "I have no doubt that in a later era he'd have been seen as reckless and foolhardy, yet when you consider the period and the sorts of activities that schools and governments sanctioned, Sando's excursions seemed like small beer".)



1. The Tim Winton story, his literature, reputation, versions of his work in film? His collaborating on the screenplay? His speaking the narration?

2. A story of the 1970s, teenagers of the time, adults and the background of hippies and freedom of expression? Families, school, the issue of true manhood, growing up, sexual education? In the background of surfing and achievement, exhilaration? The musical score?

3. The settings, the south-west of Western Australia, the coast, the town, homes, the streets, the river, the coast, the cliffs and beaches, the magnificence of the waves? The visual beauty of the film, spectacle?

4. The narrator, Pikelet, his memories and observation of the past, the end and filling in the later stories?

5. The title, the many aspects of breath and breathing, the opening with breathing underwater, breath has life, the breath and Pike’s father snoring, holding one’s breath in the surf, sexual behaviour and hyperventilation?

6. Pikelet, his age, serious adolescent, introverted, seen swimming with Loonie, his friendship with Loonie, the contrast in character and temperament? Loonie as rough, daring? The meals and Loonie at his home? Admiring his mother and the cooking? The kindness of Pikelet’s father, the mother not to the fore? His not confiding in his parents? Bike riding, Loonie and the danger with the truck and almost crash? Going to the water with friends, the back of the truck, looking at the sea, the surfers? At school, his relationship with Queenie, her sitting next to him in the bus? His prospects?

7. Loonie, his age, brash, extroverted, daring and taking risks, enjoying the excitement? His alcoholic father, the visit to his caravan, his father wanting them to chop wood, the deal about the payment? His later injury, caused by his father and his drinking? At the surf, the encounter with Sando, the money for the surfboards, Sando offering to let them keep them at his house? The surfing together, the exhilaration, the influence of Sando? Taunting Pikelet? His sudden disappearance, going to Indonesia with Sando, the later information about drugs, his bringing some back for Pikelet, his disappointment in Pikelet backing out of surfing? The information, the aftermath, his being shot in the back of his head, the drug deal gone wrong?

8. Pikelet’s father, sympathetic man, the opening with the two sitting on the river fishing – and the return to that scene at the end? The jobs around the house, gardening, domestic? His tenderness towards his son, putting his arm into the bed, touching him with affection? Their being present together, his son looking at him? Giving him the lift to the social? The presence of his mother, sympathetic, but in the background, in the kitchen, meals…?

9. Sando, his reputation as a surfer, his house and Loonie calling it a house for hippies? The encounter with the boys, offering to leave their boards in his shed? His skill as a surfer, training the boys, as a mentor? His becoming their friend, understanding them, the bonds?

10. The encounter with Eva, Sando leaving her sometime for Indonesia? American, skier, the accident and the consequences, and not being able to live near snow? Going to America for the operation, the return, not wanting the boys around? Her reaction to Sando’s disappearance, disappointment, resentment? Pikelet and his attention, helping, the attraction, the sexual encounter, her removing his shirt after the rain, the issues of seduction, exploitation, who is exploiting whom, the question of whether Pikelet was letting himself be exploited? The collage of the relationship, his continual bike rides to Either, the sexual encounters? Her request for the hyperventilation, the plastic bag and the belt, Pikelet and his not liking the experience? Weeping? Seeing her and presuming she was pregnant, wanting to know if the baby was his?

11. The effect on Pikelet, taking the board, going to the wave, the achievement in private? Not having a photo – and Loonie wanting to have a photo but Sando declaring that they knew because of their being there? Sando’s return, the secrecy, Sando appreciating what had happened with the surf, finding the surfboard, his giving it to Pikelet because of his achievement?

12. The background of the social, the alienation from Queenie, her upset, wanting to go to the social with Pikelet, his agreement, the dancing, her wanting to kiss, backing away?

13. The break with Eva, Sando’s return, his happiness at her being pregnant?

14. Pikelet and his sexual education as a teenager, issues of manhood, his future?

15. Sando and Loonie, the return, the challenge, Pikelet saying that surfing was not for him? His reasons? Sando and his persuasion, Loonie and his reaction, Sando believing and respecting Pikelet?

16. The epilogue about what happened to Loonie?

I FEEL PRETTY

US, 2018, 110 minutes, Colour.
Amy Schumer, Michelle Williams, Tom Hopper, Rory Scovel, Adrian Martinez, Emily Ratajkowski, Busy Phillips, Lauren Hutton, Naomi Campbell.
Directed by Abby Kohn, Marc Silverstein.

The title is a commonly used phrase but, it gets a bit of prominence by its presence as a lyric in West Side Story. In this film, comedian Amy Schumer (she would probably agree that she is not “pretty�) gets a chance to feel pretty well not appearing as pretty!

One of the morals of the story is that being pretty is merely an external quality. The more important thing is “beauty� which, even if it is not on the outside, is very much on the inside.

This rather sounds like a bit of moralising at the beginning of a review. However, the screenplay does become more and more didactic as it goes on with Amy Schumer as Renée practically giving a homily on this theme at the end of the film.

Renee works in a narrow little room as a contact for a huge cosmetics company which has a skyscraper block of officers in Uptown New York City. She yearns to be pretty, going to a gym for exercising in bike riding (being embarrassed by the receptionist questioning her about the size of her shoes), peddling like mad, surrounded by ultra sleek pretty models, and then crashing off her bike. When she does this a second time, it affects her head and her mind. As she looks in the mirror, we seeing her as she still really is, she believes she is ultra-pretty and proceeds to follow this delusion.

So, the point is being made, with comedy touches, verbal and visual, that many women pay too much attention to prettiness, believing marketing and advertising, setting up an unreal ideal for themselves and disappointed if it is not achieved.

But, for the moment, it does give Renee some confidence as she applies for the receptionist job in the main office, glamour rising herself, treating all visitors (although ultimately committing the sin of ignoring those were not pretty) with charm and supplying them with their favourite drinks. She also encounters the granddaughter of the founder, Avery (Michelle Williams in a comic role and sporting a very squeaky voice and low self-image). She is in charge of a new line, Diffusion, which is aimed at the “ordinary woman� who shop at places like Target.

Lauren Hutton, a top model for the last 50 years, plays the grandmother founder of the company.

Renee has good friends who are what are commonly called “plain�, one of them a bit heavier than she might want to be. Since they see her as normal, they can’t understand what is transforming her and a are very hurt. She also encounters a man at the dry cleaners and completely misinterprets the conversation, her thinking that she sees her as very glamorous which leads to dates and an initial good company but final disappointment.

Perhaps there is something to be said of people falling on their head, because it happens to Renee again and, as she looks in the mirror, she is aghast at seeing she is back to normal.

As has been noted, there is a moralising homily at the end of the film and an affirmation of being beautiful even when you are not pretty!

1. The title? The lyric from West Side Story? The tone?

2. The meaning of “pretty�? Exterior? The meaning of “beautiful�, interior as well as exterior?

3. Amy Schumer as comedian, Renee’s story, real, the fantasy?

4. Obsessions, delusions, discovery?

5. Women’s response to the film and its themes? Men’s response?

6. The reality and the satire in presenting women’s goals, image and reality, advertising and marketing, the appeal to drives and impulses?

7. Visual contrast in the women in the cast, the sleek and pretty women, the ordinary but beautiful women? Issues of self-image? Low self-image?

8. Amy Schumer as Renee, her appearance, bodily presentation, personality, humour?

9. The moralising about women, the drives, goals, advertising and marketing? And Renée’s final homily at the launch of the perfume?

10. Her job, make up, working in the small office, the contrast with the skyscraper and the main office? Her working with Mason, wanting to chat with him, his reticence, intrusive at the toilet?

11. Avery, the granddaughter of the founder of the company, her appearance, her voice, squeaky? Her work, self-image? The contrast with Grant, his success, the touch of the cad? The grandmother, 50 years of the company, the posters with Lauren Hutton 50 years earlier? Renee at the bar, her friends, their plain looks, the characters, joviality, the bonds between them? Renee and her plans? The women and their plans, taking the photos, going online – and no response?

12. Renee, going to the exercise, the reaction of the girl at reception and the hiring of the large shoes? Her intensity, the accident with the bike?

13. Mason wanting her to go to the main office, her reactions, deciding to go, the glamour of the office, the women present, seeing Avery, the pleasant reception, the decision to make the application for the position?

14. The accident, her looking in the mirror, her becoming deluded, thinking she was very pretty, that people would not recognise her? Her growing confidence, her manner, the touch of the haughty, reacting to people as if they did not recognise her? Mason, her friends?

15. Ethan, the encounter at the drycleaners, talking with him, her coming on, misinterpreting his responses? The phone number? Her control? His being pleasant, cameraman, the date, their talking, her glamour and confidence, the bikini contest, her participation, raucous singing, the fact that it was rigged, her enjoying the food? Ethan and his conversation with the bar owner and his complementing Renee?

16. The meeting with Avery, Naomi Campbell as Helen? Their expectations, her talk, the Diffusion line, on sale to ordinary women at Target and other stores? Her getting the job? The exhilaration of being at reception, the clothes, confident, her treating people well, drinks for customers?

17. Grant, his flirting, the truth about him, his going to Boston on the plane, his allowance from Avery? At the dinner with his mother? And cadging food from Renee?

18. The meal with Avery and Grant and their mother? Ethan going? Nice? Her performance and ideas? The grandmother impressed?

19. Her going to Boston, rehearsing in the hotel room, going back to New York?

20. Her girlfriends, the way she treated them? Their being put off? Her being allowed to go into the flash dining room? Meeting the girls with their friends, the discussions about knitting, her looking down on them?

21. The hitting her head again, looking in the mirror, her horror at seeing her real self, pretending that Ethan would not recognise her?

22. The reconciliation with her girlfriends, with their friends?

23. The date with Ethan, her backing out, the phone call, pretending that he would not recognise her? His being puzzled?

24. The launch, the arrangement with Mason, the electrical setup, the slides, her speech – and a homily? Success? And persuading a greater confidence?

25. The future, being herself, with her friends, with Ethan, her enthusiasm on the bike, the future?

LAST FLAG FLYING

US, 2018, 124 minutes, Colour.
Bryan Cranston, Steve Carell, Laurence Fishburne, Yul Vazquez, J. Quentin Johnson, Deanna Reed-Foster?.
Directed by Richard Linklater.

Is it possible to have a film which offers a great deal of admiration for war veterans while being, at the same time, anti-war? Director Richard Linklater shows that it is possible with this patriotic tale which questions many aspects of patriotism.

In a way, the title describes the three central characters, veterans of the Vietnam war, men with mixed memories. The setting, however, is 2003-4, with memories of the Gulf War of the 1990s and the immediate experience of fighting in Afghanistan and the invasion of Iraq at that time. The old veterans encounter veterans from both those wars.

We are introduced to Sal, who manages a very run-down bar. A drinker, very loud in his uninhibited comments, living with a metal plate in his head. His played by Bryan Cranston with quite some exuberance, perhaps an understatement. One night, into the bar comes a very quiet, rather small man. After some prompting, Sal recognises him as a friend from Vietnam, Doc. Doc is played with quite some restraint by Steve Carell who can do both comedy (Bruce Almighty) as well as serious (Foxcatcher). He does have some very raucous memories about service in Vietnam but in this visit, seeking Sal’s help, is very sad. His only son, aged 21, has been killed in Baghdad and his body is being brought back to the US for solemn honours and burial in Arlington Cemetery.

Doc also wants the help of another veteran from those days and takes a disbelieving Sal to find him as a distinguished preacher, Richard, played with great dignity, with some military throwbacks in comment and swearing, by Laurence Fishburne.

And so, the film is something of a journey and a quest. The American military is very supportive, explaining how Doc’s son was distinguished in service and killed in action, that the President offers his condolences, that there will be honours in the burial ceremony.

At this stage we are introduced to the contemporary military, firstly in the person of a very straight-up-and-down officer, Willitts (Yul Vazquez) as well as a young African-American? Marine (J. Quentin Johnson) a close friend of Doc’s son who was with him when he was killed. His name is Washington, career-military, very disciplined in manner who will accompany the three on their unexpected journey for the burial.

It is probably best to leave plot line at that point. A great deal goes on. There is a filling in of the story of how the young man was killed. There are suspicions about the three old veterans who are held up by Inland Security and then apologised to. There are plans for a trip by car, by U-Haul? truck, by train.

There is a great deal of sadness, especially for the bereft father and some sadness as well in his story, being the fall guy for some misdemeanours in the past and spending some time in the brig. He is a good man, has been a devoted husband, good father (as, emotionally, attested to by a letter from his son in the event of his death). But, when the three men go into detail reminiscences along with Washington, the mixed blessings of loyalty to the core, comradeship, the pressure in Vietnam of the jungle, alcohol, drugs, prostitutes, there is a great deal of raucous humour.

If the audience is caught up by the three characters in the quest for the burial of the dead son, it is most likely they will become much more involved as the film goes on, share the emotions of the men, particularly the sadness. Richard Linklater has made a film about military loyalties and relationships but also a questioning of the role of authorities, like President Bush, who take countries into war, in countries far away from them and not posing an immediate threat, the prim and proper protocols of the highly militarised personnel.

1. An American film about war? Memories of Vietnam, the Gulf War, the invasion of Iraq, the war in Afghanistan?

2. The setting of 2003, the setting of the invasion, the stances of George W Bush, the perspective of 2018?

3. The film immersing the audience in the atmosphere of the wars without showing war scenes? Verbal descriptions? The communication by the characters and their experiences, memories and talk?

4. The patriotism of the title?

5. The patriotism of the perspectives, the individual military and Marines, their loyalty to the core, to the country, their pride, the uniform, their action, their memories, comradeship, the spirit of serving the country, with the prejudices against Gooks and Towelheads?

6. The perspective, anti-war? The president and decisions to go to war, the bases, in countries far away from home, not seeming a threat to the US? The president and condolences of deaths, the false honours, the cover-up? The value of the truth? The pettiness of some of the deaths in action? The proclamation of missions? The defence of the US but so far away? Jungle life, desert life? The physical suffering, the infected ear from the desert? Mental health post-traumatic stress? Plates in heads? The drinking, the drugs, the prostitutes? Responsibility and irresponsibility? Career officers and their orders, their exclusivity?

7. The introduction to the three, age, Vietnam experience, memories, bonds, the brig, the core, loyalty, letting go on leave?

8. Sal, his bar, the plate in his head, quiet, his personal exuberance, the failing bar, Doc’s arrival, not recognising him at first, reminiscing, Doc’s request, the car, going to see Richard, at the church, meeting Ruth, the congregation, Sal and his extroverted responses, especially to the sermon?

9. The mission, Doc and his son, killed at 21 in Iraq, the body coming home, the honours, Doc’s request about travelling to receive the body? Sal saying yes, Richard and his age, health, wanting to refuse, Ruth challenging him?

10. Richard, the memories of the past, his conversion experience, the Bible, the contrast with Doc, Doc marrying, his son, his wife’s death, his son’s death? The man both happy and sad?

11. Travelling, Sal taunting Richard? Going to Washington, the security, advised to go to Delaware, the rituals for receiving the body? Colonel Willetts, Washington and his story, knowing the son? With him when he died? Doc wanting to view the body, the authorities advising against? His wanting the truth about how his son died? The ordinariness of the
event, Washington to get the Cokes, the son going, shot in the back of the head? Doc seeing the body, reacting, wanting to take his son home for burial?

12. The military, the red tape, permits, reactions? Transferring the body home, trying to get it in the car, hiring the U-Hall?, the train journey? Their being held up by her Homeland Security, apologised to?

13. The train trip, Washington and his presence, their bringing him into the conversation, hearing about Iraq? The guard having served in the Gulf?

14. The raucous reminiscences, the three of them and their behaviour, the drinking, the drugs, the prostitutes, Doc’s reaction, sad but humorous?

15. Going to New York City, enjoying the night, the discussions and the drink, arriving late, sleeping at the station, the next train?

16. Arriving home, the ritual, the military reception, the satisfaction for Doc burying his son?

17. A movie journey, a transforming journey?

BARRY JONES IN SEARCH OF LOST TIME – A LIFE IN FILM

Australia, 2018, 124 minutes, Colour.
Directed by Garry Sturgess.

Writer-director, Garry Sturgess, was interested in labour politics and made some documentaries. He was attracted to the character and personality of Barry Jones.

Barry Jones has spent decades in the Australian consciousness. A precocious boy, he appeared as a young adult on the very popular initial question on television, Bob Dyers Pickabox. He appeared on over 200 sessions, being stopped in the street at that time and afterwards because he was such a popular identity, answering all the questions – and even questioning the questions.

During the 1960s, after abandoning studies in law, he headed up a committee against capital punishment. This organisation and Barry Jones himself were very prominent in their campaigns and in their arguments against the Premier of Victoria, Sir Henry Bolte, a fierce, often aggressive, supporter of such punishment. This came to a head with the last man hanged in Victoria, Ronald Ryan, in 1967, Bolte attacking Barry Jones and Jones resigning from the committee because, he said, he did not want to be paid by the same fund that paid Bolte.
Pr
Barry Jones became a Labour member of Parliament and was Minister for Science for most of the 1980s in the Hawke Government. Once again, he became well-known from his points of view, his media communications, his innovative approaches.

All this might make for a cinema portrait-biography, but there is much more to this film which makes it all the more interesting – and most especially for film buffs.

Barry Jones proves himself an avid film fan, listing his favourite films at the beginning of this film. However, he and Sturgess have chosen quite a large number of film clips, mainly from American films but from the UK, France and beyond. So the title, where an 84-year-old Barry Jones is being interviewed about his recollections of times past, with each comment accompanied by a clip in the background, sometimes in the foreground, illustrating his particular perspective. And quite a range it is, from Buster Keaton to Citizen Kane to Psycho and, with his love for the writings of Marcel Proust, Time Regained. There are a number of clips from the film, Quiz Show, an expose of cheating on American quiz shows which enables him to reflect on his own experiences.

While there is a great deal about Barry Jones and his family, a Victorian, life in Melbourne, Caulfield, Geelong, there is practically nothing on his private life after he emerges as a public figure.

Jones is a Renaissance man and there is quite some emphasis throughout the film on his love of music, visual art, literature (also well illustrated). Newspapers figure as well with quite a number of highlights of headlines and articles. And, at the end, he has reflections on the meaning of life, and admiration for Jesus and his being outgoing towards others, as well as a victim of capital punishment.

Audiences will appreciate having a portrait of Barry Jones but many will relish the objective/subjective correlatives of the film clips, his film story.


1. Barry Jones and his reputation? Esteem? A portrait of him in his mid 80s? Renaissance man, of the 20th century, into the 21st century? In Australia?

2. The subtitle, venturing back into the past, the lost time? A film story, the device of the range of clips, Barry Jones’s list, his comments on movies, the vast range of clips, illustrating his thoughts, feelings, opinions? Serving as objective/subjective co-relatives to his views and his story?

3. The range of music, Barry Jones and his appreciation of music, the excerpts? The musicians admired, conductors, violinists? Recordings?

4. His appreciation of literature, his vast reading, the influence of Marcel Proust, the clips of Time Regained?

5. Visual arts, the range of paintings?

6. The portrait of Jones himself, the fractured portrait, the Archibald prize?

7. The influence of radio in the 1930s and 40s, his own radio interviews and presence?

8. His valuing of newspapers, the film using newspaper headings and articles?

9. Television, his own presence on Pickabox, interactions with Bob Dyer, even questioning the questions? His exploration of audience response to these quizzes? The American case of Charles Van Doren and the scenes from Quiz Show?

10. Barry Jones as a media person, the focus of the media, his being inspired by the media, communication by the media, his use of the media for this film?

11. The portrait, the device of the date of his birth and references to all other characters plus or minus his birth date? The world perspective? Connection with world events and movements?

12. His family, his father, military service, the distance from him, taking him for granted? His accidental death? The strong presence of his mother? Grandmothers and aunts? A Victorian person, Melbourne, Geelong, Caulfield? His education? Reading as a child, writing? At school, at 11 and his reading? Religious interests? His expectations, studying law, his revulsion of capital punishment, his beginning to study law but giving it up?

13. His Labor perspective, issues, capital punishment and the committee, heading it, the various cases of the 1960s, Ronald Ryan, Sir Henry Bolte, his confronting Bolte? Bolte’s resentments? His interest in politics, standing for the Labor Party, Minister for science in the 1980s? His references to Labor personalities?

14. His life in the quiz show, with Bob Dyer and Dolly, his knowledge, cheeky interjections, confidence, over 200 appearances, the trip to America, not on an American quiz?

15. His philosophy, his search for the meaning of life?

16. Religious perspective, admiration of Christianity in the Gospels, art with Jesus and Mary images? The scenes in Jesus of Montréal? Seeing Jesus as an ideal? A victim of
capital punishment?

17. Barry Jones and his age, his reflections on death and preparation?

18. The portrait of an admirable person?

THE GUERNSEY LITERARY AND POTATO PEEL PIE SOCIETY

UK, 2018, 124 minutes, Colour.
Lily James, Matthew Goode, Jessica Brown Findlay, Michiel Huisman, Katherine Parkinson, Tom Courtenay, Glen Powell, Penelope Wilton, Bronagh Gallagher.
Directed by Mike Newell.

With several Churchill films, with Dunkirk, with Their Finest, and with popular films for seniors like the Exotic Marigold hotel films, there seems to be a deep cinematic nostalgia in Britain. Which asks the question about Brexit and the U.K.’s focus on itself.

This film belongs to that group.

It is certainly a mouthful of a title. But it tells us that we are in the island of Guernsey, that there is a literary society, that has something to do with potatoes and potato peels. The setting is the island during World War II and the occupation by the Germans. There are also many sequences about the post-war life on the island, especially 1946.

The opening sets the tone. One night on the island during the occupation, a group of rowdy men and women come bumbling through the woods and are bailed up by German sentries. They have been enjoying an illicit dinner, consuming a pig that had been fostered in secret. A bit tipsy, they explain to the sentries that they are part of the society which gathers for reading. They are asked to register the next morning and realise that they had better keep up the pretence and make it a reality. For almost 4 years, they meet regularly, escaping from the occupation into the land of the imagination and literature.

After the war, a successful author, Juliet, played by Lily James, managed by Sydney, Matthew Goode, receives a request from Guernsey for a copy of Lamb’s Tales from Shakespeare as well as a box of memorabilia from the island. As she goes through the material, she becomes more interested in the literary society and decides to go to investigate personally and use this as a basis for an article commissioned by The Times.

It doesn’t quite work out that way. Juliet experiences the hardships after the war, makes friends with the farmer who had the pig and the little girl that he looks after like a father, makes friends with the post office head and his grandson, enjoys the company of an island woman who makes complex gins. But she is received in quite a hostile way by an older woman who does not want the society to be written about, especially for the papers. A group of British character actors portrays this group, Michiel Hausman is the farmer, Tom Courtenay in the post office, Katherine Parkinson with her distillery, and Penelope Wilton is the hostile Eliza.

As she gets to know more about the members of the society, especially another woman, Elizabeth (Jessica Brown Findlay) who has disappeared from the island, the other members begin to fill in the background, the question of a relationship with a German soldier, with a child, with arrests and internment in concentration camps…

Juliet has accepted a proposal by an American soldier (Glen Powell) but, it is clear to us before it is clear to her, that she will be attracted by the farmer. The American is instrumental in finding out the fate of the woman who disappeared, a sad and generous fate, and comes to the island and immediately senses what has happened.

This is British nostalgia at its most attractive, dignifying of the past, wartime heroism, disappointments and oppression, and romance.

It would be surprising if this film is not a great hit with its target, older, audience.

1. The title? A mouthful – and a mouthful of potato peel pie?

2. The German occupation of Guernsey, the 1940s? 1946 in postwar? The island, the hills, the town, the mountains, the water and the cliffs, the beaches, the wharves, the homes, the war period, the post-war period and the differences? The musical score?

3. The introduction, the night, 1941, the group drinking, the joking, the curfew, the celebration with the pig, the secrecy, being stopped by the guards, talking, the vomiting, the registration, the joke having to be taken seriously, the Society meetings?

4. The theme of reading, classic books, the occupation, the islanders being confined, free in their imaginations, learning literature, the pleasure, schooling for the children? The meetings, the reading, the discussions?

5. Juliet and her story, the success of her book, Sidney as her agent, arranging the readings, the meetings? The readers and their comments? The past, her parents’ death, the possibility of buying the house, the balcony and her being saved from falling? The memories? Her articles, the Times, an article on reading? Her plans?

6. Dawsey, his letter, Lamb’s Tales, Juliet sending it with her book about Anne Brontë? Receiving the box of documents, going through the stories? The insertion of the flashbacks? Her interest? Her relationship with Mark, six months, American, his job? The ring, his proposal on the wharf, her acceptance?

7. Her going to Guernsey, the hill, the hotel, the tiles falling? Going to the Post Office, Eben and his grandson? Charlotte’s house, her crabby nature and remarks? Going to the meeting, her arrival, meeting everyone, the reading of her Anne Brontë, the discussion about her merits and Jane Eyre and Wuthering Heights? Emilia and her hostility? Their not wanting her to write an article?

8. Dawsey, writing the letter, meeting Juliet, the accident with the tiles, the attraction, Lamb’s Tales, the meeting, his work on the farm, Kit, the pigs? The conversations with Juliet, confiding the stories of the past, information, getting Juliet to babysit Kit?

9. Isola, her personality and style, friendship, the gin, confiding in Juliet, the information and the past stories, expanding the story? Allowing Juliet to move in? The conversation about loneliness?

10. Elizabeth, her background in London, helping Emelia, the deaths, the pregnancy and the child dying? Her staying on the island? Her being the mother of Kit? Audience suspicions about her and the Germans? The news about her going to the concentration camp? Her appearances in the flashbacks, the meetings, in love with Christian, his helping with the birth of the cow, friendship with Dawsey, with everyone, Emilia and her love? Elizabeth pregnant, Kristian not knowing? The betrayal by the man in the village? His later being ostracised? Kristian being transferred, the suddenness, his not knowing about the baby, killed in the torpedo hit?

11. The flashback to the evacuation of the children before the Germans arrived? Eban and his grandson?

12. Elizabeth, the Polish boy, the slave work of the building of the fortresses on the cliffs? Dawsey warning her not to help? Her being caught, the boy being shot, her being deported? Juliet contacting Mark, getting the information about the camps, the news about helping people in the camp and her being shot?

13. Sidney, publisher, meetings, bookings, finance? Gay, willing to give her away in marriage?

14. Mark, his personality, the ring, the proposal, her acceptance, the phone calls, getting the information about Elizabeth? Arriving on the island, seeing Juliet and Dawsey, the issue of love in the engagement, the turning of the reading? Marriage called off?

15. Dawsey, the bond with Juliet, with kids? His disappointment, his distance of the farewell?

16. Juliet return, writing all night, completion of the book, her research? The package for Sidney? Posting it to Guernsey? The parcel, the meeting, the letter, reading it aloud?

17. Juliet going to visit Guernsey, Dawsey and his going to London, their meeting?

18. The book, Juliette being in debt to the group, loving Dawsey, loving Kit? The domestic sequences?

19. British history, patriotism, sentiment, nostalgia and memories?

GURRUMUL

Australia, 2017, 97 minutes, Colour.
Directed by Paul Damien Williams.

In July 2017, the death, at age 46, was announced of Northern Territory musician and singer, Geoffrey Gurrumul Yunupingo. There were tributes from all around Australia as well as from overseas. He had developed an enormous reputation worldwide.

This documentary is a tribute to Gurrumul. It is also something of a portrait, a slight biography of a very private person, an invitation to share his music, his playing, the pleasing sound of his singing voice.

Directors and photographers had filmed extensively from 2008 to the time of his death, scenes from his home island in Arnhem Land, his performances in travel, and his friendship with Michael Hohman, a close ally, a genial man, Gurrumul’s representative, a manager of a promotion company, musician himself, speaking Gurrumul’s local language, able to present him to his audiences.

And, this is most important as we remember that Gurrumul was born blind. At times the screen goes dark, inviting to share Gurrumul’s experience of not seeing but hearing, and the uncertainties of what he is hearing, the vastness of the space outside himself in which he has to move. This is where Michael Hohman is most helpful, physically guiding Gurrumul in the spaces, on stage, an acknowledgement of audiences. And, Gurrumul himself is very private, shy, rather prone to non-speaking.

The film sketches aboriginal life on the island, comments by his sister, showing the pride of his father, the love and care of his mother and his grief at her death. There are plenty of scenes of adult aborigines and their life, children playing, many especially during the final credits until we come again to Gurrumul’s profile.

He was gifted as a child, a love for music, playing the guitar upside down because he was left-handed. He played a number of instruments. And he appeared in bands Yothu Yindi.

But it was his songs and his singing, traditional songs with acknowledgement of the Rainbow Serpent myth, families and their relationship to the land and to nature. His songs were in native languages, flecked with animal sounds and cries. He also sang sometimes in English – with a scene in the film duetting with Sting.

When he went solo, he began a career but was not particularly interested in fame, money. His records were popular, going to the top of charts, even in the US, receiving Aria awards in Australia, walking the red carpet, but neglecting to go on a pre-planned tour of the United States.

The film builds up his musical repertoire, scenes of orchestras including Michael Hohman playing. And the culmination is his orchestral suite, his beautiful singing, all performed in the Sydney Opera House.

A most significant indigenous man. A most significant Australian.


1. The impact of the film? Audience interest in Gurrumul? The portrait and biography? Song, music and appreciation?

2. His reputation, his work in the different bands, Yothu Yindi? In the Northern Territory, Arnhem Land? His Australian reputation? International? His career, composition, arrangements, performance, his singing voice, awards and acclaim, his death?

3. The island, Arnhem Land, the water and the sea, the town, the visuals? The family, the dwellings, outdoors? The portrait of his parents? The contribution of his sister? The visuals of aboriginal life, traditions, the Rainbow Serpent, the river, children and adults, day by day life, play, the scenes in the final credits? Issues of indigenous languages?

4. Gurrumul and his being born blind, the screen darkened at times with the audience just hearing sounds and sharing also his lack of sight? The visuals of him as a boy, the focus on his eyes, his family love and support, coping without sight, love for music at a young age, playing the guitar upside down because he was left-handed? His range of instruments? Shy and reticent, not talking, not interested in the money, no worries? The aboriginal traditions and the explanations, the many fathers, mothers, nature?

5. The presence of Michael Hohman? In himself, a cheerful, happy man, musician, business and his partner? The personal guide for Gurrumul, the details of his activity with him, helping with audience acknowledgement, speaking for him, the explanations, knowing the language, sharing the performance? The awards and the interviews, red carpet, helping on stage? The issue of the American tour, the anxious discussions, the business partners and entrepreneurs, insurance? The cancellation of the tour? The buildup to the finale, Sydney Opera House, the orchestral performance?

6. The range of talking heads, the sister and her explanations, the uncle, the father proud of his son, the interviews with his mother, her death?

7. Gurrumul’s voice, singing quality, playing, the arrangements, the solo performances? Audience responses, the popularity of the records? The finale and the orchestrated music?

8. The issue of the American tour, the discussions, his not knowing?

9. The photos with the variety of celebrities, Barack Obama, the Queen… The details of singing and the meeting with Sting?

10. His private life, illnesses, his death – the heritage?

AVENGERS: INFINITY WAR

US, 2018, 149 minutes, Colour.

Robert Downey Jr, Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Don Cheadle, Benedict Cumberbatch, Tom Holland, Chadwick Boseman, Zoe Saldana, Karen Gillan, Tom Hiddleston, Paul Bettany, Elizabeth Olsen, Josh Brolin, Anthony Mackie, Sebastien Stan, Idris Elba, Danai Kurira, Peter Dinklage, Benedict Wong, Pom Clementieff, Dave Bautista, Vin Diesel, Bradley Cooper, Gwyneth Paltrow, Benicio del Toro, Chris Pratt, Sean Gunn, William Hurt, Terry Notary, Stand Lee.
Directed by Joe Russo, Anthony Russo.


A Superfluity of Superheroes!

A distraction during the early part of this almost over-epic adventure. It is from what is now called the Marvel Universe, the universe familiar to the millions of fans all around the world who will not take any notice of a film review because they want to watch this Avengers chapter just because it is there and they like it. And, in its first week it set a box office record everywhere. (Just as Black Panther was setting records, this one has gone beyond but, of course, T’ Challa is one of the Avengers.)

With all the superheroes coming and going, and sometimes long delays before we saw some of them again, the opening phrase of this review led to some mind wandering verbal distractions:

As Stupefaction of Stunts,
a Glut of Galaxies/Guardians,
an Effulgence of Effects,
a Multiplicity of Moods,
and, indeed, a Plethora of Plots.
They are all there.

One of the questions this film raises is what might be called the Hierarchy of Heroes/Heroines. And whom do we like best and whether they appear sufficiently in the film, and whom do we like least. This review puts in a vote for Thor, Chris Hemsworth always dignified, getting an eye-replacement, flying around the galaxies in a spacecraft driven by a talking raccoon whom he calls Rabbit. And he has a substantial role in the confrontation with the arch-evil villain, Thanos (Josh Brolin). A vote to for Robert Downey Jr as Tony stark, always nonchalant, always with a way with sardonic words.

Poor old Mark Ruffalo excessively straining himself as Bruce Banner to try to get Hulk to emerge and go into action. Poor old Vision, Paul Bettany, seems to be on his last legs. While Scarlett Johansson does have some action, Elizabeth Olsen outdoes her in devotion to Vision and her firepower is. The Guardians of the Galaxy gang seems more enjoyable in this one than in their own films! And who is least on the list? This time Dr Strange.

And then, we arrive at the final encounter with the whole heroic population going into battle.

As has been noted, this avengers adventure is critic-proof.

1. The popularity of the Marvel Universe? The box office success of this film? The transition from the comics to films to films about each of the superheroes, the Avengers films and the ensemble?

2. The visuals of the Marvel Universe, but each of the superheroes, the planets in the galaxy, space, the world of the Guardians? The contrast with New York City? The musical score?

3. The lineup of the superheroes, the screenplay introducing each of the characters, their interactions, their past stories, audience familiarity? The Thanos plot? Interconnecting all the superheroes?

4. Audiences and their favourites, Thor and the opening, the confrontation with Loki and his death? The transition to Dr Strange and the encounter with Tony Stark? Peter Parker as the apprentice to Tony Stark? The Black Widow? Capt America and his associate, Falcon? The Guardians of the universe, Quill, the raccoon, the tree? Thor in space? The importance of Vision and the hidden Infinity Stone?

5. Thanos, from the world of the Guardians, his confrontation with Gamora, his daughter? The clashes, her not revealing the location of the stone, her sister being tortured, her willingness to sacrifice herself?

6. The infinity stones and their power, colour, symbolism?

7. Thanos and his wanting the stones, power, the efforts of all the superheroes to confront Thanos and prevent his getting the stones?

8. Thor, getting his new eye, in the spacecraft, the encounter with Eitri, calling the raccoon Rabbit, the tree and its tendrils? Travelling through space?

9. Tony Stark, the clashes with Dr Strange? Tony Stark in his Iron Man suit? Peter Parker and his webs? The introduction of Bruce Banner, his stress with the Hulk not emerging from his inner self? His fighting battles on his own?

10. Thor, his battles, the confrontation with Thanos, his success?

11. Audience response to all the superheroes and their disintegrating?

12. The epilogue, Nick Fury, his disintegrating?

13. And the finale with the promise that Thanos would return?

AURORE

France, 2017, 89 minutes, Colour.
Agnes Jaoui, Thibault de Montelamebert, Pascale Arbillot, Sarah Suco, Lou Roy- Lecollinet.
Directed by Blandine Lenoir.

This is a drama, with some comic touches, that will resonate with a women’s audience. In fact, a men’s audience may well find itself more immediately observing rather than empathising which, it is hoped, they eventually will do.

Aurore is played by Agnes Jaouoi, who has also written and directed films in the past. This time, however, the screenplay has been written by women and the director is a woman. Aurore has two friends as well as some close women friends.

At the opening, Aurore is suffering from hot flushes, not quite understanding, realising that this is a period of menopause – with some visits to the doctor which enables the screenplay to explain aspects of the menopause, physiological, psychological, one Aurore and to the audience.

Aurore is also divorced and has no job, but hurrying to an interview at a restaurant where she is old enough to be the other applicants’ mother and whom the owner of the restaurant whimsically wants to call Samantha – more attractive to customers, he thinks. She has two daughters, one being pregnant, which disturbs Aurore who advises her not to make mistakes as she did in her past, something which the daughter interprets as her being a mistake in her mother’s life. The other daughter lives at home and is studying but has a sometime live-in boyfriend.

There is also Aurore’s close friend, Mano, full of exuberance, unmarried, prone to some cosmetic surgery, a real estate agent who invokes Aurore’s help in promoting apartments she is trying to sell. At one such meeting, Aurore meets the boyfriend of her past, Christophe, who has never married and, we realise, has been hurt by Aurore’s ignoring him when he was on his military service in Germany and has subsequently married his friend.

The audience is not wrong in seeing where this might be going. They have some meetings, a meal in a restaurant where there are singing waiters who do some fine operatic excerpts. In the meantime, there are problems with her younger daughter wanting to go off to Barcelona with her boyfriend and give up studies, comforting her pregnant daughter, going to a school reunion and feeling rebuffed by Christophe.

Will Aurore find a new life with an older friend? Will Christophe overcome his long-held hurt? Will the daughter stay in Barcelona? Will the other daughter give birth?

In many ways, Aurore, her family and friends live ordinary lives in a contemporary city. And in some ways, their problems are very ordinary. However, the audience is drawn into the characters’ lives – in a story which promises happy endings.


1. The title, the focus on the? Her name meaning Dawn? A portrait?

2. A French city, by the sea, homes, restaurants, hospitals, schools, the home for elderly ladies? Ordinary characters in ordinary situations, issues? The musical score?

3. The issue of age, women and menopause, their experiences, change of life, hot flushes and their effect? The background to divorce, jobs? Aurore and her work in the restaurant? The young women, her being called Samantha, the treatment by the boss? Getting to work, her relationship with Lucy at home? Lucy and her relationship with Tim? Marina and her pregnancy? Aurore’s offhand remark and Marina being hurt? Her friendship with Mano, the bond between them, age, the contrast in life and relationships, work? Aurore helping in the sale of the house? The chance encounter with Christophe? His work with the sonar, taking her daughter to his office? The coffee? The outing at the restaurant, the singing waiters and the operatic selection? Helping Marina? Upset at Lucy going to Barcelona with Tim? The interviews for the job, her being chosen for the role play, her awkwardness? Mano and her group, the discussions, Herve? The relationship with him? The school reunion, Christophe unable to continue the relationship, not wanting to be hurt? The proposal to go to Venice? Christophe running, Aurore stopping in the car, assisting at the birth of her grandchild?

4. Christophe, the past, young at school, his military service in Germany, away for the year, his sending the tapes, Aurore keeping them, her not replying? Her marrying and Nanar? The marriage, the two daughters, the divorce? His work with the sonar? The chance meeting, the further contact, the restaurant and the opera excerpts, the school reunion, not wanting to continue the reunion, Aurore listening to the tape, the sending it, his running to her?

5. Marina, pregnant, reaction to her mother talking about a mistake? Her relationship with Mathieu? The clash with Mathieu, with her mother, her mother, fitting her, the reaction to Her fate? The birth? Lucy, younger, love for Tim, giving up her studies, going to Barcelona, returning, his macho behaviour? Her profile as the final image? In the steps of her mother or not?

6. Mano, her age, real estate, friendship, the setup and the attack on the man with the younger woman, flinging the ring? The carry on? Her soirée and friends? Her plastic surgery? The encounter with the man she insulted, the kiss?

7. The man in the street, the younger woman, the ring, his role in the role play, wanting Mano’s phone number?

8. The doctors, the explanation about menopause, the scientific background, the symptoms, the fund of initial follicles and their deteriorating? The doctor urging Aurore to deal with it or not?

9. The woman at the agency, her flushes, her confusion in speaking, coming to terms?

10. The exuberant feelgood ending, Christophe running, Aurore going out of the car, the birth of the grandchild, the daughters?