LBJ

US, 2016, 98 minutes, Colour.
Woody Harrelson, Michael Stahl-David?, Richard Jenkins, Jennifer Jason Leigh, Jeffrey Donovan, Bill Pullman, John Burke, C.Thomas Howell, Brent Bailey.
Directed by Rob Reiner.

Lyndon Baines Johnson came to the American presidency as the result of the assassination of John F. Kennedy in 1963. In recent years, there have been a number of films where he has been a significant character, especially in the films about John F. Kennedy including The Killing of Kennedy (2013) and Jackie (2016). There was a significant film biography, All The Way, (2017) with Bryan Cranston excellent as LBJ and with Melissa Leo as Lady Bird Johnson.

This film was directed by Rob Reiner, better known as a director of light comedies and dramas but also of such films as The Princess Bride and Misery. He was to go on to make Shock and Awe, set in 2003 with issues of American politics and wars in the Middle East, Iraq and Afghanistan.

The film is well worth seeing for Woody Harrelson’s portrayal of Lyndon Johnson. He is not immediately recognisable, made up to resemble Johnson but, when he laughs, clearly Woody Harrelson. Jennifer Jason Leigh has a good role as Lady Bird Johnson. Jeffrey Donovan is JFK and Michael Stahl-David? is a young, arrogant and abrasive Robert Kennedy. Bill Pullman is a progressive senator while Richard Jenkins is excellent, as usual, as the racist politician from the South, yearning for a way of life that is gradually disappearing.

At the centre of the film, with recurring images and development of this subplot, is the Kennedy visit to Dallas, the presence of Johnson and his wife, the motorcade, the shooting of the President, the reaction of the security guards in shielding Johnson, the death of the President and Walter Cronkite’s television announcement.

In a sense, Kennedy is also at the centre of the film. If the film is looked at in linear fashion, from the campaign for presidency in 1960 to 1968 with Johnson’s decision not to stand for re-election, Kennedy is most significant. He is the unlikely Catholic candidate for the Democratic party. He is presentable, charismatic, from a wealthy family. He is also shrewd in his political ideas as well as his deals (though the film does not treat of the Bay of Pigs nor the Missiles of October, 1962). But he is passionate about Civil Rights.

Which means that Johnson was somewhat in the shadows though he did accept nomination as Kennedy’s running mate. His belief was that he made every office that he accepted a powerful influence in politics. He is seen in discussions with progressive senators, advocating compromise and yielding to get results. He is also seen with conservative Southern senators, also proposing concessions and compromise.

In the film, Johnson seems genuinely shocked at becoming president, personally disturbed but trying to maintain government, especially with advice from Robert Kennedy who is continually hostile. He treats Jackie Kennedy well allowing her to stay in the White House. He takes the oath of office in Dallas and then returns to Washington.

There are a lot of footage of Civil Rights demonstrations and protests, along with some police brutality. Johnson had opposed Civil Rights’ legislation but decided to follow the Kennedy inspiration (though there is nothing of Martin Luther King in this film). He invites Kennedy speechwriter, Ted Sorensen, to write a speech for his inaugural address to the Congress. In this he continues the spirit of Kennedy, especially for Civil Rights, gaining a great deal of support from Democrats but the hostility of members from the South, especially Richard Russell who felt he was being betrayed.

The film ends with the stirring speech which Johnson delivered with some passion, deciding to go ahead with Kennedy’s vision.

There is further information about Johnson’s achievement in social issues, the questions of the involvement in Vietnam and his being less liked and deciding not to stand for the presidency in 1968 (with the consequent disasters of the Nixon era).

1. A portrait of Lyndon Johnson, as a person, politician, vice president, president?

2. 21st-century audiences and knowledge of Johnson? Admiration for him? Not admiring him? Critical of him?

3. The context the focus on JFK? The campaign of 1960, the place of Robert Kennedy, his dislike of Johnson, the issue of the nomination, people promoting Johnson, his consent? Not getting the numbers? Kennedy and his ideas, deals, issues of Civil Rights, the assassination and the consequences? Johnson continuing on his spirit?

4. Woody Harrelson and his portrait and impersonation of Lyndon Johnson? Jennifer Jason Leigh as Lady Bird? The years of marriage, his democratic affiliation, from Texas, Southern? The years in politics? The manager of business? His dealings with various Congress personalities and senators? Negotiations, giving a little and compromise, success, reliance on numbers? And his wanting to be liked?

5. Senator Yarborough, farm issues, following Kennedy rather than Johnson, Progressive? The interviews with Johnson? In Dallas, in the car with Johnson? Civil Rights, his pro-Rights, being seen in the house sitting with Johnson speaking?

6. The contrast with Richard Russell, from Georgia, 24 years in politics, loyalty to the South, his relishing the old way of life and not wanting change, his racist attitudes, believe in segregation, black servants? The discussions with Johnson, compromise or not? The Lockheed plant in Georgia, deals and contracts, employing African- American workers? His being derogatorily? The impact of Kennedy’s assassination? His hostility towards any legislation on Civil Rights? Losing faith in Johnson?

7. The various groups in Congress, house Representatives, Senators? The groupings, the numbers?

8. Kennedy spirit by 1963? His election, his programs, listening to advisers, the influence of Robert Kennedy? Sorensen and his speeches? Scenes with his family, the children? On television and Johnson remarking that he was swearing himself in? Policies and rights?

9. Robert Kennedy, younger, arrogant, hostile to Johnson, the various clashes, not wanting him to be vice president? The impact of the assassination, Johnson’s phone call, the issue of the swearing-in, where it took place, the local judge? Robert Kennedy and his criticisms of Johnson wanting to be in the Oval Office? Snide remarks? Finally listening to him and his speech?

10. Dallas, Johnson in the car with his wife, with Yarborough? The assassination, his reaction, security hurrying him away, the decision to go to Washington or not, the unknown nature of the attack, possible conspiracy? His concern about Jackie Kennedy, the taking of the oath, the return to Washington, going to the White House, allowing Jackie to stay? His request to all the assistants to stay, saying he needed them? Getting Sorensen to write his speech?

11. Civil Rights, the television newsreel visuals, demonstrations and protests, no Martin Luther King mention? Johnson and his cook, her serving while Russell was being derogatory? His speech about her travelling, segregation, not wanting her to suffer this deprivation of rights?

12. His speech in the house, the delivery, the Kennedy idealism, and continuing it?

13. Johnson’s achievement, the issues of Vietnam, social services, not standing in 1968? The listing of his achievements?

14. A 98 minute portrait of Johnson, not a documentary, relying on drama and its limitations, insight through a portrait?

FUNNE: SEA DREAMING GIRLS/ LE RAGAZZE CHE SOGNAVANO IL MARE

Italy/Croatia, 2017, 77 minutes, Colour.
Directed by Katia Bernardi.

This is a very pleasant film, a focus on elderly women in Italy, in the mountainous countryside near the city of Trent.

The framework of the film and the commentary highlight a myth about eels swimming upstream while other fish swim downstream. These eels settled in the mountains and stayed there. Now, a group of their descendants, grandmothers in their 70s and 80s, have a great desire to see the sea.

The film shows some of their meetings, their discussions, their leadership. They decide to bake cakes and sell them at the fair. This doesn’t bring enough money to pay their fare to the sea. They speak to a consultant and decide to produce a calendar, photos taken of all the women and their being inserted in photoshopping in a range of settings. Again, not enough money. They then talk to an IT expert who introduces them to the Internet, Facebook, crowdfunding.

The crowdfunding has results, people all over Italy responding to the women, radio and television interviews including a lengthy interview with a correspondent from Vatican radio.

There is a religious background, an old-style Catholicism from Italy, piety with statues, rosaries and processions. And there is a prospect of an audience with the Pope.

Finally, they go and enjoy being at the beach on an island in Croatia, toes in the water, swims, sitting on the shore, happy in what they have achieved.

1. The title? The fantasies of the eels swimming upstream and settling in the mountains? The women wanting to see the sea? Many never having seen it?

2. The voice-over, the fairytale tone, the different chapters and application? The finale of the myth?

3. The mountain locations, near Trent? The beauty, the landscapes? The town, homes, meeting places? The streets? The atmosphere of the village? Settled in the mountains? The musical score?

4. The group of women, their age, their meetings, discussions? The different personalities, participation in the group, leadership?

5. The project to visit the sea? The women who had seen it in the past? The others who had never seen it? Their hopes, the agreement?

6. The background of the town, the men generally not seen?

7. The Catholicism, the priest and the presbytery, the church, the processions, the statues, the feast of Our Lady of the Snow? Rosary? Devotion?

8. The meetings and the various projects? The fair, the religious procession, the baking of the cakes, selling the cakes? The money still falling short?

9. The idea of the calendar, the fire brigade annual calendar? Calling in the expert? The discussions, the poses, the computer, his putting the women in amusing settings? The modest sales?

10. The IT expert, the women learning about IT? The setting up of the website? Facebook? The idea of crowd-funding? On the Internet, the responses, the money coming in? The articles, the interviews, the radio and television? Some wary of the publicity? Vatican radio and the long interview, the money, difficulties about bank accounts, the possibility of the audience with the Pope?

11. Going to the sea, the bus, the travel, Croatia, the islands? Walking to the sea, toes in the water? The swim? The exhilaration?

12. Sympathetic portrait of older women, of the elderly, their desires and needs? And the finale with them all sitting in the beach chairs?

THE CHALK CIRCLE MAN/ L’HOMME AUX CERCLES BLEUS

France, 2009, 87 minutes, Colour.
Jean- Hughes Anglade, Charlotte Rampling, Jacques Spiesser, Jean- Pierre Leaud, Stanislas Merhar. Helene Fillieres. Corrine Masiero.
Directed by Josee Dayan.

French television made a series of murder mysteries based on stories by Fred Vargas, the Fred Vargas Collection. This is the second film in the series.
At the centre of the series is a sympathetic police officer, Detective, Jean- Baptiste Adamsberg, played by Jean- Hughes Anglade. His assistant, Danglard, is played by Jacques Spiesser. They are in each episode.

There is some background to the life of the detective, especially his past relationship with a musician and his living with these memories.

A photographer is introduced. She has a sharp and direct manner and is played by Charlotte Rampling. In recent years she has gone to photography sites but without film in the camera because of a scandal that she was involved in earlier. She encounters a blind man in a restaurant – and a link with the scandal. She offers him an apartment, introduces him to her assistant, an elderly lady from the provinces who spends a lot of time talking about and arranging dates and meeting men.

There is a strange character who draws circles in the Paris streets and puts objects in the centre. Eventually, there are three murders. Mathilde helps Inspector and Danglard in their investigations and their theories – Danglard having some children at home who are experts in crime and are forthright in giving their opinions and interpretations.

The other central character is a professor whose wife is killed (Jean- Pierre Leaud). As it turns out, through some strange twists in the plot, that he is the killer, framing the murderer’s wife with other murders.

Charlotte Rampling was to appear in another of the episodes. All were directed by Josee Dayan.

1. Murder mystery and investigation? Part of a series for television? The Paris settings, the police and the investigation?

2. Paris by night, by day, police precincts, apartments, restaurants, the variety of murder scenes in the streets? The musical score?

3. The inspector as the hero, his work with the police, detection, his personality?

4. The situation, the circles, the objects in the centre of the circles, dead animals, toys? Fears for humans to be found? In fact?

5. The inspector, his character, his memories of his relationship with the musician, her absence? His work, a man of ideas, assisted by Danglard? The staff, the detectives, the female police? The sites and the visits? The encounter with Mathilde, their discussions, sharing ideas?

6. Mathilde, following the man, mysterious, cloaked, his waving to her? The background of her career, photography, the scandal of the affair, the lover murdering his wife? Photo opportunities but no film in the camera? Her manner, in the cafe, the blind man and her talking with him? Interested, the search for him, her offering him the apartment? The discussions, the truth about his identity and his parents?

7. The range of suspects, Mathilde herself, the blind man?

8. The murders, the woman, the speculation about her background, the man and his past relationship with Mathilde’s assistant? The wife of the scholar?

9. The secretary, the story about her dates, her past, rejection? The revelation that she had been murdered and impersonated?

10. The scholar, his manner, his house, his expertise, the visits, the discussions with the inspector, his assistant? His wife, her death? Her writing his papers?

11. The inspector and Dan, making the connections, the identity of the killer, the scholar and his behaviour?

12. The scenes with Danglard, the children, their knowledge about crimes, their opinions?

13. The confrontation with the scholar, his arrest?

14. Mathilde, her daughter and the music tour, her returning home, the connection between Mathilde and the inspector through her daughter?

FORBIDDEN GROUND/ BATTLE GROUND

Australia, 2013, 95 minutes, Colour.
Johan Earl, Tim Pocock, Martin Copping, Denai Gracie, Sarah Mawbey, Barry Quin, Damian Sommerlad.
Directed by Johan Earl, Adrian Powers.

Forbidden Ground is a story of World War I and the trenches. It is an Australian production, filmed in New South Wales, the French countryside and the trenches filmed in Dubbo and enhanced by special effects.

The film was cowritten by Johan Earl, originally from Sweden, who worked in cinema in Australia, writing, directing and, in this film, in charge of special effects. The co-director of the film is Adrian Powers who also edited the film.

Within a small budget, the filmmakers create an atmosphere of the French countryside, life and death in the trenches, the hardships of going over the top, the firing of the guns from the German trenches, injuries and deaths.

The central character, Arthur, played by Johan Earl, is in charge, has to deal with O’ Leary(Tim Pocock) , a fearful young man. When one of the older soldiers is wounded and is lying out in no man’s land, Arthur he is the cries of his friend and decides that he and O’ Leary will crawl out, defy the Germans and drag their friend back to safety. This is not an easy task although it is night. The Germans are on the alert. There are flares. It is a matter of dragging their friend, in pain, through a barbed wire fence and, eventually, into a trench.

This is significant for O’ Leary who shows some heroism. However, he is the mercy of the Lieutenant who has given harsh commands for going over the top, for Arthur to lead the men. Trenches are booby-trapped for the Germans and his decision is that O’ Leary should be shot before getting into the rigged trench.

In the meantime, there is some dramatic relief from the war sequences, Arthur’s wife is shown, at first in a dream with his rejecting her because she is pregnant by another man. Then her real situation is shown, her going to a doctor for an abortion, a sympathetic nurse helping her, but her death. There is a dramatic irony in so far as the nurse is the fiance of the injured man in the field.

Arthur survives the war, returns to visit his friend’s fiance, finding her in jail – but with no explanation.

Death in war, death in pregnancy and abortion, the pervading atmosphere of death.

1. Memories of World War I? The trenches? Going over the top? British versus German?

2. Re-creating the battlefields in New South Wales? Authentic? Special effects? The trenches, the open fields, at night, the bombardments, shooting and deaths?

3. The contrast with the scenes in England, Grace and the home, the doctor, abortion issues, the abortion process, death?

4. The first part of the film showing the tension in the trenches, establishing the characters of Arthur, Richard, O’ Leary, the Lieutenant and his commands? Going over the top, the anticipated deaths? The second part showing action in the fields, dead and wounded, O’ iLeary and his anxiety, fear, after sending him out, the rescue of Richard, the dangers, being fired on, dragging him to safety? The flares, the light? The barbed wire and being caught? O’Leary? going to help? The Lieutenant ordering him to be fired on? His escape, going to the trench, the tripwire and the explosions, the Germans and the bewilderment? The deadline for the attack?

5. Arthur, his character, age, responsibilities, the distance from his wife? His regrets? Richard, his engagement to the young nurse? His being wounded, his leg, the pain? His calling out, the rescue, dragged across the mud, under the barbed wire, into the trench? His saving Arthur’s life by shooting the German? Pretending to be dead? The German hitting his leg and his cry? Arthur, confronted by the German? The German being shot, Arthur saved?

6. The impression of the Lieutenant, young, aristocratic, ordering the men over the top, impossible orders, O’ Leary coming to the trench, the Lieutenant ordering him to be shot? The men obeying orders?

7. At home, Grace, alienation from Arthur, in love, her pregnancy? Imagining his return and his rejecting her? Going to the doctor, the law, doctor’s refusal, referring Grace to the nurse, the nurse’s story of her sister and adoption, Grace’s plea, the nurse attempting the abortion, the blood, Grace’s death?

8. Arthur returning home, the message for the nurse, finding her in jail, but his having no knowledge of Grace and her pregnancy?

9. The impact of the film as a re-creation of aspects of World War I and war, suffering and death, and the linking of war, abortion, the dead mother?

UNE RENCONTRE/ QUANTUM LOVE

France, 2014, 81 minutes, Colour.
Sophie Marceau, François Cluzet, Lisa Azuelos.
Directed by Lisa Azuelos.

This is a brief film made for television. It has two of France’s top stars in Sophie Marceau and François Cluzet. The director, Lisa Azuelos, also appears in a central role.

At a reception for the success of her book, Elsa, always a strong and attractive presence of Sophie Marceau, encounters a successful criminal lawyer, Pierre, François Cluzet. They joke about doing drugs, are attracted, and go their ways.

It is inevitable that they meet again after this initial rencontre.

Then we see the characters in their real lives, Elsa, successful with her work, but about to be divorced, having some difficulties with her younger daughter, the older daughter away from home. Pierre has a lot of friends at the courts, is married to Anne who deals in artefacts, has children at home.

The screenplay offers a lot of situations where Elsa and Pierre meet, are attracted, have some trysts together – only for the audience to find that this is all happening in Pierre’s imagination. Ultimately, both have to go to London for different work but coincide at a hotel and have time together.

Elsa has a toyboy boyfriend – and, perhaps, that will be something of her future. Pierre realises the tensions in his marriage, has some scenes with his wife (played by Lisa Azuelos) and will have to make decisions for his future.

1. The title? The encounter between the central characters? The title of Elsa’s book?

2. Brief film? Made for television? The strong cast?

3. A film about marriage? Divorce? Children and consequences? New partners?

4. A film about midlife crisis? Difficulties in marriage? the possibilities?

5. The initial party, Elsa and the celebration of her book, her friends, business connections? Pierre being pointed out? His being a successful criminal lawyer? The conversation? The flippant remarks about drugs? Their going aside from the rest of the party? The issue of phone numbers?

6. Elsa, her life, the affair, her former husband and the law courts, her absent daughter and the relationship, the daughter at home, antagonism, sleepover with her friend? The reputation and facade, the reality of her life?

7. Pierre, married to Anne for so many years, the children at home, his relationship with them? His work in the courts, his success? His friends? The lawyer friend and the discussion about his relationship?

8. Fantasy and reality? In Pierre’s imagination? The various episodes, the encounters with Elsa, love, following her, possibilities? And the reality of this happening in his imagination as he watched her?

9. Anne, her work, antiquities, meeting Elsa, her clients? Her watching her husband and Elsa? Suspicions?

10. Elsa and her going to London for her book, the Eurostar? Pierre and his work in London? The meeting? The hotel? The outings, the meals, the adjacent rooms, the experience? How much was real? How much imagination?

11. The future, Elsa and her relationship with the young man? Pierre, his marriage, his being unsettled, possibilities for resolution?

LILA SAYS

France, 2004, 89 minutes, Colour.
Vahina Giocante, Moah Khouas, Karim Ben Haddou, Carmen Lebbos.
Directed by Ziad Doueiri.

This is quite an interesting drama, made by a Lebanese director Lebanese, set in Marseilles, characters who are French, some from Poland, and others from North Africa.

The central character is called Chimo, a 19-year-old whose father has deserted him and his mother. He has a group of friends who are rather rough, get into trouble.

Then he encounters Lila, a 19-year-old who rides a bike, is friendly, the touch of the flirt. They get on well together.

But, Lila is sex-preoccupied, though that is in theory and in her imagination and talk rather than in reality. She talks about sex rather incessantly, making Chimo feel uncomfortable at times. Lila lives with her aunt, a strange woman. At one stage, to torment her aunt, she tells a story that she has encountered Satan (with the aunt’s summoning a priest who interrogates Lila, but also getting rid of the young men who are leering and curious).

Chimo is able to do better, a good writer, one of the teachers encouraging him and his mother that he should apply for a scholarship to Paris and train as a writer. He has opted to stay, fearing that he is something of a loser, with his friends.

Things come to a crisis when one of his friends brutally attacks Lila. Chimo violently defends her, their all being arrested. However, Chimo is cleared, asks the policeman for the phone number of Lila who has disappeared from Marseilles. There is a declaration of love on the phone, Chimo opting to go to Paris for the scholarship. And the film ends with the audience wondering what will happen to each of them in the future.

1. A slice of life? In France, Marseille? The French, the Arabs? At the beginning of the 21st-century – in the aftermath of 9/11?

2. The vistas of the city, the streets, apartments, the waterfront? The musical score?

3. The title, the focus on Lila as a character, age 19, beautiful, background from Poland, her parents, visits to the cemetery? Photos? The aunt and her aggressive sexuality? Riding her bike, befriending Chimo?

4. Chimo, telling the story, writing the story, the scraps of paper, the notebook? The title and his experience of Lila? At home, his mother, the father leaving, her anger? Aggression, reconciliation? The teacher suggesting the scholarship to Paris for writing? His not taking it up? A sense of being a loser, his loser-friends? Working or not? Petty crime? In trouble? The encounter with Lila and its changing his life?

5. Themes of friendship, affection, love, sexuality and sexual experiences?

6. Lila and her preoccupation with sex and sexuality? Her language, personal exhibitionist, on the swing, on the bike with Chimo? Provoking him? The talk, the effect on Chimo, asking about his observing her in sexual action, the issue of pornography films? The stories, going to the United States, the red barn, the farmer with the forklift? Fantasy and reality?

7. Chimo’s response, the bike ride, his being reticent, a delicacy in treatment of Lila? Privacy? His visits, the cemetery?

8. The aunt, odd, religious? Lila and her story of the devil, the visual descriptions, the aunt’s reaction? Screaming, calling for the priest? The priest, ousting the men, listening to Lila’s description of the devil?

9. Chimo and his friends, talking, peer pressure, the Asian prostitute, Chimo’s reaction? His friend following Lila? The destruction of the bar? The buildup to the rape? Chimo, his anger, his physical attack, the arrests? The interrogation, the friend witnessing that he was not part of the plot? Being let go?

10. Lila, the rape, her vulnerability, sexual reality versus her fantasy? Chimo present? His leaving?

11. Chimo, breaking with his friends, reconciling with his mother, the visit of the teacher, her reading his story, going to Paris?

12. Following the police officer, asking him for Lila’s phone number, persevering? Phoning her, declaration of love and her acknowledgement?

13. The importance of this experience at age 19? His future? A future?

ONE OF US

Austria, 2015, 86 minutes, Colour.
Jack Hofer, Simon Morze, Markus Schleinzer.
Directed by Stephan Richter.

This is a small film from Austria. Its title indicates that it deals with ordinary people and, in fact, the setting of the film is a local large supermarket and the warehouse at the back.

The central characters are young teenagers, hanging around the area, playing, getting into trouble, sometimes being angrily assertive. This is true of the central character, Julian. Outside the supermarket he meets a young teenager, just out of prison, who has had trouble with the supermarket and the manager. There are other friends, some girlfriends.

Inside the supermarket, an older teenager has just got a job, in the butcher’s section, about to work his way up. He has had some past contacts with some of the characters outside, one of them wanting him to steal a coffee-maker for him.

The main adult characters include some local police who experience some media criticism of their methods, two men who are rather aggressive towards the teenagers and a woman, mother of one of them. The other character is the manager of the supermarket, efficient in his work, demanding of his staff, clashing with those outside.

Ultimately, there is an attempted robbery, some shooting, death – all in the context of ordinary suburban lives.

1. A contemporary story, youth, city suburbs, crime? The Austrian settings?

2. The title, ordinary people? The supermarket, those who work there, the shoppers? Youth, crime, the police, parents? And the role of the manager in the supermarket and his authority?

3. The supermarket focus, the images of the aisles, the stock, cleaning the aIsles, the warehouse? The musical score?

4. Julian, seeing him initially prone on the floor of the supermarket? His age, his girlfriend, wandering around the area, across from the supermarket, playing soccer games, bikes? Sitting and watching, his friends? The encounter with Marco, the conversations? The encounter with Isham? His anger at the manager, shopping, moving goods, his being ousted, reaction? With Marco, participating in the robbery? The consequences and his death?

5. Isham, his age, in the car, his wife and her new boyfriend, wanting the baby seat in the car, taking the boy shopping, but his being broke? The friendship with Marco, out of jail? Applying for the job, the altercation with the manager? His reaction, the robbery?

6. Marco, young, in prison, sitting around the supermarket, interactions with the police, friendship with Isham? Getting Julian to buy his drink? Drink and drugs, the decision to rob the supermarket? His being wounded?

7. The young man, his son of his father as a butcher, applying for the job, interactions with the manager, the details of his work, promotion, the encounter with the shoplifter? Stealing the coffeemaker? Watching Julian knock over the trolleys? His being called back after the robbery?

8. The manager, type, running the supermarket? Employing the young man as a butcher? The clash with Julian, the interaction with Isham’s application for a job? The experience of the shoplifter? His being called back after the robbery?

9. The police, the papers criticisms of them, hard work, tired, one of them shopping, answering the survey, impulsive buying? The other policeman, being hard on youth? The mother, taking her daughter home? Their being called to the robbery at the supermarket? The shootings? The aftermath?

10. The staging of the robbery, hiding, the police response, the shootings and death?

11. The portrait of contemporary society, a microcosm?

A QUIET PLACE

US, 2018, 90 minutes, Colour.
Emily Blunt, John Krasinski, Millicent Simmonds, Noah Jupe.
Directed by John Krasinski.

It is difficult to find the right words to recommend A Quiet Place to an audience that does not usually like horror films. Recommending it to an audience which does like horror films, the best thing is to do is to highlight the monstrous creatures and the special effects, their attack on the humans.

John Krasinski is best known as a television actor, especially for the American version of The Office. In films, he has a good range, from romantic comedies to war films. In real life he is married to Emily Blunt. They worked together for this film, Krasinski developing the story, cowriting the screenplay, taking the central role as the father of the family, and showing skill in directing. Emily Blunt, always a strong screen presence, plays the mother.

This is a post-apocalyptic story. However, there is practically no explanation of the situations, the background of the disaster. We see newspaper headlines highlighting news that people are fleeing New York. The film opens in an abandoned countryside, looking attractive, but in no way populated. The family go into a deserted supermarket, stocking up on supplies.

But, there is eerie silence.

There is a jump-out-of-your seat-moment concerning the youngest child in the family who has picked up a toy and started to make a sound. The father takes the battery out of the plane and then leads the whole family, single file, further out into the woods. When the little boy puts the battery in again, the father is anxious, runs to save his boy but…

The situation is that there are monsters around. They are attracted by noise and attack the humans. Which means then that not only is the countryside eerily deserted but it is eerily quiet. No one can speak. They have to tread softly. And to communicate they have to use sign language. In fact, the oldest daughter is deaf and mute – played by Millicent Simmonds who in real life is also hearing-impaired. The younger brother is played by Noah Dupe who was the little boy’s friend in the film, Wonder.

Eventually, the family settle in a country house with a big barn, the father setting up protection, a string of lights, a warning system when they turn red, and continuing to experiment with implants for his daughter’s hearing.

Though without sounds and talk, life continues in a somewhat ordinary vein, the mother teaching her son maths, the father working, his taking his son fishing and going to a waterfall where, in fact, they can talk and even shout, the daughter, however, feeling alienated. She feels she is not loved, has moments of resentment, goes out to the memorial place for her little brother.

As they have lived some time and in the countryside, we see that the wife is pregnant.

This means that the film has set up the situation well for some kind of final confrontation. It is heightened when the creatures invade the house, the little girl seems lost, father and son are returning from the waterfall, the mother’s waters break and birth is imminent.

Horror fans will appreciate seeing the vicious monsters, their sweeping, stalking, threatening brother and sister in a corn silo. Other audiences who are experiencing the film as a terror film, identifying with the family, may prefer that the monsters were suggested atmospherically rather than their being so ugly and visible.

The film has received very good reviews from the critics and, within 10 days had made $50 million at the US box office. Not bad for a 90 minute film, a terror drama with touches of horror, the story of a family in peril.

1. The title? Expectations?

2. The touches of horror? But the film as an experience in terror?

3. The premise, no back story, the monsters terrorising New York City, attracted by sound? The visualising of the monsters? The sense of menace, fear? The atmosphere of quiet, selflessness?

4. The American countryside, the supermarket, the local bridge, the house, the interiors, the basement? Exteriors, the lights and protection, the rockets? The silo and the corn?

5. The portrait of the parents, their children? In the supermarket, getting supplies, the deaf daughter, the use of sign language? The boy, with the plane, the batteries, his father taking them out, his playing and putting them back in, the monster swooping? The sense of blame for the mother not carrying him? The father’s sense of guilt, responsibility?

6. The signing of the number of days, the family isolated, the mother becoming pregnant, the daily work, teaching her son, the various chores? The father, managing, his electronic skills in the basement, setting up protection?

7. Loving family, Regan and her age, her anger, wanting to go out, her being protected by her father, feeling that she was unloved and untrusted? Her deafness, communication? Sulking, going to the bridge, the memento of her little brother? The dark, the encounter with Marcus, their being together, the dangers, silence? His reassuring her that she was loved? The silo, his falling into the corn, the door falling, her jump, protecting him? Her hearing aid, the effect on the monster? Going to the truck, the attack, the sense of menace? The hearing aid and sound and the solution against the creatures?

8. The mother, ordinary, pregnant, her waters breaking, the nail and her foot, going to the bath, being terrorised? The birth, not screaming? Her husband rescuing her? Taking her to the shelter, with the baby, the water coming in, the monster in the water? Her getting a husband to promise to take care of the children?

9. The father, his skills, protector? The basement and the electronic experiments, the hearing aid for his daughter? Taking his son fishing, reassuring his son, to the waterfall, being able to cry out and talk? The return, his wife putting on the red danger lights, his discovering her, the birth of the baby, searching for his children, the confrontation with the monsters, declaration of his love for his daughter? Sacrificing himself by shouting?

10. Marcus, his age, fears, the daily lessons in maths, going fishing with his father, apprehensive, the waterfall, the experience, shouting? His father trusting him, setting off the rockets? Falling into the silo, almost drowning, his sister rescuing him? Their experience in the truck? Holding the baby during the final attack?

11. The sense of menace, fear, silence and sound, the creatures and their presence, swooping and destroying? The illustration of the man in the woods and his shouting? The hearing aid, the effect on the creatures? In the silo, the truck, the basement? The mother shooting the creature?

12. The hearing aid technology and a solution against the creatures? What future?

SPUD 2: THE MADNESS CONTINUES

South Africa, 2013, 91 minutes, Colour.
John Cleese, Troye Sivan.
Directed by Donovan Marsh.

The original Spud was a success in South Africa and had worldwide release. Part of the draw was in casting John Cleese as an eccentric teacher, The Guv. The film was set in a rather exclusive school, focusing on John Milton, Spud (Troye Sivan) who had won a scholarship there. The film showed his ups and downs with his fellow students, the touches of bullying, the dormitories, sports sequences, his desire to be an actor. There are clashes with the headmaster and with a bullying teacher in charge of discipline.

This sequel takes up the themes a year later – and with the same cast.

Spud’s parents are thinking of migrating to the United Kingdom because of difficulties in South Africa. However, John wants to stay at the school. He does.

There are similar shenanigans as in the first film but, at this stage, the boys are very much preoccupied by sex. Lots of scenes where the boys discuss sex. Also a dance where girls from the neighbouring school come but it is sabotaged.

Not only is there the group to which Spud belongs, rebels, full of tricks, pranks, disturbance. They are frequently reprimanded by the headmaster as well as by the discipline master – whom they target, stranding his car, embarrassing him with the headmaster. They also take charge of a group of first years, humiliating them in the eyes of the other boys – which gives the tormented boys a whole lot of credit and credibility with the other students because of their experiences. They are used for various pranks, especially sabotaging the dance.

The discipline master has a hold over Spud, wanting information from him, threatening that he will lose his scholarship.

The Latin part of the film becomes a little more serious, especially when the senior students and the discipline master track down the rebels who are brought before the headmaster, some expelled and others on suspension. Spud’s parents are angry with him but he defies them, threatening to divorce them should they return to the United Kingdom.

Ultimately, the rebels, with the help of the Guv, are able to turn the tables, taking time off for a food-eating competition, getting a video compromising the discipline master, the Guv bringing it to the headmaster.

The discipline master is sacked in disgrace. The boys graduate, Spud even getting an award for English.

There was a third film in the series, Spud 3: Learning to Fly.

DROLE DE FELIX

France, 2000, 95 minutes, Colour.
Sami Bouajila,Patachou, Ariane Ascaride, Pierre Loup Rajot, Maurice Benichou, Philippe Garziano.
Directed by Olivier Ducastel, Jacques Martinau.

It is a bit hard to find a proper English translation for this title. It was known as Funny Felix as well as The Adventures of Felix.

The film was directed by Olivier Ducastel and Jacques Martineau who made a number of films with gay characters, showing an interest in sexual orientation without overtly campaigning in favour. This is particularly true of this film, the earliest.

Sami Bouajila is a genial, rather carefree young man in Normandy, living with a schoolteacher. His attitudes are left-wing and is in touch with people concerned about ferry strikes in the area. However, he discovers some letters from his father to his mother who had brought him up. He decides to go to Marseille to find his father.

So, this is a cheerful road film, with Felix setting out to hitchhike South and experiencing a number of adventures. He gets a number of lifts, witnesses a racial bashing in Rouen, goes to the police but is threatened himself. He meets an elderly lady and stays at her house and helps her with some furniture jobs as well as going shopping with her. He meets a man who works on the railways and they fly the kite that Felix has packed in his gear. There is a gay attraction and a sexual encounter. He also meets a woman who has three children from different fathers and gets a lift while she delivers each of them to their respective father. Because fatherhood is important to Felix considering his own case, he has a long discussion with one of the children about half-brothers and half sisters and half-fathers.

The woman and Felix are involved in a car accident while they are looking at a map and the driver, angry, bashes Felix. There is also an encounter with the police and Felix see the man who bashed him in Rouen.

Finally, he encounters a fisherman who serves as a father-figure, as they have a discussion, Felix helping him to fly a kite. And then he meets the teacher at the railway station – is content with the present rather than searching further for his father.

1. A French road movie at the end of the 20th century? From Normandy to Marseille? The range of the French countryside, scenery, towns? The musical score?

2. The directors, their interest in gay themes and characters? Observing rather than championing?

3. Racial issues, Arabs in France? Racial prejudice?

4. The title, Felix has a carefree character, his age, in the town, cycling, the issue of ferries, his relationship with the teacher, watching the TV soap opera every day, his decision to find his father, finding the letters, the address, Marseille? His father’s letters to his mother and no mention of him?

5. On the road, cheerful, dancing? Getting lifts?

6. The chapters of the film? His little brother, grandmother, cousins, father?

7. Encountering the student, his drawings, drawing for him, going home, spending the night, the attraction of the student, watching the television, stealing the car, discovering the baby, getting the little girl to return the baby, keeping the car?

8. The student, 17, drawing, gay orientation, his first time at the disco, intense dancing, being ousted because of his age?

9. The encounter at Rouen, the thugs, the racial bashing, chasing and hitting Felix, his conscience, going to the police, the threat from the criminal? His leaving? The irony of his seeing the criminal who had escaped? His fear? His being interrogated by Isabelle as to why he didn’t go to the police, his saying that he did, but his fear, the experience of prejudice?

10. The encounter with the old lady, his grandmother, talking, helping her shift the furniture? The night, sharing the food, going shopping? Buying her the container for her tablets?

11. The man on the road, the lift, his working on the railways, the kite, flying the kite, the attraction, the sexual encounter?

12. The encounter with Isabelle, the children, the different fathers, the drive with them? Playing with the kite? The discussions with the children, their half-brothers and sisters and half fathers? Considering him a father? Isabelle and her character, discussions with Felix about the Rouen situation, the police? The issue of finding the witness to the event? The crash, while looking at the map, his being hit by the angry?

13. Felix and his politics, wanting to avoid right-wing towns?

14. Encountering the fisherman, the chapter heading about his father, the discussions about fishing, relaxing, Felix showing the old man how to fly the kite?

15. At Marseille, Daniel arriving, Felix late, being reunited? Not worrying about his father – happily living in the present?