A WRINKLE IN TIME

US, 2018, 109 minutes, Colour.
Oprah Winfrey, Reese Witherspoon, Mindy Kaling,, Deric Mc Cabe, Chris Pine, Gugu Mbatha- Raw, Zach Galifiniakis, Michael Peña, Andre Holland, David Oyelowo.
Directed by Ava Du Vernay.

A Wrinkle in Time is based on a popular novel by Madeleine L’ Engele. It was filmed in 2004 as a Canadian miniseries.

This is a story with physics, maths, fantasy, mysticism – with the original novel having aspects of religion. These are not explicitly present in this screenplay although there are elements of religious symbolism.

The book has been very popular for decades but the film version, released by Disney, has not been kindly reviewed – and skimming through the bloggers’comments on the IMDb, there is practically no one who liked the film, many boasting of walking out, using the word “disappointing�…

If you come to the film without having the background of the book, you will indeed find it rather strange. But, it is a fantasy and is to be interpreted as such.

Meg (Storm Reid) is devoted to her scientist father (Chris Pine) who works with his academic wife (Gugu Mbatha-Raw). And Meg is very intelligent. Then we see her at school, the victim of quite obnoxious bullying, sad because it is the fourth anniversary of her father’s disappearance (and the bullies saying that she should do the same). At home, Meg now has a little brother, Charles Wallace (Deric McCabe), aged six, and even more intelligent than Meg. He has a strong and articulate presence.

Then the film turns into fantasy with three women, called the three Mrs (Whatsit, Which, Who) arriving with strange messages, basically urging Meg and Charles Wallace to search for their father. Conducting experiments, and wanting to shake hands, as he said, with the universe, he is now lost in the universe. A pleasant youngster from school, Calvin (Australian Levi Miller) is also in the house and joins in the journey.

And here comes one of the great oddities of the film: costume design and make up for the three Mrs. At times, they look as if they have come from an op shop and not been too discriminating in what they wear, or how make up as been applied (odd-coloured lips and bejewelled faces). And, one of them, Mrs Which appears at first in a rather gigantic form – but later comes to normal size. And the three Mrs are portrayed by Oprah Winfrey (as the giant Mrs), Mindy Cabling as the more ordinary Mrs and Reese Witherspoon, still something of an apprentice and appearing as rather ditzy.

Then it is a move through the wrinkling time, space travelling to other planets, time travelling, under the guidance of the Mrs until their capacity for “Tessaring� (the ability to move through the wrinkles) begins to fade. Then the three are on their own, relying on Meg’s determination and Charles Wallace with his insights and abilities.

It is here that something of the religious dimension does come in. There is a pervading evil presence in the universe. It is described as “It�. It is very much like a satanic presence, is one diabolical pervading of the universe, tempting and testing the youngsters, and taking possession of Charles Wallace. Which means that the three Mrs are like something of a Providence or of guarding Angels. But, it is up to the children to confront and destroy the evil It.

So, there is quite a range of adventures, some friendly planets, some frightening planets which grow instant high trees and provide cliffs, an odd version of a “little boxes� suburb where children and their mothers are automatons. And the Darkness of the It.

The children’s being reunited with their father is not without a great deal of turmoil, and his having to admit that he had abandoned his family to search for the meaning of the universe. However, goodness pervades as well as happiness – and even the bullying girl next-door neighbour changing heart.

The film does have a lot of ingredients – and a pity that so many people were not drawn into it but, in fact, were repelled. Perhaps a wrinkle in filmmaking judgement.

1. A film version of a popular novel? For many decades?

2. The target audience, young, adults?

3. The title, expectations? Fantasy and imagination?

4. The incorporation of physics, mathematics, mysticism, fantasy, religion, real and symbolic?

5. The town, the school, the streets, homes? The musical score?

6. The fantasy world, the different planets, peaceful, hard, dangerous? The parody of the nice suburbs and the or tournament and children and automatism mothers? The cap it and the developing darkness? The range of fantasy worlds?

7. The focus on Meg, her relationship with her father? His skill as a scientist, his lectures, the, Meg intelligence? The father, wanting to shake hands with the universe? His disappearance? The fourth adversary? The role of “Tessa ring�? The father lost in the universe, leaving his family? Charles Wallace and his growing up to be six? Meg, going to school, her moods, introverted, the girls and their bullying, Veronica and her contempt? Meg throwing the ball at her, hitting her? In the principals room, demanding the apology? Her mother’s concern? And happy?

8. Charles Wallace, six, right, articulate, loving his family?

9. Calvin, at school, his age, friendly, coming to the house? The later flashbacks to his father and his reprimanding him about his results?

10. The presence of the Mrs? Witches, the opening quote from Macbeth? As guardians, as angels? The humour of their names? The actresses and their styles? The appearances, their clothes, the strange mixture, changing the modern, the make up, the bright lips, the jewels of the face? The different changes? Voices? The giant Mrs? This is Whatsit visiting the house? Her being a touch of ditzy, apprentice? The seriousness of the visits, wanting to help, in the house, with Calvin and Charles Wallace? The plan for the rescuing of the father, the motivation?

11. Charles Wallace a green, Calvin going along, Meg suspicious? The decision to search and to leave, the church in becoming a rescue?

12. The Mrs on their advice? Moving from planet to planet? Discussions, the search, Meg is suspicious, changing? The pleasant planet? The harsher planet, the trees on the cliffs, hiding the log and leaping to the top of the cliffs? Strange village, the children bouncing the balls, the brothers arriving, everybody looking the same? The food, Calvin
hungry, Charles Wallace eating and the food tasting like sand?

13. The explanation of the cap it? Black, spreading, consuming, enveloping the world? The cap it possessing Charles Wallace? His behaviour, time, speech?

14. Megan Coleman, the experiences, learning to trust?

15. Meg meeting her father, the talk, the explanations, the rescue?

16. The Mrs and their feeding? The reappearance?

17. Bank, trust, bringing her father home?

18. Charles Wallace normal again? The lessons from Meg, the trust, waving to Veronica, Veronica waving back? Calvin going to talk with his father?

19. The joy of the father being home, reunited with his wife, with his children? Repeating of having left them? Role of his wife? People laughing at them?

PURE

Sweden, 2010, 97 minutes, Colour.
Alicia Vikander, Samuel Froher, Josephine Bauer, Martin Wallstrom.
Directed by Lisa Langseth.

Pure offers the portrait of a 20-year-old Swedish girl. And, she is strikingly played by Alicia Vikander – indicating what a significant screen presence she would be in the coming decade, at home in Sweden, internationally and in American blockbusters.

She plays Katarina, who has moved away from her slatternly mother, although she has been involved with men in her late teenage years. She now lives with Mattias, a very ordinary man who does not fulfil her hopes and ambitions, especially when by chance, on YouTube?, she comes across Mozart’s music.

She goes to a concert, Mattias is bored, and then goes to the Concert Hall where she applies for a job as a receptionist and is taken on. This transforms her, being effective in her work, befriended by the conductor who offers her a book to read and some Kierkegaard quotations, from the woman in charge of hiring, from the handyman who helps her with the equipment. And she is able to hear more and more music, observe rehearsals.

Complications arise when the conductor takes notice of her, takes her for a meal, is sexually attracted and they begin an affair while his wife is on holiday in Italy. This transforms Katarina, she is more alienated from her mother, wants to break with Mattias. However, she is naive and does not realise the conductor will break off the relationship as soon as his wife returns.

Katarina is very edgy, losing her temper quite often – and, when she is sacked from her job by the conductor, seems to be stalking him, her anger has a dire consequence for him. Interestingly, it has no dire consequences for her and she resumes her life, reconciling with her mother who is in coma in hospital. However, given Katarina’s behaviour, the audience will wonder what her life would be like after the film ends.

1. The title? The life journey of Katarina? Personal purity? Music? The impurity of human beings, despite the creativity and music?

2. Sweden, the city, homes, bars? The concert hall? The concert area, reception? Offices?

3. The musical score, the classics, performance, in concert, recordings?

4. Katarina’s story? Alicia Vikander? Young, her past at school, her mother’s influence, prostitution, with older men, her reputation, her later being taunted? Her wanting to change? Living with Mattias? His ordinariness, drinking, television, popular music? His boredom at the Mozart concert? Her listening to music, discovering it on YouTube?, going to the concert, being rapt? Her clashes with her mother, moving out? Not wanting to live like her? The decision to apply for the job? The talking with the sympathetic boss? The caretaker and his help with the machines? Answering the phone, enjoying the work? The encounter with Adam, his kindness, the quotations from Kierkegaard, lending her the book? Her bewilderment but her reading? The chief and her reading the poetry? The transforming of Katarina’s life?

5. Katarina clashing with her mother, and her mother finishing in hospital? The clash with Mattias, with her friends in the pregnancy? The attraction to Adam, the encounters, sexual relationship, his affair? The effect on her? Transformed? Continually phoning him, his wife returning, his breaking off the affair? The time at the pizzeria and their conversation? Her return, his wanting her to leave? The effect on her? Stalking him and his resentment? The decision that she should be sacked, the regrets of the chief? The possibilities of her organising programs for young people appreciating music?

6. Adam, his skills, conducting, tantrums? Kindness towards Katarina? The affair, the pizzaria, at home? Cutting off the affair? His music, skills, ambitions? Insensitivity? The applause for his concert, sitting on the windowsill, Katarina and her anger, pushing him out?

7. Katarina, walking out, not being blamed or suspected about the killing? Visiting her mother, weeping with her? Her new job, the children? Her competence?

8. The effect of this experience on Katarina? Her mental balance? A self-confidence? The future?

LE FIL/ THE STRING

Tunisia, 2009, 93 minutes, Colour.
Claudia Cardinale, Antonin Stahly Viswanadhan, Salim Kechiouche.
Directed by Mehdi Ben Attia.

A Tunisian film by a Tunisian director.

The focus of the film is on a young man, Malik (Antonin Stahly Viwanadhan) who spent time in France and returns to Tunisia. He has strong ties to his mother, Claudia Cardinale, and to his father who is ill and dying. He is an architect and has some prospects. However, his mother is very possessive and he is in a dilemma as to whether he should move out from the family home or not.

When Malik sees one of the servants, Bilal (Salim Kechiouche, who played a similar role in the 2004 Grande Ecole) involved in some homoerotic horseplay, the audience realises that Malik is homosexual, confirmed when he goes by car into the rougher areas of the city for some rough sex.

The two men have an affair and are discovered by Malik’s mother. She has wanted him to marry – but, in the meantime, he has promised a lesbian friend and her partner that he would marry her and act as the surrogate father of the child.

Ultimately, this is what happens, the mother coming to terms with the arrangements, having a frank talk and remembering her own past in Tunisia to Bilal. And there is a postscript with Malik teaching his young son to swim with the other members of the family on the beach.

The title is symbolic although at various times a thread or a cord is seen protruding from Malik’s back. Later in the film, he explains the imagery of being bound, turning one way and the binding becoming tighter, turning the other way and becoming free.

1. The title? The literal thread? Connections, the link? The real thread? The symbolic thread? Malik and his later explanation about being bound, turning, bound further, being free?

2. Tunisia, the vistas of the city, the streets, homes, the affluent world, the beach? The musical score?

3. The strong cast, Claudia Cardinale, the local actors? The Tunisian director?

4. Homosexuality? The male gaze of the film and camerawork focusing on males? Homoerotic atmosphere?

5. The opening class, Malik, returning to Tunisia, his time in France, language? The regrets and coming home?

6. Malik and his mother, meeting him, her exuberance, the links between them, love?

7. The family, his ill father, the grandmother, his father’s friends, Syrene and the Insemination? The issue of his getting married?

8. The staff in the house, the role of Bilal, garden, servant, at beck and call? Malik seeing him with his friend, the homoerotic games?

9. Malik, homosexuality, driving into town, the men in the street, the savage sexual encounter?

10. The plans for Malik, his work as an architect and designing? Marriage? The discussions with the paediatrician? His proclaiming ideas of social justice? The clashes with his mother, whether he would stay or leave? His decision to stay and the reasons?

11. Malik and Bilal, the request about the Oasis Club, adding his shoes, the fetish with the shoes? Meeting his friends? Taking them?

12. The Oasis Club, the dancing, the encounter with Waseem, his cousin, the drugs, the dancing, sexual encounters?

13. Abdelaziz, illness, care, Malik going to the doctor, asking the prognosis, reassuring his mother? The chemotherapy? His father asking him for the truth? His father’s death, the funeral?

14. Syrene and her pregnancy? Lesbian, her girlfriend? The artificial insemination? Agreeing to marry Malik, their not living together?

15. Malik and Bilal, the sexual relationship, night together, his mother watching, her frantic reaction?

16. Malik, the allegory of the string, his childhood memories, the psychologist, the links and connections, the different turning, further bound, free?

17. Malik and Balil together, on the beach, the false inspector? The sexual encounters, their talking, Bilal and his memoirs, his sexual sketches?

18. Sara, her reaction to her son, her illness, her tantrums? Malik’s bad reaction? Not wanting to see his mother?

19. Balil’s wise advice of not breaking with his mother and regretting it?

20. Sara, her friends, the discussion about marriage? Talking with Bilal, her sympathy for him?

21. The maid, her reactions, considering the situation as a sin?

22. The arrangements, the marriage, Malik visiting the mother and the child? Leila agreeing? The discussions, the ceremony, everybody consenting? The grandmother and her summoning Malik and the explanation? The party, the celebration?

23. Sara, telling her memories to Bilal, arriving, her husband, men and women separate, her being ignored, her husband kissing her in public, her bold stances and no regrets?

24. The aftermath, years later, the little boy, Malik teaching him to swim, the string and the connection? Happiness?

ARTHUR NEWMAN

US, 2012, 101 minutes, Colour.
Colin Firth, Emily Blunt, Lucas Hedges, Anne Heche, M.Emmett Walsh.
Directed by Dante Ariola.

This is something of a strange enterprise, an American story led by Colin Firth and Emily Blunt, both British.

This is a story of middle age crisis, of a man whose dreams have not been fulfilled either in his marriage and family relationships with his son or in his ambitions about golf. He decides to stage his death at a beach and assumes a new name, going on his travels to meet a golf professional in Terre Haute who has promised him a job.

It certainly does not work out will. He encounters a very disturbed woman involved in an accident, Michaela, Emily Blunt. She is taken to hospital and he goes to visit. Ultimately, he decides to take some responsibility for her and discovers in her wallet that she has a twin and has assumed her name. She is actually Charlotte.

There is a whole series of adventures, a liaison blossoming between the two, but their also taking other people’s identities, invading their homes and living their lives until they are found out.

In the meantime, Arthur Newman, really Wallace Avery, has a young son very effectively played by Lucas Hedges – who was to emerge as an Oscar-nominated actor for Manchester by the Sea and appeared in films like Lady Bird. He encounters the worker from the office who was in love with Wallace. She is played by Anne Heche.

There is a crisis moment when Arthur/Wallace attempts to resuscitate who has suffered a turn on the sidewalk – and later learns that Charlotte had taken his wallet so that his widow never knew the truth. Wallace demands that Charlotte go with him to visit the widow.

With this pressure, eventually they do face the truth about their families, Charlotte returning to her twin sister and Wallace going back to meet his son.

1. The title and focus? Names? Issues of identity, new names, new opportunities, leaving everything behind? Issues of deception?

2. The American settings, North Carolina, homes, offices, the road, the beach, motels, home invasions, golf, the police? The musical score?

3. An American film, the British leads?

4. The target audience, midlife crises? Of men? The of women?

5. Wallace Avery, his name, choosing Arthur Newman because of the golf? Getting forged papers? With mean out of the office? The break between them? Her reaction? Kevin, was sitting outside the home, Kevin knowing that he was spying? The gift for Kevin, his refusal, riding off? Wallace putting it in the letterbox? Telling people that he was going to the beach, getting rid of the aspects of the car, the tent, taking off his shirt, in the water, leaving the tent as if he had disappeared in the sea? The police, the investigation, the search? Interviews with his wife, with Kevin, with Nina?

6. His being caught up in the incident with Michaela? The crash? The abuse of man? The police? Her tantrum? Wallace rescuing her, the hospital and treatment? Her cards, her identity? Charlotte, her sister Michelle and her hospitalisation?

7. Charlotte’s story, the relationship with Michelle, twins, the mother and her schizophrenia, her sister and the institution? Her own personal reactions? Tantrums, wandering? Clipped to mania? Her needs? Hearing the same metal results for herself? Her response to Wallace, finding out his true name? The background of the golf, and not wanting to go on the bus, travelling with him? At the motel, insecurities, unable to sleep, going to Wallace?

8. Wallace/Arthur, his age, experience, alienation from his wife, his work and inflating it, with Mina, his coldness towards Kevin? The background of golf, success and failures? Meeting the professional, helping him? The invitation to Terre Haute? A new destiny?

9. The man dying on the road, Wallace trying to revive him? Charlotte holding his hand? His death, anonymous? Discovering the truth later, his rebuking Charlotte for letting him die? His card, identity? The visit to his wife?

10. The couple, their needs, travels, relationship, sexual relationship?

11. Assuming others identities, home invasions, the range of couples, their homes, the risks, people returning? Food, clothing, sleeping and the bets, the bridal veil? Cutting it fine and escaping?

12. The golf course, the expert, his looking up Wallace and the Internet as Arthur, brushing him off?

13. The effect on Arthur, his being disowned, humiliated?

14. Charlotte, stealing his money, the police arriving, the wallet from the dead man? Wallace and his patience? Saying he gave Charlotte the money?

15. Confronting Charlotte, the reality of her life, taking a man’s life, the visit to the widow?

16. The importance of family, Charlotte’s decision to go to the institution, seeing her sister?

17. Kevin, watching his mother, going to his father’s apartment, finding Mina, the bond with her, the domestic details and sharing, understanding himself better?

18. Wallace, his decision to return home, to bond with his son?

 

 

 

 

ROB THE MOB

US, 2014, 104 minutes, Colour.
Michael Pitt, Nina Arianda, Andy Garcia, Ray Romano, Griffin Dunne, Michael Rispoli, Yul Vazquez, Frank Whaley, Samira Wiley, Burt Young, Cathy Moriarty.
Directed by Raymond De Felitta.

This is a true story or, at least, a variation on it. Tommy and Rosie (Michael Pitt and a very impressive Nina Arianda) do drugs and spend some time in prison. When Rosie gets out, she gets a good job in recovering debts at a company run by Griffin Dunne. When Tommy gets out, she gets him a job at the same place.

The setting is New York City in the early 1990s.

However, Tommy is unreliable. He has left home long since and goes on a visit to see his mother, Cathy Moriarty, who runs a flower shop, with her other son. They do not want to see Tommy. He is resentful of the connection of his father, whom he loved, with the Mafia and his violent death.

The film offers footage of the Gotti trial and the testimony in the New York courts. Tommy goes to the trial and gets the brainwave of robbing various Mafia clubs. Rosie is hard to persuade but eventually agrees to be the getaway driver. The robberies are very awkward, Rosie and Tommy not being the brightest sparks. However, they get away with two robberies, though a pawnbroker is unwilling to take their jewels. At a third robbery, with just a few old codgers present in the morning, they collect a wallet which contains a list of names, addresses and phone numbers of the Mafia families.

Rosie acts on this, but is also intrigued by a journalist who has been covering the cases, Ray Romano, and the couple give interviews with articles appearing in the papers.

In the background is Big Al, Andy Garcia, living respectively, angry about his murdered son, bringing up his grandson, out to get vengeance but pleading with the police for a dignified arrest.

His henchman, Sal, Michael Rispoli, sets his men onto the couple and they are killed.

There is a certain tongue-in-cheek tone about some of the ineptitude of the Mafia and their being tricked, at least temporarily, by Tommy and Rosie.

 

1. The title? Mafia stories and films? New York City? Mafia bosses, arrests and court cases? The role of the FBI? Over many decades? Court cases and trials, prison sentences?

2. A true story, of the 1990s? And the repercussions from the past?

3. New York City, courts, homes, offices, Mafia clubs, shops? Authentic? The musical score?

4. Tommy and Rosie? Age, background, drugs, the arrest, Rosie causing the uproar? Kissing Tommy? Prison sentences?

5. 18 months later, Rosie and her good job, tough on the phone, Dave and his supporting her, praising her, willing to give Tommy a job? His enthusiasm?

6. Tommy, getting out, going to visit his mother and brother, not welcome, the memories of the past, his father's death? Later returning, bringing the large amount of money, their anger and rejection? His feelings of rejection? His father, the flashbacks, his motivation for robbing the mob?

7. The workplace, David and Tommy, the job, Tommy missing? Tommy going to the Gotti case? Persuading Dave to go, his enjoying it, quoting the witnesses?

8. Tommy and Rosie, limited personalities, intelligence? Dumb decisions? Rosie reacting to the risk? Tommy assured? Their arguments about the robbery? Rosie's caution, Tommy getting the gun, persuading her to do the driving?

9. The picture of the jobs, Tommy's dumb approach, no mask, entering, the identification of the club? His talk about himself, bravado? The gun going off? The talk, the reactions, collecting the money and jewellery? Rosie and the awkward driving, getting away? Happy looking at the results? Going to the Jewish pawnbroker and his refusal? Going again to the next club, the same reactions, getting them to take off their clothes – and the FBI photographing them? The third robbery, the oldies at the club? Joey D and his wallet, providing the list?

10. Not worry about their identities, no worries, happy, the prospects? Tommy's proposal and Rosie's acceptance? The plan, Christmas, New Year's Day, to Florida?

11. Big Al, the background of his life, his career, telling his story to sell, deadly, the death of his son, with his daughter-in-law, her boy, teaching him cooking, the boy's devotion to him? The robberies, the threats, the list? Tough attitude towards Joey D? Gathering everyone together, the threats, Joey missing? The FBI and surveillance? His speech about the dignified arrest and its effect? With a little boy, urging him to do good? His arrest? Driving away?

12. The FBI agents, listening in, taking the photos? Jerry and his journalism? The discussion about the photos with the FBI agent? The article, publishing the photos? The Mafia reaction, interrogating the people involved? His interest in the characters, the phone call from Rosie, meeting her, the pleasant talk, Tommy and his being wary, yet giving the information? The writing of the article? Rosie's delight? Dave reading it?

13. The couple confident, the power of the list, the phone numbers, ringing the daughter-in-law? The FBI attitudes, Jerry and his concern about the protection, the FBI willing to sacrifice them?

14. The men, robbed, the reactions, at the club? Joey D and his confessing?

15. Cell, his role, the visits with Owl, reading the article, knowing the make of the car? Following the couple and the shooting?

16. Jerry, giving the tickets to Mexico, warning them, they're ignoring him? Marriage, Florida, Christmas, profession of love? Her being killed?

17. The final photo, the information of those arrested and the effectiveness of the list?

 

 

THE MAIDEN HEIST


US, 2009, 90 minutes, Colour.
Christopher Walken, Morgan Freeman, William H Macy, Marcia Gaye Harden, Breckin Meyer.
Directed by Pete Hewitt.

It is the first heist, the maiden heist by three old security guards at an art gallery. But, the initial target of the heist is a portrait of The Lonely Maiden.

This is a film for something of a chuckle rather than a laugh aloud comedy. And it would remind audiences who are familiar with the Night at the Museum films.

At the centre is Roger, Christopher Walken, standing and admiring The Lonely Maiden for hours on end over many years. He goes home to his wife, he hairdresser played by Marcia Gaye Harden. When Roger learns that the exhibits are being transferred to Denmark, he becomes anxious because The Lonely Maiden will be thousands of miles away.

He communicates this to Charles, Morgan Freeman, who also has his own favourite painting – with the advantage that he is a painter himself and can forge his favourite. He is less successful in forging The Lonely Maiden and, after a plan is made to steal the exhibits that they like, Roger has to commission a street painter at great cost to forge his favourite.

Also in the act is George, William H Macy, allegedly a veteran of the invasion of Grenada, and then from Vietnam. He treats everything like a military exercise with military discipline – only to fail extremely with the actual robbery, admiring the statue of the warrior, naked, like the warrior, almost getting caught but finishing up in the wrong van as they make their escape.

Lots of flurry, lots of anxiety, the treasured artworks being recovered and a happy ending, especially when Roger, having taken his wife to Florida for a vacation as promised, realises that she resembles the painting.

1. A variation on the Museum robbery genre? A gathering of older men?

2. The city, homes and apartments? The Museum, the various sections, art gallery, statuary? Behind-the-scenes, offices, the packing and dispatch? The streets? The vans? Chases? The touch of Florida? The musical score?

3. The title, the play on words, the first heist, the stealing of the picture of the lonely maiden?

4. Roger, seen in contemplation of the picture, there for many years? His imagining the robbery, his heroism, the shooting of the robbers? His life at home, Rose and her job, chatting, the money in the cookie jar? Her wanting a holiday? His routines and being used to them? The news of the transfer, his criticising of the executive and his being put down? His regrets?

5. Charles, his work in the gallery, his apartment, the camp touches? His cats? His manner? His contemplating the painting?

6. George, his contemplating the statue? His imagining himself and posing? His diminutive stature and his ambitions to be male tough? His stories about the invasion of Grenada, his military background, language, slipping to talk about Vietnam?

7. Charles and his idea, to steal the paintings and the statue? The meeting with George? The secrecy? The ideas? The contemplation of the paintings and the motivations?

8. The plan, things going wrong with the plan? The modelling of the Museum – and the animation with the pegs to illustrate what could go wrong?

9. Their application for extra duty? Rose and her wanting the vacation? Upset with Roger after he took the money for the forgery? His promises? Her going to the manager about the vacation?

10. The codes, military style? Charles and his paintings, failing with the Lonely Girl? Succeeding with his own? George and the building of the alternate statue? Going to the forger, his charge? Taking the works of art to the Museum?

11. The robbery, the packing, labelling, the substitution of the art? George and his success? His hiding in the case? The walkie-talkie contact? Anxiety with the guard walking through the building early?

12. The vans, the success, the paintings in the van with Roger and Charles? The discovery that George was in the other van, his posing naked with the statue, without his clothes in the van?

13. Roger, the plan, to go to Florida, the timetable, the van, Rosa and her chatter, the crisis, her expecting a surprise? George naked? Roger going into the room with the cases, Rose coming in shouting, everything fixed up?

14. The holiday in Florida, Roger and his scuba diving, discovering Rose on the sand in the pose of this picture? His love for her?

15. A film for chuckles and an appreciation of the acting skills of the three older men?

BLACK FRIDAY

US, 1940, 70 minutes, Black-and-white.
Boris Karloff, Bela Lugosi, Stanley Ridges, Anne Nagel, Anne Gwynn, Virginia Brissac.
Directed by Arthur Lubin.

Black Friday is worth a look. While it is announced with co-stars, Boris Karloff and Bela Lugosi, Bela Lugosi has a small role as, rather unconvincingly, an American gangster. On the other hand, Boris Karloff is a respected surgeon who is experimenting on the brain and the possibility of brain transplants.

He is very friendly with a literature Professor at the University, played by Stanley Ridges. The Professor has a devoted wife. The surgeon has a loving daughter.

The Professor has a stroke and dies. In the meantime, a group of gangsters are in the town, pursuing another gangster who they feel has betrayed them and has money. They shoot him. His body is taken to the surgery and the surgeon decides to transplant the Professor’s brain into the criminal. It has to be said that Stanley Ridges is effective as the Professor but also quite credible, and quite different, as the gangster.

The surgeon decides that with the gangster’s brain inside the Professor, he will send him to New York to recover the money which can be used for further brain surgery research. This is what happens, the surgeon becoming more deeply involved in criminal activity, the Professor becoming the gangster and killing his rivals. The Professor’s wife in the surgeon’s daughter also come to New York – leading to a showdown and a confession.

The film is directed by Arthur Lubin who directed quite a number of the Abbott and Costello comedies as well as some of the Francis films.
The premise has been used in other thrillers but, with Boris Karloff, this one is of greater interest.

1. The blend of drama and horror? The star vehicle for Boris Karloff? Lesser vehicle for Bela Lugosi? A two-to-force by Stanley Ridges? Audience expectations?

2. The title, Friday the 13th, Fate, superstition?

3. The American city, prison, execution room, laboratories, university classrooms, crashes, laboratories, the details of the city? New York city, hotels, restaurants, the criminal world? The score and the songs?

4. Boris Karloff vehicle, his strong presence, statue, voice, dignity, preparing for execution? His book, his giving into the journalist who supported him? Prepared to die? His final message? Justification for what he had done?

5. The flashbacks, the doctor and his work, experimenting on the brain, laboratory, his lover’s daughter, Professor Kingsley as his friend, the criminal attack and the injuries? Kingsley is pleasant, his students affirming him, love of literature and quoting? The issue of his brain, the doctor making decisions, the criminal being dead, the transplant to the Prof? The motivation for getting the criminals cash and a grant for experiments?

6. The Prof, his charm, getting the criminal brain, himself but… The reaction of his wife, his strangeness, differences?

7. The doctor’s idea to going to New York, not having the Prof’s wife with him? The doctor and wanting to recover the money, their travelling together, going to the hotel, settling
in, the doctor and his care, leading the professor and his awareness, taking into the restaurant, his girlfriend’s singing?

8. The physical transformation, the Jekyll and Hyde touch, the change in his appearance, face, hard lines, hair? His manner of talking, behaviour? Tough? Threatening the girlfriend? And the criminals, led by Eric Marney? His wanting ventures killing them?

9. The criminals, the money, Chase, wanting to get rid of the criminal? The girlfriend, consulting her, her fear? The criminal in the various confrontations, deaths? Atmosphere of
suspense?

10. The effect on the professor, his wife coming to New York, with the doctor’s daughter, their concern? The doctor arguing his case?

11. The doctor engrossed, yet his fears, the effect of the killings, the professor waking up?

12. The murders, coming to arrest the criminal, the doctor, his explanations? His crime for the benefit of the human race? Experiment on transplants? Yet the greed motivation and ruthlessness? And the Professor finally being himself?

DIARY OF A WIMPY KID: THE LONG HAUL

US, 2017, 91 minutes, Colour.
Jason Drucker, Alicia Silverstone, Tom Everett Scott, Charlie Wright, Owen Asztalos, Dylan Walters, Wyatt Walters.
Directed by David Bowers.

The books are the work of author, Jeff Kinney. He has served as a writer and producer for the earlier three film versions of Wimpy Kid stories.

While the previous three films had established the characters in the mind and imagination of the audience, the children were growing older and so we have a new set of performers. Jason Drucker as Greg Hefley, Charlie Wright credible as Roderick, though a caricature, Owen Asztalos, a new actor as Rowley, Dylan Walters as the little baby and new actors as parents, Tom Everett Scott as the father and, very strongly, Alicia Silverstone as the mother.

Younger audiences are the target, and sharing with their parents and families.

The film offers a portrait of the Hefley family and audiences identifying with them or not – Greg, his age, Wimpy, causing trouble, sharing with Rowley, his good friend. On the other hand, Roderick is 16, preoccupied with heavy metal and his band, obtuse in the extreme. The baby is growing up, needs a mouth guard and one is found giving him Dracula teeth. But, during the road trip, he is able to learn Spanish and speak it well.

The mother decides that there should be a road trip – one which makes the National Lampoon trips seem rather tame! The mother is dominant, making all the decisions. The father is pleasant – and a touch wimpy in himself. On the trip they are going to see grandma for her birthday and it is decided that they need quality time together, and especially no phones, which are collected. And the music is at the decision of the driver – some of the Spice Girls’ music which the boys do not like. To while away the time there are word competitions.

The car is ready, overloaded with luggage and so everything is put on a boat which they trail. The culmination along the way is rough but they do encounter a big family, literally big, in a spa in a motel. Greg gets into trouble, is chased by the big man and finishes up, accidentally, in his bed and is pursued even more. They meet the family again at a theme Park and there is further pursuit.

Greg has an interest in a video show that his mother does not like and decides to send in a request to meet the host at a fair. He had been filmed previously, by YouTube?, with his hand stuck to a diver and that becomes his reputation. The host of the show is delighted to meet the kid and Greg and his behaviour lead to some further disaster.

There are many difficulties along the road, side roads after a traffic jam, going through mud, the boat bouncing and the luggage all lost.

However, they arrive, grandma is welcoming, they enjoy the party – and the mother decides that they must have another road trip.

The characters are particularly American – rather loud and in your face, the behaviour of the children sometimes exasperating. This may make the Wimpy Kid films not the favourites for every audience.

THE REVIVAL

US, 2017, 85 minutes, Colour.
David Rysdahl, Zachary Booth, David Carl, Stephen Ellis, Lucy Faust.
Directed by Jennifer Gerber.

The revival is an arresting film about a Baptist minister. He has inherited the church from his father, a popular minister in an Arkansas town. The new minister has gone beyond Arkansas for his education and has returned and married.

However, the minister is gay. He is rather reluctant to acknowledge this, conscious of the homophobic attitude of some of his congregation, of his obligations to his wife. He is played convincingly by David Rysdahl.

His church welcomes everyone, there is singing, there is preaching – although the young minister is not particularly adept, paling in comparison with his father. There is also an outreach to those in need. One of these is a young man, Zachary Booth, whom the minister helps, befriends, sets up in a home, has many discussions. The drifter is also gay and the minister succumbs to his attraction, beginning an affair.

The congregation wants to build up its reputation and its outreach in the manner of the minister’s father and there is a suggestion for a revival, a lot of promotion, the minister interviewed on radio, somewhat awkwardly, a great deal of church activity.

This leads to a crisis for the minister, his relationship with the young man, his genuine affection for him, wanting to cut him off and set him adrift for the sake of his reputation and for the church. However, his wife understands what is happening and takes a stand, going to visit the drifter and confronting him.

This is a film which leaves the ending to the audience – the minister going to his pulpit and beginning to speak… What will he say? What will be his response to the congregation in the revival? His future?


1. The title? The First Baptists and their churches, revival meetings? Arkansas and the planned revival for the church? The repercussions for all those involved?

2. The Arkansas setting, the town, offices, shops, homes? The church and the church office? The countryside, the house in the countryside? The musical score? Background, revival hymns?

3. The issue of homosexuality? Morality? The statements of the Bible? Fundamentalist Christians? Preaching against homosexuality? Condemnation is a scene?

4. The drama with Eli as the Minister, inheriting the church from his father who was well respected, his returned from studies, his hesitant preaching, the small congregation, his marriage to June and her pregnancy? His unease in the situation? Trevor and his enthusiasm, belief in Jesus, checking with the authorities of the Baptists, getting Board members to come to visit the church, enthusiastic about the Revival and persuading Eli?

5. The prayer service, the food afterwards, the hooded man absorbed in his food, Eliza approach, the food, the limited talk, the man leaving? The henceforth the gay theme?

6. Trevor, big, burly, his character, his past, the truck driver, drugs, his wife, her custody of their daughter, her doing drugs, his having the custody, is love for her? Religion? Wanting Eli to be more enthusiastic? Seeing the Revival is the key to the future?

7. Eli, going to the radio station, the compere’s criticisms, praise of his father, criticising he lies lack of reply, you live in responding passionately about the revival?

8. The encounter with Daniel, wanting to help him, Daniel wanting accommodation, food,
giving him his lunch? Taking him to the house, setting up? The touch, the approach, the embrace, kiss? The sexual encounter, seen from he lies perspective? The effect on him?

9. The continued meetings? The passion on you lies parts? Daniel – and his background? Making crystal meth in the house, Eli forbidding it? The effect on you like, his sense of God, listening to the radio broadcasts in the car, the condemnations, his anxiety, yet his previous questions, covering his identity?

10. The effect on June, talking with Eli, his excuses? Her producing the photo? Later revealing that she took the photo? Its effect on Eli, confronting Daniel, urging him to go?

11. June coming to see Daniel, urging him to go? Trevor and his violent attack? His getting the help of the young man who wants to marry his first cousin? Eli coming, urging the young man to go?

12. The talk between Daniel and Eli, Eli and his sense of God? The Bible? The motivation for the Revival? June and his relationship with her?

13. The revival,

14. getting to the lectern, opening his mouth – and leaving it to the audience to wonder what he would say, cover-up or come out?

 

 

 

 

POSTCARDS FROM LONDON

UK, 2018, 86 minutes, Colour.
Harris Dickinson, Leonardo Salerni.
Directed by Steve Mc Lean.

In 1994, writer-director, Steve Mc Lean, released a film about a gay hustler and a drifter travelling across the United States, Postcards from America.
In 2018, he released this film about a gay hustler from Essex, going to London, becoming involved with male escorts and their clients. However, what makes a difference is that the hustlers target wealthy patrons who are experts in art. This group is particularly interested in the work of Caravaggio.

The film is stylised in its presentation, with framing, different chapters, discussions about baroque art, about Caravaggio and his life, his sexual activities, his clientele. And, at various times there are re-creations of Caravaggio tableaux.

The central character is gay, troubled at school, leaving his parents and moving to London, to Soho where he encounters some of the escorts. They welcome him into the group. However, he has a characteristic mental malaise, contemplating works of art and swooning as he watches them. His capacities and his acquired knowledge make him popular in the art world.

When some entrepreneurs realise that he can swoon in the presence of genuine art, he is employed, somewhat unwillingly, to test out the authenticity of various paintings, swooning or not.

The film offers a picture of a section of the sex industry in London's Soho, a fairly sympathetic portrait of a number of the characters, companionship and sexual activity as well as exploitation. And, when the hero of the film moves away from the group, there is always another young man to groom and to educate.

1. The title? The London situations? The glimpses like postcards of Jim's life? The art world of the baroque, Caravaggio?

2. The stylised nature of the film? The framing, the frames with the different chapters and headings? The scene of Jim with his parents and the artificial room on walls? The emphasis on the Caravaggio paintings? Their being re-enacted by the characters? A rarefied world of art, artists, critics, expertise?

3. The gay atmosphere of the film? Jim, his background at school, his artwork, the approach of the art teacher, his wrestling with his sexual identity? Wanting to leave home? In Soho? The atmosphere, the clubs, the video stores, the prostitutes and windows? Jim meeting the young man charging him for sleeping in his box, his being robbed, chasing and fighting? In the club, the sale address, men and women? Talking to the young woman at the bar? The encounter with the group of young men, their style, philosophy of life, profession, sex work, clients with the art background? Their studies, their expertise?

4. Jim adapting to this world very easily? Making friends with the group? The decision about Caravaggio? His studying the work in great detail, the history, names and dates? The group and their use of art and art history to make connections for clients? Jim’s first client, the discussion about past, the response of the man, Jim unwilling to take money?

5. The importance of Jim's illness, at the National Gallery, thinking in front of the picture, being revived? This continuing with the clients? His imagination during the fainting spells, the group and their composition for Caravaggio paintings, the man acting is Caravaggio, wanting to keep them quiet, criticising them? Jim waking?

6. The episodes with clients, the older man and his Roman dress, wanting to recreate St Sebastian, the discussions about the Saint, the icon, go figure? The man wanting to be Diocletian? The waiter, bringing the food, criticising the smoking? The group blinking Jim with the companion Francis bacon, his lacking inspiration, attracted by Jim, the various sessions, the paintings, wanting Jim not to talk while working, wanting punctuality, Jim sleeping in, arriving late, the artist carving up his paintings?

7. The members of the group, their different backgrounds, calm approach to their sex work? Fellowship? Making money and then retiring after some years?

8. Jim, encounter with the prostitute in the street? Later finding her to be the psychologist? The session with her about fainting, their looking at the pictures, her trying to understand?

9. The former prostitute, lack, his connections, people's admiration for him? The discussions with Jim? The sexual encounter? His wanting to use Jim with his associate to test out the authenticity of paintings, forgeries? Jim, looking at the paintings, fainting, some not authentic?

10. The group, finding a new person to take Jim's place? Jim and his future?