YARDIE


UK, 2018, 104 minutes, Colour.
Aml Ameen, Mark Rhino Smith, Fraser James, Shantol Jackson, Naomi Ackie.
Directed by Idris Elba.

Over the last 20 years there have been many British gangster films. However, the protagonists of these films tend to be English gangsters, white, robbers and murderers, double dealers, blackmailers. There are some black characters but not prevalent.

This British gangster film is different. The focus is on Kingston Jamaica in the 1970s and then on London in the 1970s and 1980s. The protagonists are all West Indian.

Interestingly, the film is the directing debut of actor Idris Elba, British-born, best known for action television series like Luther and for some tough films. Although, in the year in which Yardie was made, he appeared in the Stephen King adaptations, The Dark Tower, as a hero warrior, then as a romantic lead with Kate Winslet in The Mountain Between Us, and finally a very fine performance as a lawyer in Molly’s Game. He does not appear on screen in this film.

The film opens with gangs in Kingston. A young lad, D. has great admiration for his brother who is involved with the gangs, a driver, but also a composer of music. The music scene in Jamaica is very important. When his brother is shot dead, D is in a rage, wanting vengeance on the killer. The film also shows innocent people, schoolgirls, being shot in the gangs’ crossfire. One girl who survives, Yvonne, is in a relationship with D and they have a child – however, to escape the violence, she moves to London.

When D is in his early 20s (and played by Aml Ameen), he is under the patronage of a local kingpin (in both drugs and music), King Fox. D is sent on a mission to London to deliver drugs, successfully getting through customs, finding the dance hall where his contact presides. The local kingpin is Rico (Stephen Graham doing a West Indian in London impersonation and accent). Whatever the reason, D decides to keep the drugs for himself and sell them to other dealers.

What follows is what might be expected in this kind of film. Rico wants vengeance and sends out thugs. D tracks down Yvonne and discovers his daughter but Yvonne wants him out of the house. In the meantime he is attacked by three young men who want the drugs to pay for their band instruments. But, D gets the better of them and finds a dealer who is in contact with Turkish dealers in London. D also manages to discover Clancy who was the man who pulled the trigger on his brother.

There is violent rivalry and gunfights. There is music, competitions with D using his brother’s songs.

When King Fox arrives in London, there are explanations of what has happened in the past, not quite what we expected, and violent solutions to what is happening in the present.

In one sense, nothing new as regards gangster films and drug dealing, but the focus on Jamaica and the West Indian gangs in London does make it different. A tough film.

1. The title? West Indian background? In England?

2. A gangster story, British, the tradition of British gangster films? The differences with the background in the West Indies?

3. Jamaica in the 1970s, London in the 1980s? The West Indies, the countryside, the gangs, drugs, music, control, violence and deaths?

4. The Jamaican locations, the city of Kingston, the neighbourhood, homes, the villages in the countryside? The criminal world, the gangs, the areas and the shootouts?

5. London, the 1980s, Gatwick and customs, the London streets, the dance halls, flats, the streets? The world of the dealers? The city Estates and flats?

6. The musical score, West Indian traditional? West Indian songs, the lyrics – leading to rap?

7. D, his voice-over narrative, the diagram of the righteous path and the path of evil? I as his mental, offering the choices? His age, devotion to his brother, Jimmy Fred, the strong influence, taking D on the trips, warning him off the violence? The admiring his brother, following him? The world of music, Jimmy and his lyrics, D and his jobs, the drugs, the dangers? The murders?

8. Jim’s death, D and his grief, smashing? His not mourning his brother in the perfect ritual of the Nine Night? His nails, Clancy’s target? And the later flashbacks to these episodes?

9. The gangs, shootings in the streets, the names of the gangs, the leaders? The crossfire, Claudette killed in the crossfire? Yvonne and her presence?

10. D, his relationship with the von, growing older, her leaving Kingston, going to London, her daughter? Her wanting to let go?

11. The role of King Fox, music, patronage for Deed? The mission, the role, the job, going to London? The deal, and in the drugs over to Rico? King Fox on the phone calls? Later going to London, his explanation of Jimmy’s death, the explanation of Clancy’s participation?

12. Rico, his thugs, control, some seeing him as a liability, is seen himself superior? D and the confrontation, not handing over the drugs, standing his ground? Escape, the pursuit, the guns and street?

13. D and his going to see the von, discovering Vanessa, Yvonne’s reaction, wanting him out? His hiding the drugs, her finding them?

14. The three young thugs, coming into the house, guns, de-getting control of them? His interrogation, the brother and his contact with the Turkish dealers? The aim of the men, to have a band, to buy the equipment? The discussion, the possibility for sales, the prophets and their being used?

15. D, rekindling his love for Yvonne, her response? His love for his daughter? In the park, the abduction, his searching for Vanessa? The folks coming to the hospital, confronting evil, saying this was a rehearsal for the real thing? Yvonne’s reaction? Wanting De-out?

16. The church, the singing, the celebration, the welcoming of D? The singer, later coming to the home, trying to talk sense into D?

17. Clancy, his story, being seen in London? His work with the amplifiers? Mona, his child? The phone call, de-coming to confront him? The folks pursuing? D and his car, the young musician, supporting D, dying in the crossfire? The funeral, the speeches about the wasted life?

18. Yvonne, going to see Clancy’s wife, confrontation?

19. Fox, contact with Rico, coming to London, Rico’s death? The shootouts?

20. Importance of music, D and his brother’s songs, singing? The competition? The rivalry between the young group, High Noon, and Rico’s group?

21. A film about vengeance, vengeance consuming someone, the attempts to help him to let go, family? The violence and the consequences? Possibility for a better life?

IN DEN GANGEN/ IN THE AISLES

Germany, 2018, 125 minutes, Colour.
Franz Rogowski, Sandra Huller, Peter Kurth, Andreas Leopold.
Directed by Thomas Stuber.

This film has a delightfully playful opening. Tchaikovsky’s Waltz of the Flowers comes up immediately. And the visuals are of corridors in a supermarket warehouse with forklifts going up and down the corridors, crossing the corridors, all in the rhythms of the Tchaikovsky waltz, forklifts as flowers! Later the music will go to Bach and to Strauss and then to more modern songs, especially with the setting of Christmas.

This is a film which offers more than you ever thought you would need to know about forklifts! And, at the end of the film, one might be tempted to think: somebody made a bet with the director and writer of the film that he couldn’t make a film of over two hours, no explicit sex and violence, mostly set in the supermarket and the warehouse. But he has.

In the Aisles won the Ecumenical Award at the 2018 Berlin Film Festival. The criteria for this award Included a dramatisation of basic human values. And this is certainly a film of humanity, human values.

The film focuses on Christian (emerging star Franz Rogowski, who appeared as Isabelle Huppert’s son in Happy End and as the hero in Transit) a rather reticent and shy young men who applies for a job in the supermarket. The manager treats him sympathetically and sends him down the corridors to Bruno who is the manager of forklift staff. Christian is rather awkward in personal manner as well is in driving forklifts at first but we know that he will ultimately succeed.

One of the qualities of the film is showing the camaraderie amongst the workers in the supermarket. There is a room for the coffee break and Christian is immediately attracted by Marion, played by Sandra Huller who was seen effectively as the daughter in Toni Erdmann. Christian tentatively talks with her and she is encouraging. However, we later learn that she is married to a rather violent husband and has to take time off work. But Christian continues devoted.

Christian also makes friends with Bruno over the time. Bruno lives alone, used to be a truck driver, enjoys his work in the supermarket but wants more. He plays chess with the manager of the supermarket. The group will take time off at Christmas for a drink and get together with some playful mockery of various members of the staff. Bruno even invites Christian to his home for a visit and a drink. But there is a sadness about Bruno.

As has been mentioned, the audience sees more about forklifts, the way they are driven, the height of the lifts, the working of the gears, the shifting of goods from one part of the warehouse to another, more than we might ever have expected – but it may make us sympathetic to workers in larger warehouses whose work we never think about in any detail!

Christian is accosted at one stage by his past friends and we learn that he was something of a juvenile delinquent, spent time in an institution, but was young and this has not been held against him. Despite his awkwardness and shyness, and our seeing him alone at home, he does have prospects for a future.

Ordinary people, ordinary lives, ordinary work, ordinary situations – all presented quite engagingly and with a deep sense of humanity.

1. The title? The supermarket? The store and the warehouse?

2. A film of humanity, ordinary people, ordinary work, ordinary situations?

3. East Germany, the city, apartments, houses, the countryside, bars? The musical score?

4. A film of interiors, the stock rooms, the market, the aisles?

5. The playful opening with the Walls of the flowers and the forklifts moving like the flowers? The transition to bark, Strauss, Christmastime and the popular songs, coming down to earth?

6. The focus on the forklifts, then movement, size, height, the stores, the stacks, moving them? The number of forklifts?

7. The store, the stock, the various divisions, the various heads of departments? Sharing the work, the range of people, the coffee room at the breaks, talk and chatter, the night shifts?

8. Christian and his story, his age, shy, quiet at the store, not talking much? Going to apply, the meeting with Rudy, the interview? Introduction to Bruno, the test? Rudy and Bruno and their chess games? Their lives in the store? Christian and the test, not driving well? Bruno and his allowances? The training sessions, the classes, the tests? Issuing of licenses? Christian, living alone, at home, the tatters all over him, and by his friend? Eating at home, going to work, his life at work? His future?

9. The later information about his past, young, thefts, with the group, seeing in them at the bar, playing pool, watching? His being in juvenile detention? Not having a record?

10. The attraction to Marion, at the coffee, talking, her looking after the sweets area, sharing? Christmas of the bond, her comments? The truth about her husband, his harshness? Are being away, ill, her husband’s treatment? Christian going to the house, bringing the flowers, her being in the bath, getting out? Meeting her later, the return, the bond? Going to Bruno’s funeral? The sharing at the end?

11. Christian and his change, at home, at work, expertise with the forklift, helping Bruno, Bruno as a father-figure? Going to Bruno’s home, Bruno and the story about the truck driving? The visit, Bruno hanging himself? The pathos of the funeral? His bond with Rudy?

12. Question as successor to Bruno, getting the news, Rudy and his sadness? The promotion? Christian and his skills?

13. The other members of the team, the women, the men, the Christmas episode – and Clouse sunbaking, the jokes?

14. A film of humanity and hope?

GREAT GUY

US, 1936, 66 minutes, Black-and-white.
James Cagney, Mae Clarke, James Burke, Edward Brophy, Henry Kolker, Bernadene Hayes, Edward Mc Namara, Robert Gleckler, Joe Sawyer, Edward Gargan.
Directed by John G. Blystone.

James Cagney had already proven himself a star at Warner Brothers in the first part of the 1930s, especially with Public Enemy (which included the famous scene with his co-star in this present film, Mae Clarke, squashing the grapefruit in her face!).

While Cagney is typically pugnacious in the central role, he is on the side of the law. He works for the Department of Weights and Measures and comes up against a crooked alderman and his henchman, pressures on him to falsify documents. However, he is staunch in his position and stands his ground.

Brief running time, but a small moralising film of the mid 30s and an opportunity again to see Cagney on screen.

1. A small James Cagney film of the 1930s? His career at Warner Bros? Tough image? Films with his genial image? Combined here? The title?

2. The strong cast, Cagney and Mae Clark, the range of character actors.

3. The background of the Department of Weights and Measures? The leader, involved in a car accident, victim of attempted murder, hospital, contacting Johnny Cave, putting him in charge? Cave talking to the squad, Pat Haley and his Irish accent and stories, flirting with Hazel, chatting with Johnny, accompanying him on the rounds, the market, the weight in the chicken, the other weights, handing out tickets and summonses?

4. Johnny, the relationship with Janet, secretary to Canning? Promoting his good name? The phone calls, the outings, Johnny being late, the verbal sparring, her being in control? The celebration at the Ritz – but going to the diner, the fat man taking the food and Johnny firing pellets at him through the straw? The visit from Cavanagh, trying to get him onside, the job, the salary, the benefits? Johnny and his refusal, ousting Cavanagh? The thugs arriving, in the car, the crash, Johnny injured, the alcohol, taken to court, Cavanagh coming to rescue him?

5. The visit to the mayor, the mayor putting pressure on him? Seeing the phone message about Canning and the firing of the head of the orphanage? His going to visit the orphanage, talking with the head and her being fired, the deliveries, waiting them, the summons?

6. Meeting Pete, Canning’s office, the reminiscences about the fighting days, the invitation to the party?

7. Johnny, the interview with the press, the newspapers, Janet being upset, cutting off Johnny? Canning upset, hiring Burton, tripping on the stairs and bashing Johnny, taking the papers and hiding them in his apartment? The police, the key? Johnny searching?

8. Going to the party, Burton and his dancing with the girls, talking with Canning, the previous phone call, the blackmail, $5000? The meeting, Canning writing the cheque? Johnny following Canning, getting Haley to break off his flirting and talking Irish stories to watch Burton? Johnny illustrating the bout with the technique and knocking out Burton?

9. Contacting the police, going to the apartment, Canning recovering the documents, the fight, the police arriving, Johnny and his fight with Cavanagh, the officer letting the fight go on while he finished his cigar?

10. Janet, disillusion with Canning, reconciliation with Johnny? The issue of money, the ring, instalment plans, the romantic scenes and their being in the shop buying furniture?

HEIDI

Switzerland/Germany, 2015, 110 minutes, Colour.
Anuk Steffen, Anna Schinz, Bruno Ganz, Quirin Agrippi, Peter Lohmeyer, Katharina Schuttler, Isabelle Otttman.
Directed by Alain Gsponer.

Heidi, written by Johanna Spyri, has been very popular over the decades on screen, including a 1930s version with Shirley Temple. It has had American remakes as well as European remakes. This version comes from Switzerland itself, the country of Heidi and her story.

Annuk Steffen is attractive as Heidi, orphaned, brought by her aunt to the mountains to stay with her crotchety grandfather, played by Bruno Ganz. She befriends a young boy who tends the goats, has to go to school, finds it difficult, charms her grandfather.

Later, her aunt will come from Germany to take her back to be a companion to a sickly young girl and her family. While Heidi does make friends with the young girl, she still yearns for the mountains. She leaves but her grandmother brings the sick girl to the mountains, gets to know the grandfather, sees Heidi in her natural surroundings. The sickly young girl responds very much to the mountains, life in the mountains, the friendliness of Heidi and her young friend.

Audiences have found the story charming over the decades – and this one continues the tradition.

1. The popularity of the stories by Johanna Spyri? The various film adaptations over the decades?

2. The period sitting, clothes, costumes, decor? The mountains, the Alpine scenery? The seasons? The homes, the streets of the town? The training? The contrast with Frankfurt, the big city, the mansion, interiors, the streets and the markets, the church tower? The musical score?

3. The focus on Heidi, her age, her parents dead, her aunt caring for her, the aunt and her opportunity for the job in Frankfurt, taking her to her grandfather, the comments of the townspeople, hostility towards the grandfather? Heidi, unwilling, going up the mountains, the grandfather’s refusal, the aunt running away? Her staying outside? The barn, the building of the goats, getting something to drink? Going inside the house, going up to the loft, hay? Only one chair? Her grandfather making a new one? His allowing her to stay? Overcoming his grumpiness? His flesh and blood? The bonding between them?

4. Peter, with the goats, wandering the mountains, Heidi going with him, their becoming friends? His taking the food? His having to go to school? Heidi and the visit to the home, his mother, the grandmother and her sight, inability to chew hard bread? Heidi later collecting the roles to give her for soft bread?

5. Heidi, remaining with her grandfather, the mountains, the bonding? His personality, mellowing?

6. The aunt’s return, wanting to take Heidi, the grandfather’s reluctance? To be a companion to the crippled girl? The aunt taking her without permission? The train ride, the house, meeting the governess, the strictness and primness, meeting Klara, their bonding, sharing classes, the room and chatter, Heidi and wanting to see the mountains, the two going out, in the market, Sebastian finding them, bring them home?

7. The personality of the governess, controlling, the attachment to Klara’s father, rules and regulations, timetables, classes, meals, bedtimes? The father’s return, her criticising Heidi, saying she was mentally deficient?

8. The classes, Heidi refusing to learn the alphabet? Klara’s grandmother arriving, telling Heidi the story, urging her to read to finish the story? Heidi and her skills? Wanting to write stories?

9. Klara upset, not saying goodbye to Heidi? Heidi going back to her grandfather, her happiness, meeting Peter again? Going to school, her ambition to write stories? While the other children were following in their parent’s footsteps?

10. The letters to Klara, Klara to visit, the grandmother, friendly with the grandfather, sharing the alcohol? Klara, a sense of freedom, removing her dress, welcomed by the grandfather? Peter, his surliness, throwing the wheelchair down the mountain? His having to come out from the rock?

11. The father, snob, not liking the atmosphere, insulted on behalf of Klara?

12. Out and about with Heidi, the mountains, the light, the air, the scenery, Klara standing up, encouraged to walk?

13. Heidi’s story, the little girl emerging, encouraged to write stories because she had seen more of the world? Klara’s story? A story of friendship?

ETUDIANT ET MONSIEUR HENRI, L’/ THE STUDENT AND MR HENRY

Friends, 2015, 98 minutes, Colour.
Claude Brasseur, Guillaume de Tonquedex, Noemie Schmidt, Frederique Bel, Thomas Soiliveres.
Directed by Ivan Calberac.

This is a film which could be described as “typically French�. The centre of the story is a young girl from the country, Constance, Noemie Schmidt, stuck with pressure from her parents, working with her father but wanting to go to the University. When she gets to Paris, she finds accommodation with a crotchety old widower, played by veteran actor Claude Brasseur. He interviews potential students and decides on Constance because he disapproves of his daughter-in-law and his seemingly ineffectual son and wants Constance to break up the marriage.

Constance is a mischievous character in herself, leading the son on at times, becoming friendly with his wife, clashing with the old man. Part of the seriousness of the humour is the effect on the son who does become infatuated with Constance – but his wife becomes pregnant.

There is also the conflict with her father and his demands that she come back home.

However, she is a musician, even composing, and the old widower eventually suggest to her that she go to the London School of Music and, behind the scenes, organises her interview with the authorities. It does not work out as intended originally, but…

1. A serious comedy? French style?

2. The Paris settings, streets, shops, university? Apartments and interiors? The contrast with all Orleans? Homes, gardens, the market? The musical score?

3. The introduction to Constance? Her age, experience, difficulties with her father, mixing things up at the market, his criticising her? Her relationship with her mother, her brother? Wanting to go to university? Her failing courses? Her determination?

4. Going to Paris, going to the apartment, meeting Henri? The advertisement, crotchety? The tour of the apartment, his criticisms? The interviews with other students? His ringing Constance, picking her name out of the hat?

5. Henri, age and experience, his wife dead for 30 years, cleaning the windows, falling, her drinking? His grief? Living by himself? An accountant, his firm, yet not liking his work? His attitude towards his son, criticisms, disliking his daughter-in-law? The proposal to Constance, to sabotage the marriage, to make herself attractive, to stimulate his son, to break up the marriage? Her reluctance, her acceptance?

6. Constance in the apartment, using Henri’s slippers, the issue of the piano and its being locked? The meals, watching television with Henri? His continued grumpiness, criticisms, misanthropic?

7. Constance, the studies, eventually failing and her disappointment? Going out on the town, the club, the musician and her relationship? Meeting Paul, deciding to lure him on? The information about his swimming, favourite book, sayings? Going to the pool, coming home, his attraction to Constance? Taking him to the club, his letting his hair down? Arriving late, Constance not contacting him?

8. Paul, his age, his job, seeing through his father yet subject to him? 10 years marriage to Valerie? The coming for the meal, Hilary bringing the crumble? Returning for the dish, Constance being sick? Her moving out, wanting the divorce, Paul summoned to the lawyer?

9. The irony of Valerie becoming pregnant, Paul attributing it to Constance and her rejection? Joy, telling his father, yet wanting Valerie to make the announcement?

10. Henri and Constance, talking, his becoming more mellow, the playing the piano, memories of his wife? The flight about the London School of Music? Urging her on, going to Orleans to get the recommendation? Her decision to leave, confronting her father, defying him, coming back into the apartment? The months of practice, going to London, the
performance – yet her failing and her determination to go back next year planning and composition?

11. The film about the generation gap, differences – reconciliation, his letter to Constance, the apartment for her and the piano?

JAWBREAKER

US, 1999, 18 five minutes, Colour.
Rose Mc Gowan, Rebecca Gayeheart, Julie Benz, Judy Greer, Chad Christ, Ethan Erickson, Tatyana Ali, Charlotte Ayanna, P.J. Soles, the Donnas, Marilyn Manson, Carol Kane, Pam Grier.
Directed by Darren Stein.

Jawbreaker was released in 1999, some years before the film which became the archetypal story of girls at school, Mean Girls. This is certainly in anticipation of those themes. And its climax takes us back to 1976, Carrie and the mockery of the girl on prom night.

There is quite some satire in this film, especially in the character of Courtney, played with great aplomb and some viciousness by Rose Mc Gowan. Rebecca Gayeheart and Julie Benz are her offsiders, being mean according to the patterns that Courtney sets. However, some come to their senses, others simply continuing adulation. Judy Greer has an early good role as the geeky girl who becomes Courtney’s target for transformation and, for some time, becomes more Courtney-like that Courtney herself.

Carol Kane is the teacher. Pam Grier is the detective.

There is certain malicious delight in watching Courtney and her manipulations – along with the hope that she will be finally exposed and humiliated. And she is. (It is interesting to note that this was the period in which Rose Mc Gowan experienced Harvey Weinstein and his harassment – her later documentary television features about women and harassment are in the line of her very strong screen presence in this film.)

1. A comedy for the teenage female audience? Satire? Serious implications?

2. The school setting, classrooms, corridors, cafeteria? Homes? The familiar small town world? The musical score? Songs and music of 1999?

3. The title, the credits, the confectionery, the making of the sweets, the Jawbreaker, hard? Its role in the plot, Elizabeth, the prank, taped into her mouth, her death?

4. The establishing of the four girls, dominating and the school, self-importance? Glamour? Turning 17? Their walking down the corridor? Self-confidence? Fern and her dropping her books? Their despising her? Her look in contrast?

5. The birthday, the prank, Courtney and the jawbreaker, the tape, carrying her out of the room, the friends helping, in the boot of the car? Finding her dead? Arranging the body? Being found?

6. Courtney has a leader, glamour, imperious? Domination of the other girls? Marcy and her subservience? Julie, eventually standing up for herself?

7. The situation, Courtney and the phone call from the mother, the principal and her reactions, to give the homework to Courtney, her forgetting, Fern doing the job? Fern arriving at the house, the girls talking, her overhearing? The threats? Courtney’s decision to transform Fern and have a hold over her? Transforming her from drab to glamorous? The effect on her? Joining the group? Being arrogant? Walking with them, the dining room? Clothes, hair?

8. Julie, change of heart, challenging Courtney? The discussions with Fern? The friendship with Zach? The truth, the discussions? Zach and his involvement? The theatre, their enrolling? Performance?

9. Courtney, continuing imperious, believing she had control? Dane as the boyfriend? Moving towards prom, to be king and queen?

10. The principal, the interviews, believing the girls? The visit of the detective? Her interrogations? Courtney and the spinning of the story, Elizabeth as promiscuous, a mysterious killer?

11. The presence of the parents? – More generally absent?

12. Exposure, people laughing at her, humiliation? Collaborating with Julie?

13. The problem, the principal and the announcements, the youngsters and the dancing, Courtney and Dane and their expectations? Zach and Julie finding the recording, Zach manipulating it?

14. The announcement of the king and queen? Courtney on stage? The microphone, the replaying of her words about the killing? Everybody turning on her? Pelting her? Her humiliation?

15. The satiric version of the familiar Mean Girls plot?

ANSWERED BY FIRE

Australia, 2006, 170 minutes, Colour.
David Wenham, Alex Tillman, Fatima Almeida, Isabelle Blais, Damien Garvey, Fivo Freitas, Patrick Williams, Afonso Corte, Felisberto Araujo, Jose da Costa, Ron White, Linda Cropper, Tara Morice, Ines Araujo.
Directed by Jessica Hobbs.


East Timor, Timor- Leste, was a Portuguese colony, the island of Timor then taken over by Indonesia. There were uprising in the 1970s. Australia’s involvement, captured in the film Balibo, was the execution of several Australian journalists. However, there were difficult intense relationships between Australia and Indonesia in the latter part of the 20th century and into the 21st century, especially about ocean resources.

This television miniseries shows the move towards independence. This was achieved in 2000.

The first part of the film shows the United Nation’s mission to the country, with staff from Australia as well as from Canada. The group is led by David Wenham, supported by Damien Garvey, with Isabelle Blais as the member from Canada. It highlights the pressures on the United Nations group, the acts of sabotage by pro-Indonesia sympathisers, the commitment of independence leaders. Despite harassment and violence, a sufficient number of people came to the ballot polls to vote.

The second part of the film shows the aftermath of the vote, the pressures for independence, the rounding up of those who committed violent acts during the initial preparation for the vote, the moving of persecuted people out of Timor.

While the film gives some background to the Australians and the Canadians and their life at home, the commitment in going to missions, the effect on families, there are many central characters who play Timorese activists with the pressures on them for the achievement of independence.

The film was directed by Jessica Hobbs, prolific in Australian and British television and with the television film about the Australian Prime Minister, Curtin.


1. A story that was very topical at the time of the making? A look back at recent history in Timor Leste? The Indonesian occupation? Civil strife? The United Nations and registering for voting, the vote for independence? The story now in retrospect as part of Timor Leste history?

2. The title, the Indonesian occupation, 25 years, the massacres, death and destruction? The resistance?

3. The location photography, Timor, Queensland scenery? The musical score?

4. An Australian production, Canadian partnership? Timor partnership? Local consultants?

5. Audience knowledge of Timor Leste, the occupation, 25 years of clash? The bloodied history? The background of the Portuguese colony, the island of Timor, the Indonesians, the division into Timor Leste and West Timor?

6. Timor Leste in 1999, the situation, with Indonesia? The Australian presence? The United Nations? The Australian background, in 1975 and government stances, the Australian government standing back in 1999?

7. The atmosphere of Timor Leste, the capital, Dili, the mountains, the villages, the coast? Scenery and atmosphere?

8. The move for independence? The local Independence movement, Resistance? The old man, Jorge, his speech in the church, the priest supporting him? His family and their involvement? Madalena Ismeneo? The Timorese working for the UN mission, Maria? Drivers, secretaries? Secrecy, hiding, the Resistance emerging? And the percentage of those enrolled for voting?

9. The roles of the United Nations, Australian presence, Canadian? The role, safeguarding, enrolling as many people as possible? The buildup to the vote?

10. Mark, at home, his absences, sense of duty, relationship to his wife and the tensions, to the children? Ron, friend, his background? Eagerness? The range of associates, arrival, setting up, offices, the staff?

11. The mission, for enrolment, the time limits, the headquarters and the officials, the local offices, the variety of workers, especially Maria and her being threatened?

12. The dramatisation of various incidents, the pro-Indonesian militia? The battles, the fights, within families, ismeneo and Sico and their being cousin’s? The death of Maria? The dangers for the UN mission?

13. Julie, Canadian background, her fiance, sense of duty? Strong stances, the incident with the car in the militia? Not understanding the culture, the role of men, the role of women? Dangers, her having to learn? Her concern for the people, the attraction to Ismeneo? Mark and his warning?

14. Journalists, the Australian journalist, her contacts, interviews, sending news to Australia, radio, newspapers? The role of journalists in this situation, the dangers?

15. Mark, his control, his own personal emotions, reactions to Julie and trying to teach her as well as protect her?

16. The characters of the pro-Indonesia militias, Indonesian officials?

17. The enrolments, travelling to the villages, the militias watching? The significance of the arm wrestling contest between Mark and Sico? The deal? Allowing the enrolments? Yet the vendettas after the vote?

18. The success of the enrolment? The numbers? The reaction of the UN headquarters, especially to the dangers?

19. The vote, the numbers voting, exhilaration for those in favour of independence? The percentages? The media reports?

20. The withdrawing of the UN officials, dangers, helicopters? Ismeneo and his family, the militias and their being taken? Julie and her being upset? Desperation, vehicles, refugees at the UN compound, opening the gate? The impact on Ron? The rescue of the refugees?

21. Julie, back in Canada, talking about the mission, her fiance, the effect of being in Timor Leste? The attraction to Ismeneo? The decision to go back? And her final decision to remain

22. Mark, returning home, celebrating with the family, birthdays, ordinary life? Yet the effect of the Timor Leste experience? The contrast with Ron, his memories, his conscience, his bonding with the people? Is becoming too much for him? The phone call to Mark? His suicide?

23. Mark and his decision to go back? The role of the UN in the aftermath of the Independence vote?

24. The militias, then vengeance, the massacres, Jorge and his being killed, Ismeneo, sacrificing himself, torture, Madalena? The priest and the people in the Church, the burning, the search for the bodies, the cage in the lake?

25. The way the film presented the violent horrors of the immediate aftermath?

26. The gradual peace, the role of the UN, finding Ismeneo and the others? Justice for the militias? Mark and his searching for Sico, the truth about the Indonesian officials, issues of money, betrayals, the taking of’ Sico, Mark and his emotions, taking him to be interrogated? Ismeneo present?

27. Decisions for migration and for remaining?

28. Timor Leste and its gaining independence? The effect on Indonesia? The role of Australia and the possibilities of its better commitment? The succeeding years in retrospect?

ISLE OF DOGS

US, 2018, 101 minutes, Colour.
Bryan Cranston, Koyu Rankin, Edward Norton, Liev Schreiber, Greta Gerwig, Bill Murray, Jeff Goldblum, Bob Balaban, Scarlett Johansson, Courtney B.Vance, Konichi Nomura, Tilda Swinton, F. Murray Abraham, Frances Mc Dormand, Fisher Stevens, Harvey Keitel, Ken Watanabe, Yoko Ono.
Directed by Wes Anderson.

An animated allegory written and directed by Wes Anderson, whose 20 year career has provided an enormous range of genre films, serious undertones, humorous overtones, all kinds of comedy and parody. He also ventured into animation with The Fantastic Mr Fox. Audiences will have their different favourite Wes Anderson films This reviewer remembering happily the Royal Tennenbaums and, especially, The Grand Budapest Hotel.

The animation in this film looks a bit rough and ready, all to the film’s advantage. There is no smooth drawing for characters most of whom are dogs. The movements of the characters are not smooth either, but humorously jerky and angular. There is a great deal of attention given to the backgrounds, especially the wastelands of the actual island where the dogs are exiled. This is not a pretty-pretty location film. Which means that just visually, there is a great deal of edge.

And the voice cast! It is led by Bryan Cranston and Koyu Rankin. Many of the cast have appeared in other Wes Anderson films and are welcome back, some having much more to say than others – and, some silent!

The film has a Japanese setting – which some would-be purists object to, Americans capitalising on Japanese characters and themes. But, this seems to be too much objection. One of the writers, who voices the Mayor in the film, is Japanese. And the central character, a young lad of 12, is reminiscent of and probably a tribute to the many animated films from Studio Ghibli and other studios.

The dialogue is certainly worth listening to, full of humour, full of spoof, full of parody – but, with quite an underlying seriousness.

The film goes back into earlier centuries with history of the status of dogs in Japanese households. It leads to a revolution where the population turn against their dogs, preferring cats, and the powers that be of a leading family decree the exiling of all dogs to an island off the coast. The population seeming to agree complacently and all the dogs are rather brutally rounded up and even brutally deposited on the island where they have to survive, make do, scrounge, break friendships, fight amongst each other.

The life of the dogs on the island is often very amusing, often very challenging. The key event is the arrival of the adopted son of the Mayor taking a plane and crash landing on the island to find his pet dog. So, the film becomes something of a quest, the outlaw dog, voiced by Bryan Cranston, becoming a friend and an ally. There is also a show dog, voiced by Scarlett Johansson, who has an interesting history and contributes to the quest.

Most of the reviewers spent their time talking about the animation, the cast, the humour, Wes Anderson’s perspective. But, when one comes to think about it, the film serves as a contemporary social allegory, getting rid of the dogs seems to be an allegory of any ethnic cleansing. Those who are ethnically cleansed have to move into exile as do the dogs on their island. The critique is also of the wealthy, their corrupt use of wealth and power, manipulation of the public.

This means that Isle of one works on two levels, that of popular entertainment – but, very seriously, an allegory of contemporary social injustices.

1. The title, expectations? Wes Anderson and his imagination? Animation?

2. The production values, the creation of Japan, the city, the past and the future? The island? The media, laboratories, homes, press conferences…? The island itself, the rubbish, the cages, Harriet? Heartland, the mountains, the factories and the works?

3. The Japanese atmosphere, Japanese lettering, the voices and accents, the translations? A Japanese story? The musical score and arrange for the different moods?

4. The humour, language, puns, the deadpan remarks of the dogs, emotions? The dogs paralleling human talk and behaviour? The human behaviour itself, the family, to any and oppression, corruption? The dogs and their intimations, comments, emotions? The jokes about translators?

5. The range of the cast and its range of voices?

6. The animation, movement, jerky and angular, for the dogs themselves, the action? The effect?

7. The shapes, the forms, humans, the range of dogs, colour?

8. The musical score, the different moods, the range of the music?

9. The structure calling the prologue, back in history, the history of the boy? The two radical family? Treatment of the dogs, the putting down of the dogs? The dogs and history, the visuals of the crowds of dogs on the range? The captions, the information, times, indication of flashbacks? The several chapters? The narrator and his tone?

10. Copied are she, 20 years into the future, the background of his family? His being the mayor, against the dogs, the rally and the human support? The humans neglecting their pets not defending them? The contrast with the scientist, his research, his speaking at the meaning, meeting, his plea, his being pelted with rubbish? Laboratory, his working on the serum, it almost working? Collaboration with his sister? His being killed?

11. The dogs being rounded up, the cages, with the garbage, dropped onto the island? Scavenging? The narration about change in the dogs, the groups, the fights, gangs and confrontations? Sport and his being locked in the cage and his bones? The rancid drop, the two groups, the pave, then the fight? The different regions, mysterious characters, in significance of rumours?

12. Duke, king, boss, again, the leadership, the votes, subservience? The encounter with Chief? The stray, rough?

13. The little pilot, his landing? Their collaboration? Yet the rule of Chief contrasting with the gang? Is defiance?

14. The little pilot, age 12, flying the plane, crashing? The built in his neck, removing it? The dogs watching in amazement? The flashbacks, the train crash, the pilot and his parents killed, is becoming the award of the media, given spot,’s Spot on his communications, his secret tooth? His upset about the dogs, motivation to take on the plane? The media treatment? Tracy and her crush on him?

15. The search for Spot? With the mistake about Sport? The rule helping, admiring the little pilot, action, at Tara and Chief, together? At Tara washing Chief, changing colour, the issue about fetching, Chief and his new image? The other group, in the carriage, going to the factory, washing and the different colours?

16. The story of cabinet meeting, the dogs attraction to her, her being groomed to be a performer, star? Not wanting to be pregnant? Her gradual change, falling in love? Her litter?

17. Tracy and the scientist sister, confronting her, the research, involved in protests, confronting the man?

18. The mayor, challenged in public, his confession, going to prison prison, the various thugs – especially the tall sinister majordomo?

19. Atari, the return, change of the law, its coming back into families? Tracy and her crush?

20. The film as a parable, allegory of racism, ethnic cleansing, Fascism? Excise, no defence? Authorities, power, corruption? Rescuing those in trouble, values and rights?

IN SEARCH OF FELLINI

US, 2017, 93 minutes, Colour.
Maria Bello, Ksenia Solo, Mary Lynn Rajskub, Barbara Bouchet, Nancy Cartwright, Lorenzo Balducci, Paolo Bernadini.
Directed by Taron Lexton.

In Search of Fellini is an unusual American film, small budget, focused on a sheltered young woman and her emergence into the world – via her interest in the films of Fellini.

Ksenia Solo plays Lucy, a 20-year-old, who has been brought up by her mother, a single mother who has devoted her life to her daughter, smothering her in many ways. She is Claire, played by Maria Bello. Also in the house is her unmarried sister, Carrie, played by Mary Lynn Rajskub, who has to be protective of both mother and daughter.

When Lucy decides that she will move out from home and go to the city, she answers an advertisement, thinking that she will get a job in a film company – it is a film company, but making pornographic films and Lucy flees after the advances of the producer.

In the streets, she see some characters and advertisements for a Festival of Fellini films. She goes to the Festival and sees La Strada, identifying with Giulietta Massina’s Gelsomina. Going home, she has copies of Fellini films, with posters in her room, watches the films and becomes entranced. Her mother and aunt see some of the film is and are not quite sure how to interpret them, explaining them away as art.

However, Lucy takes initiatives, phones Fellini’s office, makes an arrangement to meet him, goes to Italy, landing in Verona where she loses her luggage. There she encounters a genial young man, who accompanies her around the city, and responds sexually to him, opening up her personality in ways she had not imagined. She is more worldly-wise when she goes to Venice, again finds a young man of whom she asks the way to the railway station, he inviting her to a party, rather Felliniesque with some grotesque characters. In the meantime, the secretary at Fellini’s office has become exasperated with her – and the final time she rings, Fellini has died.

At the same time, her mother is ill and also dies.Saoirse Ronan also wanting to move out into life.

1. An American story? Family, the movies, culture? The contrast with Italy, Italian culture, as seen in the films of Federico Fellini? And the setting in the town of Rimini, Ohio?

2. Audience knowledge of Fellini and his films? Seeing them, liking them? Lucy and her response? Her mother’s and her aunt’s response? Appreciation, humanity, the touch of the grotesque, relationships, sexuality?

3. The insertion of various groups, generally from earlier films, well known, La Strada, La Dolce Vita, 8 ½, Juliet of the Spirits, Satyricon, glimpses of later films? Scenes from Zeffirelli’s Romeo and Juliet? Frank Capra and It’s a Wonderful Life?

4. The situation? Claire and Carrie, their bonds, growing up, memories of their mother, Claire’s pregnancy, possessing her daughter, yet Carrie having to be a double mother for Claire and Lucy, the years passing, Lucy and her name of light, being protected, in a seemingly Capra world? Love, but having to let go?

5. Claire and Carrie as characters, their interactions, Clash, love, Claire and the diagnosis, Carrie and her care, Claire’s tantrums, waiting for phone calls and Lucy, illness and death?

6. Lucy 20, the linking with Gelsomina from La Strada? Moving out, the advertisement, her reply, rehearsing her statements for the manager, going by bike, going to Cleveland, the girls for the auditions, the interview, the fact that the company was production of sex films, the director and his advances, Lucy fleeing?

7. Seeing the strongman from La Strada in the street, following him, the screenings of Fellini films? The images of Fellini himself, the interview segments? Seeing La Strada? The issue of meanings in life? Gelsomina and her innocence?

8. At home, her room, the posters of Fellini, the copies of his films on VHS, her watching them? Later Claire and Carrie watching? The shock, trying to find meaning, seeing them as art?

9. Lucy ringing Fellini’s office, the welcoming assistant, her various calls, the welcome, the reactions? Going to Europe, the later phone calls, her being put off? Fellini dead, his funeral?

10. Lucy in Europe, losing her luggage, the visit to Verona, the scenic aspects, the young man welcoming her, the artist, the arena, the memories of Romeo and Juliet, the motel, the artist and his care, the talk, the sexual encounter and the effect on Lucy?

11. Her going to Venice, the scenic aspects, the strongman? The young man attracted, her talking with him, wanting the way to the station? The art, his inviting her to the party, the invitation to a Dolce Vita orgy and rituals? The man’s attack, Lucy fleeing?

12. Going to Rome, the intercut of her mother and aunt watching the films, the puzzle? Lucy and the parallels?

13. Fellini’s comment about reality and imagination and their not being a line? This film of reality and imagination?

14. Lucy, the meaning of her life, her future?

THE LAST GOLDFISH

2017, 80 minutes, Colour.
Directed by Su Goldfish.

This is an arresting Australian documentary.

Su Goldfish, has explored her origins, finding a lot of film footage and photos from the past, especially from her photographer father. But his background has been a mystery to her.

She knows that her father came from Germany, a refugee from World War II. He finished in Trinidad where he met his wife after the war, marrying, his daughter being born. He seemed to have prospered, especially with music at the time in the West Indies. However, with moves towards independence, he moved his family to Australia, living there for many years.

Su Goldfish herself led a rather flamboyant life, involved in the arts, in gay and lesbian activities, finding her partner, working in filmmaking.

The film is interesting in her exploration, her discovery that her father was married in Germany, had a family, and taken his wife and son to Trinidad and divorced there. His ex-wife and children moved to Canada. Gradually, Su gets more information, travels to Germany, finds places that correspond to the photos in the collection, discovers identity of family members. She also communicates with the family in Canada, eventually meeting some of them and visiting Canada.

For Su, this is fulfilling, knowing more about her father, filling a sense of belonging with an extended family. At the end, she discovers more family connections, members who have changed their names.

This kind of family exploration is a rich source for documentary filmmakers, exploring the past while throwing light on contemporary situations – something which director Sophia Turkewiecz achieved with her documentary about her mother, Once Her Mother (2013).

1. A personal documentary? A family story? Jewish story, the Holocaust? Jews in the 20th century?

2. Su Goldfish, her quest, her films? The use of photos? Video? The visits to Germany, Canada, Trinidad? Her quest in Australia? The visual impact of the photos, the interviews? Editing and pace? The emphasis on audio? The musical score?

3. The title, Su and her family, discovering her past, the investigation, family and name changes?

4. Manfred Goldfish as the focus, an agreeable man, adaptable, yet with secrets, his wife and their 48 years together, meeting in Trinidad, moving to Australia? The birth of Su, leaving Trinidad? The interviews with Manfred in his old age, the photos, his having written stories?

5. Su and her perspective, the background of Germany and her father, Port of Spain, Trinidad? Meeting his wife, her British background? The birth of the daughter? His work in Trinidad, the music and the art world? The uprisings anti-white? Migration to Australia, at home, Sydney, jobs, Su and at school, her accent, Jewish girls?

6. The true story of her father, the revelation about his parents, the cutlery from the hotel, tracking down the hotel, the photos? The mysterious aunt, revealed as grand aunt? His having a camera from a young age, his travel with his friends, to Italy? The friendship with the Olympic jumper? Marthe, meeting her, marriage, his arrest and the story, Marthe saving him, the birth of Harry, interned, the birth of the daughter, getting out of Germany, going to Trinidad? The camps, the Caribbean and the British? Anti-Semitic? stances? Hardships on the family, leading to the divorce? Harry and his book, his nervous state, not replying to Su’s letter? His sister still alive, the contact, the visits? Harry’s son, Gerald, and contact?

7. Su’s discovery after her father’s death of his papers, the letters, his knowing the addresses, his not wanting to live in the past, yet depriving Su of her heritage?

8. The contacts from Canada, sibling visiting, meeting the family, revealing the stories, the joy for Su with having a family, her alienating her parents during her growing up, school, studies, protests, Lesbian partnership? Her work for the gay and lesbian parade? The place of her partner?

9. Her quest, going to Trinidad, meeting old friend Wendy, enjoying the music and the food?

10. The quest to Germany, to Cologne, her father’s photos, identifying the hotel through the story of the flood? The grand aunt? The locations in Cologne where photos were taken? Going to Ulm? The town and the records, the book and the references to Su’s family, going to the launch, her speech, the German passport, the stone in the message, under the memento stone in the street?

11. The seeming end to the quest? The search for more Goldfish members? Brooklyn, the relation, changing his name to Herbert and its being misspelt? The revelation of the wider family, Su meeting them?

12. Su, in her 50s, the 40 year search, the truth about her family, her heritage – and meeting her family and fulfilment?