DON’T WORRY, HE WON’T GET FAR ON FOOT

US, 2018, 113 minutes, Colour.
Joaquin Phoenix, Jonah Hill, Rooney Mara, Jack Black, Beth Ditto, Olivia Hamilton, Udo Keir, Kim Gordon, Emilio Rivera.
Directed by Gus van Sant.

Every new film by writer-director, Gus van Sant, is something of an event. Over almost 30 years, he has produced some offbeat films, as well as some conventional films, but focusing on characters and the human condition. This is no exception. It is based on the life of cartoonist from Oregon, John Callahan (1951-2010).

Of interest, the star of the film was meant to be Robin Williams, to whom there is a dedication at the end of the film. Interestingly also, the star, Joaquin Phoenix sometimes looks made up like Robin Williams, also with some of the angles at which is photographed.

But, this is definitely a Joaquin Phoenix film, an intense and powerful performance with playful and ironic moments. There is a very strong supporting cast led by Jonah Hill as a wealthy facilitator of AA meetings, Rooney Mara as a Swedish airlines flight attendant, and quite a number of very effective character actors, especially in the AA meetings sequences.

The screenplay is something of a collage of events in John Callahan’s life. It is also something of a jigsaw puzzle, the audience watching, observing, reflecting, and putting the pieces together – and they have not been presented in chronological order.

The film opens with an AA meeting, some powerful stories being told about people’s alcoholism and their experiences. John Callahan eventually comes to a meeting. However, his background is working in Oregon, moving to LA for better opportunities, a hard-drinking man, adopted but with an obsession about knowing more about his birth mother, but also being shown on stage, in a wheelchair, and a literary event in his honour.

And so, the audience begins to put the pieces together. There are initially quite a few flashbacks, especially to John Callahan making acquaintance with a hard-drinking LA type, Dexter (Jack black in a very Jack black kind of role – which does contrast finally when Dexter appears later in the film, not typical Jack Black) which leads to a bout of drinking, driving, an accident which leaves John Callahan paralysed from the chest down.

So, there are many sequences of Callahan in physical rehabilitation, especially visited by Annu, Rooney Mara, and showing life confined to a wheelchair. But, there are also the AA meetings where we meet the initial group, learn more about them, see them interact. However, the revelation is Jonah Hill as Donnie, wealthy, a gay man, ill. It is often fascinating to watch Donnie in his interactions with the group, very honest, very challenging, checking humour and its appropriateness or not, guiding people along the 12 steps. John Callahan gets to know him, to like him, to accept the challenges that Donnie makes, especially in the later steps in acknowledging some belief in the transcendent or God as well as the apologies to all the people hurt.

Callahan does this in a very moving way – and, of course, Donnie urges him to forgive himself.

The creative thing is that John Callahan can draw, even with his hands almost clenched with disability. He develops his own style – and there is a continued cartoon he draws in trying to illustrate human evolution. His cartoons certainly have black humour – and, while universities and other presses give him a column, he receives quite a number of hostile and aggressive letters of complaint.

This is a story of human hope, a seemingly hopeless man and prospects for his life, even before his being put for life in a wheelchair, but with support and solidarity, finding himself and a creative outlet.

One of the final sequences of hope is John Callahan in his chair going along LA Street where previously he had fallen out of his chair and a group of youngsters, skateboarding, putting back on his chair even while holding their noses at his catheter. He goes back to join them to share in their play. The song over the final credits was composed by John Callahan and is sung by him.

1. The title, the joke? John Callahan, his life, cartoons, black humour?

2. A true story, 1951 to 2010. The focus on the 1970s into the 1980s? Oregon, Los Angeles? Homes, bars, parties, the streets, hospital, rehabilitation? AA? The lecture hall? The boys on the skateboards? The musical score? The final song sung and composed by John Callahan?

3. The director, his career, interest in issues, human life and values? Hard lives, addictions, coping, bonding, recovery?

4. Joaquin Phoenix in the central role? Originally for Robin Williams – and his looking like Williams at times? The strong cast?

5. The structure, the introduction to the group at the AA, setting the tone, the human voices? The lecture, his humour? In the wheelchair? John Hallahan’s life, flashbacks? His jobs, Oregon, moving to LA, the encounter with Dexter, the hard drinking, the parties, the reckless driving, the accident, his life changed? An expert in surviving and disappearing?

6. The hospital, the doctors, the interns visiting, the cold analysis? The treatment, the machines? The diagnosis? The visit of Annu and her care, conversation? His going home, Tim as his carer? The work, bullying Tim, Tim saying he was not a slave, their agreement to work together?

7. The Dexter flashback, Jack Black, his style, the responsibility – and the contrast when John went to meet him years later?

8. Going to the meetings, Donnie in charge, the group? AA, the style, storytelling, the honesty, the 12 steps? Donnie and his background, facilitating, his wealth, talking, direct, with the jokes for appropriate or not? His being demanding in his questions?

9. Donnie, rich, ill, dying of AIDS? Directing the group, available for phone calls, conversations with John, taking over the steps, supervising him, encouraging him?

10. The group, Corky, middle-aged, talking about her boredom, valium, walking naked, sent for treatment? The German and his story, sensitivities? Mike, quiet, his outburst about work and the challenge about the lack of women in his work and life? Reba, large, 20, her heart condition? The black gay poet and his poems, reciting them? Tim in the background, his religious concerns? Donnie and his questions about their motivations?

11. The effect on John, the years passing, meeting Annu again, the issues of sexual activity, the relationship with her, love?

12. The critique of bureaucracy, watching financial support, Suzanne and her application of the rules, John searching for his mother and their not being allowed to give information?

13. John and the early steps, telling his story, his mother, her background, finding her name?

14. Donnie, his believe in something beyond, calling it Chucky, John and his joke about Raquel Welch? But having a sense of the hand on his shoulder? Trust? Moving to some kind of belief in the transcendent? Donnie’s insistence on asking him why he did various things, the drinking, with Dexter, getting into the car?

15. The step and the apology, John’s list, going to the teacher who recognised his potential, contacting his adoptive parents, the flashbacks to his brothers? Apologising to Suzanne?

16. Seeking out Dexter, Dexter’s life, not coping, the conversation, the apology?

17. The apology to his imagined mother and her image?

18. Donnie insisting on the apology to John himself?

19. The role of the cartoons, the awkwardness of his hands, drawing them, the different styles, his concern about human evolution? The jokes, the Ku Klux Klan, interviews, publishing them, the letters complaining? Getting some finance, something worth doing in his life?

20. The final talk, the audience appreciation, everybody there?

21. The climax, the early scene of his fall from his chair, the kids on the skateboard, the urine and the smell, yet their helping him? And his returning to enjoy play with them?

MY BROTHER’S NAME IS ROBERT AND HE IS AN IDIOT

Germany, 2018, 174 minutes, Colour.
Joseph Mattes, Julia Zange, Urs Juscker, Stefan Konarske.
Directed by Philip Groening.

This is a long film which may appeal to audiences in northern and central Europe rather than audiences in English-speaking countries. It was directed by Philip Groening who made an impact with his portrait of the Carthusian Abbey, Into Great Silence.

This is a contemporary story focusing on twins. They have a strong relationship with each other, sometimes antagonistic, often a rivalry. The sister is about to sit for a philosophy exam and wants to discuss the issues with her brother. While he is interested in philosophy, he is more interested in machines making a bet with his sister so that he can win one.

This means that a great amount of the dialogue in the early part of the film is quite philosophical, especially probing the nature of time, the issue of entities. There is also reference to the philosophy of Martin Heidegger – with memories of his rather fascist stances in 1930s Germany.

Some may find the philosophical dialogue difficult in comprehension and tedious to listen to – and, as has been said, not everybody is enthralled by the aesthetics of abstraction.

The locations are not particularly imaginative, the house, the fields with the various crops and an isolated service station. There are not too many of the characters either. The associates of the brother who turn up at night demanding service when the service station is closed, and that includes his former girlfriend. There is also the passive young man who sits at the counter waiting for spasmodic customers.

The other main character is the proprietor of the garage who knew the two when they were young. The sister has a bet that she can seduce someone and she set her sights on the proprietor who resists her but then succumbs – with later very severe and fatal consequences.

Because the central characters are not particularly engaging for an audience, it is rather hard to sit through their discussions, their rivalries, his drinking, her seductive behaviour, the ultimate violence.

For specialists in German cinema.

HELL IS A CITY

UK, 1960, 93 minutes, Black-and-white.
Stanley Baker, John Crawford, Donald Pleasence, Maxine Audrey, Billie Whitelaw, Joseph Tomelty, George A. Cooper, Vanda Godsell, Charles Morgan, Lois Daine.
Directed by Val Guest

Hell is a City is well worth seeing, a reminder of the strong British dramas of the 1950s, comparatively small budgets, often released as supporting features, but standing the test of time very well.

The film was directed by Val Guest who made quite a range of genre films over the years. He also wrote the screenplay which won a BAFTA award. The film was shot in the city of Manchester, using the locations to great effect, black-and-white photography, police precincts, the surrounding countryside, pubs and homes and quite a spectacular finale and chase on the roofs of buildings.

Stanley Baker was a strong screen presence at this time and portrays a detective, rather hard-boiled, married but spending little time with his wife, investigating an escaped criminal with whom he grew up, investigating a robbery and a consequent murder. He is out and about, has a good squad to whom he delegates work, does interrogations.

The film has a great advantage of a number of British character actors, some of them at the beginning of their careers like Donald Pleasance, Billie Whitelaw.

A very interesting variation on British police investigations.

1. The UK, the 1950s and 1960, small film, thriller, police investigation? Awards and acclaim?

2. The director, the variety of his work, the cast and character actors?

3. Manchester, the city locations, black-and-white photography, the streets, police precincts, homes, pubs, the roofs? Detailed and authentic? The jazz score?

4. The police, their work, personnel, investigations, leads, authorities, decisions, action? Delegation, dangers? Routines and opportunities?

5. Stanley Baker as Martineau, his age, experience, status of his career, his contacts, his private life, the formalities with his wife, being away, yet his love for her, the temptation with Lucky? His final decisions?

6. Don Starling, growing up with Martineau, his past, crimes, the robbery and the jewels, prison, escape from prison, wanting to recover his jewels and finding them again? The return to Manchester, the various contacts and wanting help, phoning Lucky, Furniture Steele and his deaf-mute daughter? The relationship with Chloe, and the pressure on her?

7. The robbery, the money, the murdered girl, clutching the money? The dye on the bank notes? The pursuit, finding the car, the body, the group changing cars, the drive in the taxi, merging with the crowds? Going to the illegal gambling venue? Laundering the money, the group, the member of the group and his lacking caution, wilful, the money and the dye?

8. The investigation about the girl, Gus Hawkins, his whereabouts, the office, his relationship with Chloe? His return home, Chloe and the range of men? Starling arriving, hiding in the attic? Hawkins arriving home, the night, hearing the noise?

9. Martineau going to the pub, Savage and his managing, the conversations, Lucky working there? Going to the two-up game, the police arriving, everybody running, the arrests, interrogating Savage? The pressure on him, giving a name?

10. Lucky, the pub, the attraction to Martineau, the offer?

11. Chloe, her personality, interviewed by Martineau?

12. The characters of subordinate offices, their personalities, their work, contribution to the case?

13. Starling, going to confront Steele, getting the jewels back, the encounter with his daughter, the chase and the fight?

14. The final lead, Martineau chasing Starling on the roof, their rivalry, the tensions, the dangers, Starling and his death?

15. Martineau wounded, recovering, on leave, walk in the city, the decisions about his future?

BLACK PANTHER

US, 2018, 134 minutes, Colour.
Chadwick Boseman, Michael B.Jordan, Lupita Nyong'o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Sterling K.Brown, Angela Bassett, Forest Whitaker, Andy Serkis, Isaach de Bankole, Sebastian Stan.
Directed by Ryan Coogler.

Within a week of its release, Black Panther had received very favourable reviews, a further development of the Marvel Comics universe – although the character had appeared in Captain America: Civil War (and a scene from that film is reproduced here to explain the origins of T’ Challa, the Black Panther, the death of his father and some disastrous consequences of his father’s decisions). Within two weeks of the film’s release, it had taken almost half $1 billion at the world box office.

But, it is also become something of a social phenomenon. Here was a superhero film with black characters, most performed by Afrcian or African- American actors, opening up a different world from the expected, introducing a mythical kingdom of Wakanda, hidden somewhere in the southern part of Africa, all traditions and rituals combined with contemporary and futuristic technology. And, the screenplay puts a lot of emphasis on the history of slavery, the slaves going to the United States, human rights. In hindsight, it is not surprising to find that the film was embraced not only by African- American audiences in the US but by various cultures all around the world who identified with the colonialised as well as the enslaved. And the film was directed by an African- American director, Ryan Cooper who had made his mark with small socially-concerned film, Fruitvale Station, and then the rebooting of the Rocky series with Creed.

As a superhero film, it is certainly striking in its visuals, especially the city capital of Wakanda, skyscrapers, transport, people freely walking around, and, more especially, the last waterfall and cliffs settings for the establishing of T’ Challa as the Black Panther King and as the scene for a challenge from a rival, a vigorous battle. (And another vigorous battle later on when the mysterious black American character and villain arrives to challenge T’ Challa). The screenplay draws on a lot of mythical lore which may or may not have grounding in fact. But, it creates the setting for a mysterious kingdom, the source of its power, Vibranium, not known anywhere else in the world, preserved for the people of Wakanda who are finally challenged to contribute to world progress and peace. In its presentation of Wakanda and the potential of an African nation to contribute to the world on the responsibility of its leaders, there seem some criticism of leaders past and present local Robert Mugabe and Jacob Zuma.

Chadwick Boseman is T’ Challa, the Black Panther. He had already played real-life characters as Jackie Robinson, James Brown and Chief Justice Marshall Thurgood. T’ Challa is a strong hero but is not unvanquishable. In fact, those of a religious frame of mind with references might note something of a death and resurrection.

He receives his power from the traditions, from his father who was assassinated in 1992 in Vienna, from his strong mother, Angela Bassett, from the wise adviser, Forest Whitaker, and from costumes and masks with special inherent powers and from the Vibranium. His technological-whiz sister, Nakia, played with verve by Lupita Ngoung’o, has vast resources of technology, expertise in managing them, virtual cars and plane cockpits, and still has the time to go out to battle and give communication advice in the middle of conflict. There is also Okoye, Danai Gurira, also a warrior, in love with T’Chilla?. In fact, this seems to be a Pretorian guard of powerful female warriors.

So, the concerns of the story focus on black characters. And for token whites in the film – there is Andy Serkis as a sleazy arms dealer from Johannesburg, Martin Freeman as a former pilot and CIA agent (interestingly, both these whites are British rather than from the US).

But, the main villain, is also a black, with an interesting back story about his father, an ambassador to the United States, his vision for the use of Vibraniuim, his death and his heritage for his son. The son is part Wakandan, part American, involved in “CIA activities and learning a brutal trade. He is played by Michael B. Jordan (who also appeared in Ryan Coogler’s Fruitvale Station as well as Creed).

Whether Black Panther will be a social rallying cry for some time, the raising of black consciousness, or will be a phenomenon of 2018, it is hard to say. However, it continues the tradition of Marvel superhero films (with Stan Lee doing his usual cameo, at a casino, and billed as Thirsty Gambler), and T’ Challa will become part of The Avengers (that rather clogged series with an abundance of superheroes each waiting their turn for a battle sequence).

The audiences who rush to the exit as soon as a word appears on screen will miss a significant rousing and encouraging speech from T’ Challa about world peace and development. And, there is a mini preview of another Black Panther film at the end of the credits.

1. The impact of the film? As a superhero movie from Marvel? The black superhero? The film as a social phenomenon?

2. The importance for fans of the Marvel Universe? The place of Black Panther? In the Captain America film? His continuing in the Avengers films? His sequel?

3. The director and cast, all black? And some token whites?

4. Audience knowledge of the Black Panther comics? The narrative from Captain America? 1992, the meeting in Vienna, the assassination? The effect on T’ Challa? On Wakanda?

5. The locations? Wakanda, the city, large, technology, the technology centres, the palaces, the ordinary streets and the public? The countryside, the vast cliffs and waterfalls? The contrast with Korea, the social gathering? The virtual aspects of cars and piloting? The musical score, rhythms and themes?

6. Vibranium, and Wakanda? Having the substance for themselves, protecting it? The 1990s and the possibility of offering it to the United States? The king and his condemnation of his brother? His brother’s death? Mercenaries interested in having it, stealing it, the CIA and the bidding in Austria? The potential of Vibranium, for conquering others or for helping others?

7. T’ Challa as a character, his personality, in Wakanda, his father’s story, the support of his mother, his bond with his sister, Nakia? His love for Okoye, her putting him off? His being the future king after the death of his father? The rituals? The use of Vibranium? The mask, the power, the teeth necklace? His becoming King, the challenge to his authority, the fight, his saving his opponent? His power?

8. The history of work under given at the beginning, the various tribes, unions, those tribes not joining, the consequences?

9. The flashback to the mission in Vienna? The king going, his brother, the plans for the for brainy? The king and his advisor present? The death? The son and his inheritance? The father not telling T’ Challa about this event?

10. The mother, her role? The chief adviser, his explaining the history, the rituals, his advice to T’ Challa? The fact that he was present in the US in 1992, witnessed the situation and the death?

11. The decision to go to Korea, the mercenary from Johannesburg, his sleazy an avaricious manner? His thugs? In Korea, at the meeting? T’ Challa and his disguise, his sister, Career? And the warriors, the praetorian guard of women? Being revealed? The fight sequences?

12. The mercenary, going back to Johannesburg, Erik Killmonger with him? His thugs? The mercenary being killed? Killmonger, going to Wakanda, the confrontation of T’ Challa?

13. His story, the revelation about his goals? His growing up in America, resentment of the death of his father? His self-awareness? Wanting more? His training with the CIA, the covert operations?

14. His challenge to T’ Challa, the extensive fight, T’ Challa falling, dying, in the coma in the snow, his being found, revived? His resuming his role?

15. Killmonger and his going to T’ Challa’s rival? His story, promises? The battle and the surrender?

16. The leader who fought with T’ Challa, T’ Challa going to meeting to ask his help, his refusal? His story? And then his coming with his warriors, joining in the fight?

17. The battles, the weapons, Vibranium, the technology, Nakia and her control? The rhinoceros attack? The deaths?

18. The CIA operative, his past as a pilot, CIA, action, presence in Korea, the Vibranium? The interactions with the mercenary? With T’ Challa? With Erik Killmongeer, explaining his story? His returning to Wakanda? His wanting to explain situations and his being put in his place? His having to act as a pilot, the virtual cockpit, shooting down the dangerous planes, split-second timing, falling to earth, rebooting, success?

19. The final confrontation between T’ Challa and Erik? Erik defeated, wanting to look at Wakanda? His regrets?

20. T’ Challa as King, his concern for the world, Vibranium and contributing to world betterment? His encouraging speech during the final credits?

21. The indication of the sequel after the credits?

22. The film’s popularity, around the world? Social phenomenon? Box office success? The role of Africa, the memories of colonial powers, slaves? The role of African leaders, the African Union? And the challenge to the corrupt leaders in Africa and their failures?

HAPPY END

France/Austria, 2017, 107 minutes, Colour.
Isabelle Hppert, Jean- Louis Trintignant, Mathieu Kassovitz, Fantine Harduin, Frantz Rogowski, Laura Verlinden, Toby Jones.
Directed by Michael Haneke.

Over the decades Michael Haneke has built up a very strong reputation. He is an Austrian, making his early films in Austria but later working in Austrian-French? co-productions, spoken in French. His films have featured in international festivals and his casts have won many awards. Isabelle Huppert has appeared in several of his films and won best actress in Cannes for The Piano Teacher. And Haneke has won the Palme D’ Or there for The White Ribbon and for Amour.

This means that those who have followed Haneke’s career in films will know that a title like Happy End will probably not have a happy ending – and will probably not have a happy beginning or middle either. And that is right.

Haneke’s previous film was Amour, about an elderly couple, ageing, Alzheimer’s, and issues of assisted suicide. Emmanuelle Riva won an Oscar nomination at 85 for her performance. Also in the film were Jean-Louis? Trintignant and Isabelle Huppert and they both appear in this film, with similar names from the previous film although this is not a sequel.

Rather, this is a story of the different generations of a family, well off, owning a building construction firm, living in Calais with refugee servants but little connection with the infamous camps of refugees at the edge of the town.

At the centre of the film is Anne, Isabelle Huppert, the most competent member of the family and, despite her tough stances, the most likeable of the characters. Her father, Jean-Louis? Trintignant, tells his family that he is losing his marbles, wants to kill himself, but still has a great deal to say to the various members of the family. There is also his son, Thomas, Mathieu Kassowitz, a very able doctor who has divorced his first wife who has died of drug complications, has a young daughter from that marriage, 13-year-old Eve, Fantine Harduin, who comes to live with him and his new wife and young child. Then there is Anne’s son, Pierre (Franz Rogowki), a moody young man who is to inherit the family business but seems incapable.

Haneke has always been interested in media, and now social media. An early film is Benny’s Video. Contemporary media pervades this film, the opening credits having Eve filming her mother in the bathroom with dates and times and her commentary. Later there is video, You Tube, of a young musician. Thomas is involved in an online relationship, texting.

At the beginning of the film, there is an industrial accident on site and Anne has to deal with this as well as with welcoming Eve to the family, concerned about her father and his mental health, dealing with her son, dealing with meetings about liabilities and insurance because of the accident. Anne also has a relationship with a British man, Toby Jones, who eventually will meet the family.

There is some rapport between the grandfather and Eve, his being aware of her emotions, mental instability – she seems to be very depressed young girl.

Actually, there is no real end to the film, let alone a happy one. Rather, the director has invited us into this family, to observe, to react, relying on audience empathy and understanding, even for alienating characters.

1. The title? The ironies? Very little happiness?

2. The work of the director, his hard themes, his film about ageing and suicide, Amour? The links to this film in names of characters?

3. His Austrian- French sensibility? The strong cast? The situations, dysfunctional family?

4. The film as a family story, real, elements of happiness, pervading sadness, the dysfunctions?

5. The setting in Calais, the home, the wealth, the garden? The background of the immigrants in camps in Calais and their plight? Workers and servants? The streets, the beach, the contrast of life in the camps with ordinary life? The musical score?

6. The director’s interest in mass media, the various aspects of video, photos, cameras, recording? Karaoke evenings and strobe lights? The boy on video, Facebook, texting, phone calls, emails? The fact of mass media, social media, the critique?

7. Anne as the centre of the family, her age, experience, the absence of her husband, her relationship with her son, loving him but seeing him unreliable? The business, sensible? The talks with her son? Talking with her father, the meals, his saying he was losing his marbles? Concern about his suicide attempt? Her relationship with Thomas, her brother, his two wives, the new baby, Eve and her trying to cope with the death of her mother, being received into the house, welcomed? Her fiance, in England, the phone calls and discussions? The meals, the tension? The accident, on the building site, the damage? Anne dealing with it, her competence, the letter of the law, the family name, the investigation? Apologies? Encounter with survivors? Her son, wanting him to succeed her? But his lack of ability?

8. Thomas, a top doctor, his success, responsibilities? His first marriage, separation from his wife, her mental state, the dosage and her death? Eve, not knowing her, inviting her to the home? His relationship with Anais? Love or not? New baby? His spending time with Eve, continually welcoming her, putting himself down, appologising, the awkwardness, talks, her room, the talk on the beach? His texting his mistress? Eve overhearing him on the phone, the ambiguity? Her discerning that he would leave his wife? The truth about his wife?

9. Eve, her age, relationship with her parents, the credits and the initial video, her filming her mother, the times, the explanations? Her lack of rapport with her mother? Her giving her the of the dosage? Hospital, death? With the family, probably depressed, dealing with her father, the interactions with her grandfather, especially after his suicide, his reading her character?

10. The grandfather, his age, turning 85, business success, fearing he was losing his marbles, at the table, in his office, Eve to visit, interrogating her? In the night, his going to his car, driving, the crash, not himself? The birthday party? His persuading Eve to push his wheelchair down into the sea? Anne and Thomas hurrying to save him?

11. Anais, her relationship with Thomas, love or not, her devotion to her son?

12. The birthday party, the cellist, Thomas and the relationship? Her angry behaviour after the performance?

13. The servants, welcoming, their work, migrants of the issues of Calais?

14. Anne’s fiance, the phone calls, being in England, business advice, his arriving, the presence of the meal?

15. The glimpse of contemporary family via contemporary media?

16. The title – and enjoy less family?

THE GREAT MR HANDEL

UK, 1942, 89 minutes, Colour.
Wilfred Lawson, Elizabeth Allen, Malcolm Keen, Hay Petrie, A.E.Matthews.
Directed by Norman Walker.

This was an early British film photographed in colour. It was made during the early years of World War II and commentators have noted its potential for propaganda at the period.

As regards propaganda, it is interesting that this is a story of a German who opted to make his home in England, following the German Royal house which move to rule Britain. And, he was made British by an act of Parliament. In terms of British attitudes towards Germany during the war, the story is somewhat complex – but, with Britain winning.

Handel is very well known for his oratorio, Messiah, always referred to as Handel’s Messiah. This is not the most interesting biography of a composer. Some have described it as rather stodgy and, for the most part, it is. However, the last 40 minutes or so focus on Handel’s composing Messiah, culminating in a performance of the Hallelujah Chorus.

Wilfred Lawson is very serious as Handel. He is seen initially as successful a composer, oratorios, operas. In the 1720s, the public is with him. The screenplay suggests that he was going out of fashion although George II was favourable towards him. However, Prince Frederick wanted to be his patron but was rebuked during performance by Handel for being noisy and this set up enmities. Handel lost popularity, lost income, and rowdy crowds disturbed performances at the instigation of the Prince.

There is no romance in the film. The main woman character is Mrs Cibber, Elizabeth Allen, a singer who sometimes clashed with Handel but, gave fine renditions of his music. The film pauses at one stage for her to sing Handel’s Largo to everyone’s admiration. The other main character is a servant, Phineas, played by Hay Petrie. A loyal servant, he is particularly supportive during the composition of Messiah.

Handel is also shown in contact with a ship’s captain who brings to his attention two young boys, sons of a musician who died of starvation. Handel brings these stories to the attention of the authorities and intends to set up an orphanage. However, he succumbs to illness.

The pompous CharlesJ ennes who wrote oratorios and collaborated with Handel comes to him with the text of Messiah, scriptural texts suggested and chosen by his assistant, Pooley. When Handel hears the subject (and Handel has been shown praying in his illness) he feels that this is the great work that he is to compose. There are scenes of his composing at his desk, completely absorbed in the music, ignoring food, crotchety with Phineas, hearing some of his music sung by Mrs Cibber.

The Lord ruler of Ireland invites Handel to Dublin for the premiere of Messiah, a great success, and it is later performed in the presence of the king, Prince Frederick who has to acknowledge the music, and the London public. The King institutes the custom of standing with applause and recognition at the end of the oratorio.

Another film about Handel is probably needed.

NIGHT ALARM

US, 1934, 64 minutes, Black and white.
Bruce Cabot, Judith Allen, H. B. Warner, Sam Hardy, Betty Blythe.
Directed by Spencer Bennett.

Night Alarm is a supporting feature from the mid-1930s. It is about an eager newspaper reporter who is stuck in the gardening section, not knowing anything about gardens and plants. But, he chases fire engines, looking for stories. His played by Bruce Cabot, the year after he rescued a Fay Wray from King Kong. Also in the cast is H.B.Warner has a rather ruthless business tycoon with political influence – seven years after he played Jesus in DeMille’s? King of Kings.

The film is in the vein of so many popular films of the time, newspaper reporters, the press room, quick repartee, making reputations. It is also interesting in its look at an arsonist, his targets, the insurance issues after the fires.

In fact, the fire sequences are rather spectacular for the time – 40 years before Towering Inferno.

When a young woman complains about his garden columns, Cabot whose name in the film is, interestingly, Hal Ashby, is happy that she takes his place leaving him free to go after the fires, talk with a police chief, get information about city ordinances not being followed through with great danger for fires spreading.

The Mayor complaints to the editor, pressurised by the tycoon. Nevertheless, the editor continues the investigation, with Hal Ashby caught between his reporting and his falling in love with the woman who complained and is now his successor at the gardening column. She is actually the daughter of the tycoon and has not revealed this.

The two have some dates, going to a restaurant where a comedian performs a comic song, he is eager for his article the next day – which, when she reads it, she denounces him.

An eccentric has come with a report for Ashby but he has not read it, something about the mystical nature of fire. When he does eventually go to the man’s house, he discovers that he is the arsonist, that the tycoon’s factory where a party is going on is the next target. He hurries there and has a dramatic moment rescuing the daughter. The tycoon is ready to accept the young man as a manager of his Paper Company – but the screenplay doesn’t follow through with any discussion about the law, the ordinances, his insurance and the criminal implications.

THE WORLD GONE MAD

US, 1933, 80 minutes, Black-and-white.
Pat O' Brien, Evelyn Brent, Neil Hamilton, Mary Brian, Louis Calhern, J.Carol Naish, Buster Phelps.
Directed by Christy Carbanne.

The World Gone Mad is a star vehicle for Pat O’ Brien, giving the usual rowdy performance (except when, rather frequently, he portrayed a priest). Character actor, Neil Hamilton is in support as a district attorney. Mary Brian is the wife of a murdered attorney and Buster Phelps, child and adolescent actor from 1931 to 1949, plays the son. Interestingly, Louis Calhern and J. Carol Naish play criminals – but in 16 years time were to appear together as, respectively, Buffalo Bill and Sitting Bull in Annie Get Your Gun.

The film focuses on topical issues of the period – and any period – corrupt businessmen, falsified accounts, potential exposure, the resorting to violence and murder.

Pat O’ Brien plays one of those typical reporters of the 1930s, in on all the action, charm and bluff, contact with everyone, leading them on for information – and getting it. When a friend, the district attorney, who is about to expose the case is murdered, he links in with all the potential suspects, eventually getting the information.

A businessman contacts Louis Calhern to arrange a contract and there is a sequence where continued contacts are made with the price lessening for each contact for the assassination, each of the people in the link making a profit.

The murdered district attorney was also framed for a scandal and, finally, he is vindicated.

Interesting to see the number of businessmen involved in chicanery and double dealings – with one, at the end, getting something of a conscience because his daughter was about to marry the district attorney whose life had been threatened in a truck accident, taking his partner in a car and putting it in the way of an oncoming train.

Of its time.

MADAME HYDE

France, 2017, 95 minutes, Colour.
Isabelle Huppert, Romain Duris, Serge Garcia.
Directed by Serge Bozon.

Robert Louis Stevenson created a classic novel in the 19th century with his Dr Jekyll and Mr Hyde. It has been filmed many times and Have Been many novels with variations of the plot, external respectability, inner evil let loose.

This time the basic plot has been transferred to France in the 21st-century. The setting is a school, courses for technical students and higher education courses. The principal of the school, played rather smugly and as a dandy by Romain Duris, is snobbish about the levels of education.

Madame Hyde of the story is, surprisingly, played by Isabelle Huppert. She is Marie Gequiel, something of a mousey woman, in the education system 35 years, still wanting a higher accreditation. She loves science and is a physics teacher. However, teaching is not quite the right word to describe the classes. She is timid, she lacks control, the students continually mock her, ignore her. Her husband tries to advise her about silent entrance, sitting, staring – which she follows but the students laugh at her again.

The leader of the students is a disabled young man, Malik, who excels in the mockery – but, with his walking disability is not followed outside the classroom by the students, nor are the girls attracted to him..

One night, Marie is in laboratory and there is a lightning strike. She is affected – and it looks something like a scene from a Frankenstein film – and her interior Madame Hyde is unleashed. This gives her a greater confidence though she is not quite aware of why this is so. However, at night, when she can’t sleep, an inner glow transforms her, the personality of Madame Hyde. Marie is not conscious of this in itself as she wanders the streets, sits in parks, approaches the group of students – touching one and setting him on fire and killing him.

In the meantime, she does have a success with the class project, the students being interested, the inspector brought in because of criticisms of her is also very impressed. The students ask questions – and the headmaster decides to give her an award. Because Malik has identified her as the glowing presence, she rings the police, goes to class, is arrested.

The film ends six months later with Malik at another school explaining the impact of his teacher who is both Jekyll and Hyde.

1. The title? Robert Louis Stevenson? Jekyll and Hyde? Audience interest in this interpretation?

2. Stevenson’s story, the outer respectability, the inner evil? Transferred to the 21st century? France? The school?

3. The French interpretation, the female character, ordinary – even less than ordinary? The transformation, the lightning, the echoes Frankenstein? The inner fire and her outer glow? Her losing consciousness of her ordinary life? Killing and destroying?

4. Marie, her age, relationship with husband, his being at home, cooking, his love and encouragement? Advice for her class? Disturbed by the neighbours reported about her at night?

5. The 35 years teaching, failing accreditation, her love for science, physics? Her lacking control class, their mocking her? The meeting, the complaints of the girls, inspectors having been in classes, the girls wanting more, wanting to touch the machines – but Marie thinking they were still children? The headmaster, presiding at the meeting? The teachers?

6. The headmaster, the touch of the dandy, his poses? His putting technical courses at a lower level than main education? His admiration for brains and intelligence? Calling in the inspectors? The meetings, the discussions with Marie, the nature of the system? His being an opportunist for the development of school?

7. Science, audience interest, the screenplay and the attention to physics details? The teaching, the lessons? The students and the lack of interests? Ridicule? Malik, the others, the effect on Marie?

8. The experience, the decision about the Project, working in the laboratory, Marie alone, the lightning, the transformation?

9. Malik, Middle Eastern background, his father meeting Marie at the pool? His being disabled? His leadership in class, the girls not attracted to him? The details of the mockery and ridicule? The scenes of his disability? Marie, taking him to the laboratory, the demonstration of the lines and connections between points? Malik having to think? The effect? His later discussion about the girl and the size of the triangle and thinking?

10. The change in class, the project, the interest, the inspector and the demonstration, the students asking questions, the girl in the case and an illustration of physics, the explanations?

11. Marie, the inner glow, Madame Hyde, the neighbour seeing her, reporting her to Pierre? Marie, going to the group, the young men, the singing and chatter? The death? Malik recognising her?

12. The principal, pleased with the inspection of the project, acknowledging the role of technical courses? Awarding Marie the medal? Her leaving? Phoning the police, her arrest?

13. Malik, six months later, at another school, his explanations about Marie, as both Jekyll and Hyde?

14. A puzzling contemporary parable?

SEE YOU UP THERE/AU REVOIR LA HAUT

France, 2017, 118 minutes, Colour.
Nahuel Perez Biscayart, Albert Dupontel, Laurent Lafitte, Niels Arestrup, Emilie Dequenne, Melanie Thierry, Louise Balster, Philippe Uchan.
Directed by Albert Dupontel.

This is an impressive French film which can be recommended.

The audience is taken back into French history in 1918-1919. While there have been many films on World War I and the role of the French (Stanley Kubrick’s Paths of Glory is an excellent film of reference), this film takes us behind the scenes of the trenches and the brutal warfare in the fields, especially on the two days before the signing of the armistice. But, the film goes on from there, looking at the consequences of the war, the effect on the lives of soldiers, those who survived, those who survived with deep physical and psychological consequences.

The film actually opens in Morocco with Albert, Albert Dupontel, who both wrote the film and directed it as well as acting the central role, being interrogated about a fraud concerning war memorials. This is an alert at the beginning of the film, the action returning at various times to this interrogation. But the film is mainly the flashbacks which Albert is telling to the investigating officer.

Which takes us to the trenches, Albert, Edoouard, a young man who is an artist and Pradelle, a sadistic officer who relishes war rather than peace and is prepared to send his men over the top even though the armistice is about to be signed. Not only does he send his men over the top, he rather relishes their dying or being wounded in action and, in fact, shoots two of the men that he sends out as scouts in the back. He is to appear significantly as the action goes on.

Albert is saved by the artist, Edouard (Nahuel Perez Biscayart) but Edouard himself is wounded severely, saved by Albert, taken to a hospital where a nun reminds him that he is sharing in the sufferings of Christ (not so persuasive for the injured man), who needs some reconstruction on his face and, subsequently, will have to wear a mask. (He is an artist and designs quite a range of masks for himself).

We see the life of the veterans. Albert is poor, his fiancee gives him up, he tries various jobs, is a lift driver, is a placard advertiser. Edouard, on the other hand lives in seclusion, painting, being helped by a sympathetic young girl who is able to understand his muffled words and communicate for him.

Edouard’s father is a wealthy man, estranged from his son (Niels Arestrup). His daughter seeks out Albert, tries to find out what has happened to Edouard – and there is a scheme by Edouard to assume another identity and for people to think that he is dead. Unfortunately, the sadistic officer from the trenches, Pradelle (Laurence Lafitte) becomes involved, marrying the daughter, exploiting war grave situations with Chinese labourers and small coffins, knowing the truth about Albert and Edouard.

And the fraud? There is a great movement for war memorials in France in 1919, Edouard’s father even investing in one. There are competitions for design – which, of course, Edouard enters into. He sets up false companies, takes investments, exploiting and thieving the money.

This means that there is plenty of plot, unusual characters, fine characterisations, some empathy for Edouard and yet questions about his integrity, with a very moving and disturbing final sequence concerning his father.

And, at the end of Albert’s interrogation in Morocco, there is an interesting twist – and Albert can have a future.

1. Strong French drama? 20th century history? Social concerns? France in World War I, in the 1920s?

2. The images of war, the trenches, hospitals, recuperation, department stores, apartments, wealthy mansions, clubs? The tributes to the war, monuments? Buildings on building sites? Cemeteries? The musical score?

3. The framework: Morocco, Albert and his being questioned? The indication of fraud and crimes? The flashbacks to the experience of war, the aftermath, the fraud? Intercutting with the interview? The cumulative effect?

4. Albert, in himself, age, his life, luck and survival? The encounter with Edouard in the trenches? His life being saved by Edouard, suffering, recovery? His fiancée rejecting him? The encounter with Pauline, in love with her?

5. The war sequences, the day before Armistice, the trenches, Pradelle and his bellicose attitudes, loving war, sending the man over the top, their reluctance, the orders, his surveillance, shooting his men in the back? The attack on the German trenches, the deaths and injuries? Edouard saving Albert? Albert helping Edouard, his wounds, his face? The Armistice and the unnecessary deaths before it?

6. Post-war France, 1919? Albert, his work, in the department store, the lift? Edouard and his face, the long hospital treatment, the nun and her comment on Jesus suffering? His need for morphine? His decision to die, Albert taking the file of a dead man, taking a name? The fake death? The information given to his father and his sister? The discussions with Pradelle, his hold over them, finding an anonymous grave, the exhumation, the irony that it was a Senegalese soldier? Being buried in the family tomb?

7. Louise, age, the visits, on the streets? Seeing Edouard’s face, communicating with him? Her ability to hear his voice, repeat his words? Affirmation, helping him?

8. Alberta, dealing with the postwar period, his fiancee and the elevator and her return in the ring?

9. John jobs, the posters? His taking the court to get their morphine – and the later bashing him? Edouard sister, discussions about the body? The anniversaries death, her inviting him to a meal, his dressing up, seeing Crackdown, engaged to the sister, the talk at the table, the father, telling the truth about Edouard at war?

10. Edouard and his scheme, his designs, his artwork, the preparation of the catalogue, Albert to raise the money, getting the job by Edouard’s father, skimming of the profits? You responses to the catalogue? Christmas and the flood of requests, the war memorials? The money coming in?

11. The father, his idea of a Memorial, the money, not realising he was skimmed? His official, toadying to the father, telling him to shut up? Recognising his son’s signature in the drawings? On the poster?

12. Critical, an evil man, getting the Chinese employed and the fake burials, the grades of the Collins being too small? His marrying the daughter? If his affairs, his other associates, her pregnancy, getting rid of him? His being ruined, the father summoning him, giving him the clues, telling him to find the author of the poster? The father and his blackmailing practical emotionally, threatening to tell the officials the truth?

13. Louise, giving the information to the bureaucrat, his following it up, going to the cemetery, the inspection, the grades, critical of him the big payoff, his accepting it? Then denouncing it, handing back the money?

14. Critical, Albert going to see him on the building site, confronting him? Critical and his falling into the hole and being smothered?

15. Edouard, his life, his various masks, his bitterness, Louise understanding him? The morphine? The money coming in, is appropriating it, the high life at the hotel, the parties?

16. Pretty the finding him, his father coming to see him, his father expressing love for him, Edouard Snead, taking his father and committing suicide?

17. Albert and his plan, having met Pauline at the house, attracted, the going out, her not wanting to go along with his plan?

18. His arrest, the interrogation Morocco, the irony of the officer and his son having been shot in the back by practical? His dismissing the attendance? The key and the handcuffs? Albert walking out and meeting Pauline Louise?

19. A stylish French history, war, post-war, fraud, freedom?