THE FLORIDA PROJECT

US, 2017, 111 minutes, Colour.
William Dafoe, Bria Vinaite, Brooklynn Prince, Christopher Rivera, Valeria Cotto, Mela Murder.
Directed by Sean Baker.

Writer-director Sean Baker has a solid art-house and reputation as the maker of small slices of life, somewhat on the seedy side of life, Starlet, Tangerine (which was actually made with his smart phone).

This is a much more ambitious film, going down to Florida, going to Orlando, the city of Disneyworld, but actually staying on its outskirts, a kind of self-contained enclave, and giving us a portrait of a group of characters who live there, especially three young children.

The film has been listed for awards. It has received an amount of critical praise. But, not everybody has been satisfied, many people finding it too much.

For this reviewer, there was much to admire in the film – though the experience of sitting there and watching was something of an endurance.

What is it about the film that divides audiences? For those who praise it, they see it is almost a docudrama of poor people, especially single mothers, a lot of children running rather wild, nothing to do during the summer holiday except be cheeky and vandalise. The challenge is, especially for those who find it an endurance, is to ask about sympathy for the characters, their way of life, to ask how much they are trapped in this way of life and do not want to get out of it – or do not know how to get out of it. Given some of the adults, especially Halley (Bria Venaite), who embodies the single mother, self-centred yet loving her daughter, angry and resentful in herself, relying on money by prostitution, yet afraid that everything will go to pieces if she is arrested again, this is important.. So, how much sympathy? How much concern? How much compassion for those who are trapped in a life that most of the audiences find repellent or don’t approve of?

But, it is the children who are the life of the Florida Project, slum projects or a social welfare project, or both? Brooklynn Prince is Moonee, six years old, no idea of discipline, no idea of control except of controlling her two friends, Scootie and Jancey, and controlling her mother. It is an extraordinary performance, a little girl portraying relentless wilfulness, cheekiness, some spitefulness, some malicious vandalism. The question is: will she grow up to be Halley? Or the reverse of the question: was Halley like Moonee when she was young?

Presiding over all of this, trying to use to some control but not always succeeding, is Bob, Willem Dafoe, the manager of the motel, always on the move with umpteen repairs, the owner checking out and writing more rules for the residents, intervening in the disputes, the object of insult by Halley, trying to do his best with the kids.

The film is inhabited by trailer park types but who live in the massive motels, the main one rather garish painted in primary mauve. And then there are the gift shops associated with Disney World, a large restaurant in the shape of half an orange, The Big Orange, a gift shop with a large Gandalf painted on the front, and loads and loads of hoardings with kitschy advertising.

It is true to say that the audience is immersed in this world of the Florida Project – an opportunity to see and to feel, perhaps, how some of the other half try to live. And to ask whether prison will rehabilitate Halley? Whether the intervention of social care authorities will do any good for Moonee?

1. A slice of American life? Lives of the poor, welfare lives?

2. The director, his skill in making films of slices of life? Location photography?

3. Orlando, outside Disneyland, the girl’s running to it at the end? The streets, the motels and their colour, mauve? The shopping centre, gaudy, the Big Orange, the Gift Shop with Gandalf? Takeaway centres? The hoardings with their advertising? The musical score?

4. The title, the motels as projects for welfare? The project for change?

5. The cast, the performances by the children, their credibility? The adults, bold, Halley, Ashley? Believable?

6. Audience reaction to these characters, the situations, behaviour? Sympathy or not? Social concern and? Families, psychologies, single parents, mothers, the effect on the children, the children to grow up like their parents? The adults and their similar past? Issues of discipline and control? The role of the authorities?

7. The film and the screenplay, many snippets, not always completed, the effect of these glimpses, portrait of the situation of the characters?

8. The focus on Moonee, aged six, the effectiveness of the little girl as an actress? With her friend, Scootie, the underpass, going to the motel, spitting on the car, the grandmother complaining, going to Halley, Jancey, becoming a friend and playing with the others? Cleaning the car? The bonds?

9. Halley, her age, as a mother, love for her child, yet no idea of discipline except the child doing what she commanded? Her blue hair, her clothes, skimpy, the range of tattoos, the apartment, the contents, tidiness or not, meals, the food and takeaway? Dependent on food welfare and deliveries? Ashley giving the food packages from the diner? Prostitution, her clients? Bob, manager, her arguments with him? Not being permanent and therefore having to move to a motel, her causing all kinds of uproar and the motel, not wanted? The moves to different apartments? Getting the perfumes, selling the perfumes, with Moonee present, and her soliciting? Her fear of being arrested again? The surliness? The fire, going to see it? Ashley’s reaction, the silence between the two, going to the diner, ordering the amount of food, kicking it away after leaving? The fight with Ashley and her assault? The social welfare authorities, coming, the reaction? Her future?

10. Bob, the manager, the boss of the motels and the rules, fixing things, painting? Office, the repairs, the washing machines, with the young man helping him? The blackout? The pool and the woman tanning herself, his chatting with her? With Halle, the rules, Moonee’s behaviour? With the visitors and the honeymooners dissatisfied with the motel? The deal with the kids? Trying to get Halley into the alternate motel and her being ousted? With the childcare authorities?

11. Moonee, her friendship with Scootie, the underpass, their talking, being cheeky, the summer holidays, no bounds or boundaries in her life, the spitting on the car, having to clean it, always involved in mischief, insolent and ruthless? With her mother? Jancey as a friend? Their hiding in the office? Her mother selling the perfume? Her mother, the food, the setting of the fire? The change of friendship with Scootie? The authorities, going to Jancey, her weeping, their walking towards Disneyland?

12. Scootie, sharing with him, setting the fire? Jancey and her friendship? Scootoe and his mother, the reaction after the fire, his longing to his mother, her anger, no more food for Moonee and Halley? The buildup to the confrontation?

13. The locals, the men in the prostitution, Halley robbing the man and his coming back, threatening the police?

14. The range of shops, life around the shops, the children begging money for ice cream?

15. The social background, the visitors to Disneyland, the helicopters flying, the cars, the roads passing by the enclave? The physical presence of the motels, the room, the mauve?

16. The arrival of the authorities, having to deal with the little girl, Moonee’s, running away? Halley as recalcitrant?

17. How much a film of hope? Social despair?

BREATHE

UK, 2017, 118 minutes, Colour.
Andrew Garfield, Claire Foy, Ed Speelers, Tom Hollander, Hugh Bonneville, Stephen Mangan, Jonathan Hyde, Diana Rigg, Penny Downie, Miranda Raison, Camilla Rutherford.
Directed by Andy Serkis.

Breathe is a fine British film, based on the true story of Robin Cavendish, a tea-broker working in Kenya in the late 1950s, enterprising, charming, seen at first as a cricket match, the keen sportsman. He suddenly collapses and is diagnosed with polio, needing a ventilator to breathe, paralysed from the neck down.

There have been many films with health subjects, fighting against adversity, overcoming adversity – films like Me Before You.

One of the problems film reviewers have with films like this is that they are considered “worthy�, a word which is not always complementary. It often implies that this is the kind of film better made for television and the television audience at home, that this is a kind of film that could be labelled as sentimental. (But this reviewer always likes the quotation from W.Somerset Maugham that “sentimentality is only the sentiment you disapprove of�!).

And this become something of a problem with British films compared with American films. It is a contrast between films made with a stiff upper lip and films made with heart on sleeve.

So the question arises, especially with Breathe.

By way of review, it can be said that this is a moving film, in fact produced by Robin’s son, Jonathan Cavendish as tribute to his parents. Andrew Garfield embodies Robin Cavendish, lively before the polio, initially despairing but continually moving ahead in great hope for 34 years before his death in the 1990s. Garfield is limited in his performance by having to rely on words and the use of his eyes, his mouth, raising his eyebrows, otherwise paralysed. And he is supported well by Claire Foy as Diana, his wife, who urged him to live and who was with him, supporting his zest for life, with the experiments for coping with communication, for a chair with a ventilator in it, designed by Ted Hall (Hugh Bonneville), and the work promoted by Dr Clement Aitken on behalf of disabled people (Stephen Mangan).


For Andrew Garfield’s performance, the dialogue and its expression has to be conveyed by tone of voice, pauses and rhythms, smiles, eyes and eyebrows raised. This is the case even in the significant sequence where he goes to Germany, sees disabled people in an ultra-clean and scrubbed mortuary -like display, the disabled in layers, heads out, mirrors in front of them, almost imprisoned in a mausoleum. Cavendish gives an impassioned speech, an emotional thinking man’s speech.

This can also be seen in a very brief sequence where Dr Aitken and Robin Cavendish go to appeal to a philanthropist for funds for more chairs with ventilators. The philanthropist is played by Diana Rigg. The sequence is clear, clipped, successful. No mucking about with sentimentality here!

The emotional demand on the audience is initial disbelief that such a collapse could happen, that Cavendish would prefer to die. However, his wife is a strong and committed woman, arranging for him to be surreptitiously released from hospital, start to enjoy life at home, find different ways in which he could be comfortable and safe. This leads to his active intervention in improving conditions for the disabled, the chairs with ventilators, a plane flight – and even being stranded for 36 hours in Spain after an accident, lots of people gathering joyfully, the local priest giving them all a blessing and that God’s sometimes seemingly harsh jokes bring people together in celebration.

By the end, Robin Cavendish had achieved a great deal – and there is a final challenge for the audience to reflect on issues of assisted suicide, the choice of the person concerned, the impact on the family. This film portrays what actually happened and so is a contribution to the moral debate.

1. The title? The effect of breathing and difficulties? Symbolic meaning? The breath of life, spirit?

2. Issues of health, the 1950s? Polio, ventilators, collapse of lungs, oesophagus in breathing? Not long prospects for life?

3. Issues of courage? True story? Robin Cavendish, his family, Ted Hall? Dr Clement Aitken? (And Jonathan Cavendish, Robin’s son, as producer of the film?)

4. Robin Cavendish and his achievement, through his life, his choice for life, his suffering and health, moved towards quality of life, helping the disabled, encouraging improvements in technology for quality of life?

5. The introduction, Robin, the English gentleman, cricket, attracted to Diana, hitting the six over her head? The drive with her, the conversation, looking over the countryside? Her two brothers and their discussion with her about her choice? The strong stands? The wedding? Love – and Bing Crosby singing True Love?

6. Kenya, 1959? Colony, empire? Issues of race? The Mau Mau story? The prisoners, the leader giving permission for the rest to die and their doing so? Importation of Tea? Robin and his work, friends, society, socials, tennis with Colin? His fall? Swinging the hoop and his collapse? Diana and her pregnancy, having to cope?

7. The hospital, polio and the explanation how polio could be contracted? The difficulties in breathing, the ventilator, the pipe to the throat? Paralysis from the head down? Going to England, with Diana’s brothers, whispering “let me die�? The birth of his son, Diana laying the baby next to his cheek, his not looking?

8. The drama about his life, Diana and her complete love, urging him to live? The choice, the visits, the severe doctor and his views, the work of the staff in the hospital?

9. The decision to live, Robin able to communicate by words but only by gestures of mouth, eyes, and eyebrows? The visits, Diana faithful? The birth, bringing the baby, her naming him Jonathan?

10. His wanting to get out of the hospital, the plan, Diana going to the house, paying the cash, the renovations, setting up the house? The drama with touches of humour getting Robin out of the hospital? His five pound bet with his neighbour about getting out? The doctor and his severity? At home, the room, Diana in the bed next to Robin’s? Happiness, the ventilator? The dog and the accident with the switch? The realisation of dangers, Robin being saved? The device of having the bell by his head to attract notice?

11. His life over 30 years, the experience, the effect on him? On the family? And Jonathan? The importance of the variety of improvements and initiatives?

12. Ted Hall, his studies, engineering, his work, the chairs? Called to Spain, fixing up the chair?

13. The invention of the seat, the ventilator inside the seat? Robin demonstrating it? The ability to move out and around?

14. Going on the flight, going to Spain, Diana’s brother and the accident, their being stranded, 36 hours, the lift, the priest coming out, saying that and human suffering could bring people together for celebrating? The crowd turning up, the lights, the music and dancing?

15. The contrast between the priest’s words and the words of the hospital minister and his visitation, the more pious interpretation of suffering and Robin spitting at him?

16. The visit by Dr Aitken, his reputation, working with Robin? The plan to go to the philanthropist to raise the money, her rather severe manner, quick and concise, giving the money? Making the 10 chairs, the people coming out of the hospital, including the man who wagered the 5 pounds?

17. The visit Germany, the disabled in a kind of mausoleum, spotlessly clean, like tombs, heads out, mirrors to reflect reality? Robin and his reaction, the reaction of the doctor?

18. The conference, the speech, hope, the applause?

19. His decision about his death, after 30 years, the right time? The party and farewell to everyone? The twins, the brother singing, the other sad? Worked with Colin? The timing, Diana and Jonathan and their farewell, Dr Aitken and the administration of the drug?

20. The moral issues? Assisted dying? Contribution to the discussion?

21. Robin Cavendish’s achievement, his contributing to hope?

THE GREATEST SHOWMAN

US, 2017, 105 minutes, Colour.
Hugh Jackman, Zac Efron, Michelle Williams, Rebecca Ferguson, Zendaya, Keala Settle, Paul Sparks.
Directed by Michael Gracey.

Come to the circus, the greatest show on earth.

It didn’t actually begin in that way. First of all there was a Museum with all kinds of odd exhibits – not a success. Then there was what was called a freak show, all kinds of characters, bearded lady, Siamese twins… And a ringmaster. Finally, there was the circus, again with the freaks but with all the animals, the big top, the eager and applauding audiences.

But, even before that, there was Phineas Taylor ‘P. T.’ Barnum, who saw himself as the inventor of “show business�.

Phineas didn’t have an easy childhood. He worked with his father, a builder, somewhat impoverished, humiliated by aristocrats, even being slapped in the face by the father of the young girl, Charity, whom he frequently met with and loved. He tried the railroad to make some money. He worked as an accountant until the firm went bankrupt. What to do? With a wife, Charity, and two daughters?

If we really want to know, it is probably best to Google Wikipedia and read all about him. While there is a foundation in this screenplay, there is a lot more to Barnum’s life, especially after his involvement in sideshows and circuses, even a political life. But, this is a musical, this is a comedy, this is a feelgood zest for life kind of film and not the place where one would go to find history and biography (which, apparently, some unhappy critics say they did expect to find in the film).

Lots of songs, lots of dances – and the songs composed by the creators of the music for La La Land. And who better to be Barnum than Hugh Jackman? Hugh Jackman would really have been at home in the MGM musicals of the 1950s, always cheerful, strong voice, good dancer, good actor, someone you can’t help but like. And this time he is aided by Zac Efron, a decade on from High School Musicals, keeping pace with some singing and dancing but providing a serious part of the story, a New York playwright from a wealthy family who decides to run away to the circus, falls in love with the trapeze artist, tries to save her from the burning Museum, has enough nous to have invested his percentage so that the circus can rise again.

Michelle Williams is Charity and joins in the singing and dancing. Keala Settle makes a big impact, as a big lady, a bearded lady. One of the New York journalists upgrades Barnum for exploiting the “freaks�. But they are on Barnum’s side, relating how people hid them, looked down on them because of their characteristics, idiosyncrasies, deformities, but that Barnum brought them out from the shadows, gave them a life, a zest – and at the end, they tell him not to indulge in self-pity when the museum burns down but to get up and live.

There is a subplot where Barnum goes to England and has an audience with Queen Victoria – who is amused. In London he meets the Swedish singer, Jenny Lind (Rebecca Ferguson), and organises a tour of the United States for her, which leads to touches of scandal in the newspapers and some financial disaster, despite her success as a singer and the adulation of the audiences.

Those who might like a comparison with Hugh Jackman, can search out a 1986 television biography film of Barnum with Burt Lancaster in the title role.

In the meantime, this is for rollicking on.

1. An entertainment? The musical? Show business? The circus and performers?

2. P. T. Barnum, his history, as a person, his abilities, his ordinary life, as an entrepreneur, the Museum, the circus, the range of the entourage and the freaks? Researching his later life and politics?

3. The film Is a 21st-century musical, the songs, the dances, characters and situations?

4. The director, his work in advertising, musical videos? The strong cast?

5. Barnum as a boy, the 19th century, poor, working with his father, the aristocrats, his face being slapped? His attraction to Charity, their meetings, singing, hopes? Going to the railroad to make his fortune? Returning? Work in the office, his idea, the firm and its bankruptcy, his losing his job? His promises to Charity and the girls?

6. His idea, the story of Tom Thumb? Encountering the young man, the discussions, offering him the job? His eager response, possibilities of adventure? Recruiting the others, the bearded lady and her life, the dog man, the Siamese twins, the heavy man, the trapeze artists? The exhibition, the exaggerations and tricks? The critique by the journalist of his exploiting the freaks? How accurate the criticism?

7. Barnum as a 19th century American, enterprise, money, touches of fraud? The assistance of O’ Malley? Selling few tickets? The hostility of the crowds?

8. His daughters, wanting live action in the original museum? The collection of the freaks, displaying them, the success? His buying a house, his daughter going to ballet (and initially mocked)? Moving to her performance and success?

9. Charity, love for her, leaving her family, leaving her father? Her devotion to her husband? The children? Standing by him in the difficulties? In setting up the museum? In employing the freaks? The later encounter with her father and his dismissing of Barnum?

10. The display, the songs and dances, everybody being equal, from being looked down on to having a place? The glimpses of the eager singing and clapping audiences?

11. Barnum’s philosophy of entertaining and making people happy? The visit to England, the audience with Queen Victoria, her being amused? Meeting Jenny Lind, reputation, Barnum’s idea for her tour, her being persuaded, her lowly origins? Going to America, the concerts, Barnum’s notices, his moving into society, with charities parents, his investment, her flirting, the final kiss and her leaving?

12. Bankruptcy, the scandal of the relationship with Jenny Lind? Being ousted from the home? And the museum burning down?

13. Philip Carlyle, writing plays, wealthy family, encounter with Barnum, drinking, the conversation at the bar, his being persuaded, the percentage, his keeping accounts, falling in love with Anna, his father spurning him and Anna leaving the theatre? His being upset?

14. The fire, going to rescue Anna, Barnum rescuing him? The scenes in hospital?

15. The group condemning Barnum for self-pity? The desire to build again, the spirit, the idea of a tent rather than the building, the circus, the animals? His riding the elephant into town? The discussion with Bennett and Bennett modifying his views (after praising the tour of Jenny Lind)?

16. The atmosphere of the greatest show on earth?

BLACK DYNAMITE

US, 2009, 84 minutes, Colour.
Michael Jai White, Sally Richardson- Whitfield, Tommy Davidson, Arsenio Hall, James Mc Manus, Nicole Ari Parker, Mykelti Williamson, Bokeem Woodbine.
Directed by Scott Sanders.

Looking at the poster, one might be thinking that this is a Blaxploitation film of the 1970s. But, it was made in 2009 a 22-episode animated version of Black Dynamite, continuing his ex-CIA exploits.

The film is both a homage to the Blaxploitation films of the time, films with Fred Williamson, Pam Grier, Isaac Hayes (with echoes of themes from Shaft and music by Curtis Mayfield) as a po-faced parody of the characters, themes and exploits of those films.

The film has a lot of dialogue that might have been essential to those films of the 70s, but it is spoken here with enormous seriousness, almost declaimed with rhetorical tones. While the points are being made, there is also the invitation to laugh at the ultra-seriousness of the dialogue. Which means then that this film is taking itself seriously and not taking itself seriously at the same time.

Martial arts expert, Michael Jai White is black dynamite (with some flashbacks to his role as a child, promising his mother to take care of his brother, upset with his brother seeming to take drugs, his life in an orphanage). The film opens with a typical street scene, a gang confrontation, the Mr Big shaded in his car, confronting his agents and accusing one of betrayal, and the accused being gunned down – Black Dynamite’s brother.

Black Dynamite is approached by the CIA, with memories of service in Vietnam, again with a tribute to as well as parody of the war in Vietnam itself, American participation as well as the films about the war. Later, the CIA chief will be revealed as the villain, but working for a super-villain, Chinese/Vietnamese lords who are selling drugs which have the effect of reducing in size the penis of a black man.

Black Dynamite calls on his friends, associates from the past, is challenged by a woman who works at the orphanage (Sally Richardson- Whitfield) who spurns him and then, of course, instantly falls for him (and the sex scenes elaborated in visual cartoons of Karma Sutra like positions). There are all kinds of confrontations, shootouts, the elimination of a lot of local bosses. Black Dynamite has been horrified in talking with the young orphans at the institution and their drugtaking and checking with him about dealers.

Then, everything is at peace. However, there is a final confrontation between Black Dynamite and the Chinese dealers – and, most of his friends and allies being killed off spectacularly and indiscriminately.

The guest appearances from African- American stars include Mykelti Williamson, Bokeem Woodbine, Arsenio Hall, Tommy Davidson.

One presumes that an African- American audience would particularly enjoy the story, the familiar themes about gangs in the neighbourhoods, drug dealing, the Mr Bigs, in the way that this this is all played seriously but also tongue-in-cheek.

JESUS CHRIST SUPERSTAR – LIVE ARENA TOUR

UK, 2012, 105 minutes, Colour.
Tim Minchin, Ben Forster, Melanie C, Chris Moyles.
Directed by Laurence Connor (stage), Nick Morris (television)

Successful on stage as well on LP in the late 1960s, early 1970s, the film version, directed by Norman Jewison, was released in 1973. There have been many performances since then, notably a film made for television in 2000 and now this version for the 40th anniversary.

The performance was filmed in Birmingham at a Live Arena, a vast auditorium and very large audience, a prominent stage with many steps, a huge screen at the back, as used in rock concerts, with the live-action in the foreground and the film on the screen in the background. However, there is an elaborate use of the screen, a range of images, words and slogans, close-ups of the performers, and such effects as the screen gradually filling with red during the 39 beatings, the scourging.

It is interesting to reflect on the 40 years of the Superstar experience. Initially emerging as individual records, the play was a hit all over the world, audiences overcoming the strange experience of referring to Jesus as a Superstar. Andrew Lloyd Webber and Tim Rice were in their 20s when they wrote this theatre piece, after Joseph and his Technicolour Dreamcoat, and followed by Evita, Lloyd Webber having an extraordinary career, especially with The Phantom of the Opera. It is interesting to note that Andrew Lloyd Webber himself comes on stage at the end of the performance, reminiscing, congratulating the cast.

Many of the songs are well-known in their own right, especially those sung by Mary Magdalene, Everything is All Right and I Don’t Know How to Love Him.

What is the audience of 2012 and onwards to make of this rendition of the Gospel story? An opportunity to know some of the details of the Gospel story and of the passion and death of Jesus? Seeing the episodes on stage as representing fact? And involvement in the whole experience, something of spirituality?

The film shows the conflict between Jesus and Judas, the passion and death and Jesus’ ministry seen from the perspective of Judas, his observations, his disillusionment, his selling out of Jesus, his hanging himself – and it is Judas who has something of a resurrection, leading the chorus in the Superstar song.

Of particular interest is the casting of Tim Minchin, actor, composer (especially of Matilda), social critic, as Judas. Ben Forster is Jesus.

Ben Forster is not always forceful as Jesus but has many fine moments. He has Jesus many songs, especially the moving sequence the equivalent to the agony in the Garden of Gethsemane.

Herod, played by Chris Moyles, is attention-seeking, very humorous in his presentation of Herod as a British comedian, on stage, playing to the crowds, and the suggestion that everything is being video recorded. Herod’s song is always a showstopper – and is here.

There is a strong supporting cast, a short singer playing Annas, a very tall singer playing Caiaphas, with his customary very deep voice. The presentation of Pontius Pilate is quite unique, being dressed as a judged by his attendant at one stage, coming in from playing sport, T-shirt and shorts, doing situps as he interrogates Jesus. And finally condemning Jesus to death. A pensive song.

The supporting singers and dancers have a great deal to do, a great number of dance routines, participation in the rising of the zealots, the crowd wanting to be healed, the hosanna of Palm Sunday, the condemnation of Jesus – crucify him, the spectacular Superstar. There is also the scene with Simon the Zealot trying to persuade Jesus into action.

Melanie C of the Spice Girls is Mary Magdalene, with her special songs as well is the plaintive duet with Peter.

Jesus Christ Superstar was a Rock Opera of the period, with rock ‘n’ roll overtones, with some primal screams.

But, ultimately, this is a story of the passion and death of Jesus, his preaching, his healing and its effect on him, the betrayal by Judas, the Last Supper and the Eucharist and his body and blood in bread and wine, the agony in the Garden, the 39 beats and flogging, his being crucified – and Jesus being lifted high over the auditorium and close-up on the screen of his death.

Jesus Christ Superstar has become a classic over the decades, its music, its lyrics, the presentation of the gospel events, the theological implications, spirituality implications.

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI

US, 2017, 115 minutes, Colour.
Frances Mc Dormand, Woody Harrelson, Sam Rockwell, Lucas Hedges, Caleb Landry Jones, Abbie Cornish, Kathryn Newton, John Hawkes, Samara Weaving, Clarke Peters.
Directed by Martin Mc Donagh.

Martin Mc Donagh is an extremely talented writer. He has had many successes in theatre. In film, he made In Bruges as well as Seven Psychopaths. He certainly likes titles with the touch of eccentricity – no more than in this one. Who else would have billboards in the title, let alone a reference to Ebbing, Missouri?

This is a most interesting and highly entertaining film – though, those familiar with his other works will find that McDonagh? is prone to include a high quotient of expletives. But, they seem rather appropriate in the mouth of the central character, Mildred Hayes. She is a citizen of Ebbing, Missouri, and finds the framework for three billboards outside the town, not used since the 80s, and decides to rent them.

She is an angry woman. And she is played as if born to the role by Frances Mc Dormand, a fine, strong actress, who won an Oscar for her Minnesota sheriff in Fargo. This now is an award-winning performance on any level. But, Mildred’s motivation? Her daughter, Angela, was raped and killed. There have been no police results. So, on the billboards, in red and black, bold letters, a challenge to the local police, especially Chief Willoughby, played by Woody Harrelson.

McDonagh? has an ability not only with words but also with plot developments, character explorations, the interconnections. Chief Willoughby goes to see her, reveals that he is dying of cancer, eliciting little sympathy from Mildred, but he is a good man, is trying his best, dealing with his local police, especially Dixon, played expertly by Sam Rockwell. In fact, Harrelson and Rockwell are at their very best here.

There is sadness in the portrayal of Willoughby, especially with his family, his cancer, terminal, his response, especially a day out with his family, and a fine ability to write letters, especially to his wife (Abbie Cornish), to Mildred, to Dixon – fine and encouraging letters.

Mildred’s billboards are rejected by the townspeople, and Mildred is no slouch in counter-attack, especially a needle in a dentist’s hand, setting fire to buildings, and some scorching repartee. There are scenes with her former husband, John Hawkes, and his very young girlfriend (Samara Weaving). Her son, Robbie (Lucas Hedges), lives at home and has difficulty at school, the local priest coming to help the boy but being on the ultra-sharp edge of some condemnation by Mildred, likening priests belonging to the church to criminals belonging to gangs, and while they might not commit crimes individually, they are all tarred with the guilt of the gang.

Perhaps the best development of character in the film is that of Dixon, a redneck Missouri policeman, who tortures “persons of colour�, not particularly bright, dominated by his slovenly mother at home, grieving for Willoughby, angry at the young man who made the contract for Mildred to have the billboards, throwing him out of a window and bashing him. When he is suspended, by an African- American superior officer, he is resentful. However, he is touched by the letter, touched by some help from Mildred after the police station goes up in flames, tries his own method to discover who the murderer is.

There are many minor characters in Ebbing, all of them well depicted. This all goes to make an interesting screenplay, offbeat certainly, with characters who are not clear-cut black or white but all have their ambivalences, ambiguities in what they do and say.

So, interesting, entertaining, demanding reflection.

1. The impact? US awards, International awards?

2. Martin Mc Donagh and his work, his vision and style, his work in the theatre? For the screen?

3. The quality of the screenplay, the vocabulary, the wit, the use of language and swearing? The intricacy and interconnection subplot links?

4. Ebbing, Missouri, the town, small, offices, the police station, the gift shop, homes, bars and restaurants, playing pool? The countryside, the billboards and the environment? The beauty of the countryside?

5. The musical score, the range of songs, the choice of songs and their lyrics commenting on characters and situations?

6. The title, offbeat, the initial view of the billboards, not used in 30 years, Mildred and her hiring them, the putting up of the notices, their being burnt, renewing the notices?

7. The premise of the plot, Angela, her being raped while dying? The place of the attack? The grief, Mildred and her mourning? The police, her not being satisfied with their investigations? Putting up the billboards, paying for them, the contract with Red? The media attention, the consequences? The media and the interviews? Targeting Bill, the hostility of the townspeople, the treatment of her, eventually burning the billboards, her wanting revenge? Burning the police station?

8. Frances Mc Dormand’s portrait of Mildred Hayes, the strength of the dialogue, impersonation and delivery? Her seeing the space, driving, the idea, the discussions with Red, the downpayment, the contract, the erecting of the billboards, Jerome and the sympathetic men, on her side, against the police? Jackson seeing the billboards, his hostility, phoning Bill, is swearing at the Easter dinner? Bill going to have a look, talking with Mildred, more sympathetic, explaining he had cancer, her blunt response about being effective before he croaked? The irony of Bill paying further for the rent of the billboards? The reaction of the people, the complaint from the dentist, Mildred going to him, the injection, her sticking the needle on his thumb? Her other denials? Her relationship with her son, at home, talking with him, his problems? Her husband, the past and his violence, his young girlfriend? His coming to the house? The situation of the billboards?

9. The portrait of Bill, Woody Harrelson, with his family, his wife and children? A good man? Going to the doctor, his cancer, spurting the blood on Mildred and her care for him? The lack of progress in the investigation? His interactions with Jackson? With the of the police? His happy day, with his wife and children, peace, sex and love, his writing all the letters, shooting himself?

10. The importance of Bill’s letters, to his wife and the explanations, care for his children, the initial response, getting used to it? His months of pain for the family having to deal with that compared with the grief and his death? The letter to Mildred, hopes, suggesting a possible solution from accidentally overhearing, the perpetrator revisiting? The letter to Jackson, commenting on his abilities and lack of abilities, his care for his mother, death of his father, affirming him and suggesting work of being a detective? His sympathetic observations about being gay?

11. Jackson, Sam Rockwell’s performance, redneck, torturing persons of colour? The traditional Missouri and the 21st-century cases of police brutality to black men? His mother, her control, his care for her, sitting on the veranda, her bigotry? His low intelligence, his reminiscence about not being good at school, the years in the academy, his having to repeat? His slovenly work in the office? With Bill, with the Sergeant? His anger with Mildred, grief at the news of Bill’s death, going to the office, attacking Red, throwing him out the window, kicking him? His weeping? The new commander, his not recognising him, cheeky reaction, giving his gun and having to find his badge? Home? The Sergeant indicating the letter, coming in the office, leaving the key, reading the letter and its effect, the fire, his decision to rush through the fire, his burns, Mildred aghast at what she had done and his injuries? In hospital, Red recognise him, yet offering him the orange juice? Going home, the effect of the letter, going to the bar, listening to the man boasting about the rape? Picking the fight, clawing him, getting the DNA? Sending it for examination? His talking with Mildred, giving her some hope, with the chief, there being no match, the perpetrator being out of the country? Jackson persuaded that the suspect had raped or witnessed a rape? The number plate, the address in either Idaho, phoning Mildred, agreeing to go with her to Idaho? On the road?

12. Mildred son, his age, at school, memories of his sister? The flashbacks, Angela and her being saucy, taunting her mother, saying she might be raped and murdered, her
mother having said that she wished that – and a lifetime of regret at saying it?

13. The visit of the priest, helping the son, Mildred’s reaction, the story of the LA gangs, the responsibility of members even if they didn’t commit crimes, the church as a gang, the priest being a member, even if not perpetrating sexual abuse of altar boys? The anger and bitterness in her outburst?

14. James, dwarf, his place in the town, playing pool, comments on the midget and dwarf? His attraction to Mildred, seeing what had happened with the fire, giving her an alibi in the interrogations, going to the meal, in the restaurant, uncomfortable, Mildred’s husband, her leaving?

15. The husband, past as a policeman, violent in the home, leaving, his girlfriend and her age, visiting the home, the clash with Mildred? In the restaurant, the comment about “begets� and the girl quoting it, mixing up polio and polo…?

16. The helpers from the Billboard company, the replacements, the dwarf holding the ladder, the son helping, pasting up the signs again? The impact of the fire and Mildred trying to put it out, her son helping?

17. Mildred and anger, her friend in the gift shop, Jackson arresting her for drugs? Her getting out? Mildred burning down the station and her alibi?

18. On the road with Jackson, their not being sure whether they wanted to kill the perpetrator or not? Deciding on their way? An appropriate ending for the film?

19. The wit and wisdom of the screenplay, the interlinks of the characters and themes?

SWEET COUNTRY

Australia, 2017, 110 minutes, Colour.
Bryan Brown, Sam Neill, Hamilton Morris, Matt Day, Ewen Leslie, Natassia Gory Furber, Gibson John, Anni Finsterer, Tremayne Doolan, Trevon Doolan, Thomas M. Wright.
Directed by Warwick Thornton.

Here is a film which should be seen by as wide an audience as possible, especially Australian audiences, both indigenous and non-indigenous.

It is based on events that took place in 1929 and was filmed in South Australia. Director and cinematographer, Warwick Thornton, received great acclaim for his film about young people in and around Alice Springs, Samson and Delilah (2009). Thornton has photographed quite a number of films, including The Sapphires, as well as directing some short stories in The Darkside and an episode in Tim Winton’s The Turning.

At one stage, a remark is made that this desert outback is a sweet country, good for cattle. However, audiences immediately realise that it is not necessarily a sweet country for indigenous people. As the credits begin, there is a close-up of water boiling and racist remarks being made offscreen. Then there is a close-up of Sam, an older aboriginal man in a court case. How did this happen?

Sam (a first screen appearance by Hamilton Morris, highly effective and persuasive) lives with his wife and niece on a land spread, managed by a God-fearing, Bible-reading owner, Fred Smith (Sam Neill). All are equal on this property. Suddenly, a neighbouring landowner, Harry Mitchell (Ewen Leslie) comes to ask for help from Fred and then asking for its permission to take Sam and his family to help with work. Harry Mitchell served on the Western front, does not believe in God’s presence nor in equality. He is harsh with Sam, has a lustful eye on the niece, exploits Sam’s wife. He is also harsh with the young aboriginal lad, Philomach, who belongs to another neighbouring spread.

Complications ensue, the boy, in chains, runs away, Mitchell goes in pursuit, confronting Sam, guns drawn and Mitchell shot. Sam realises that in killing a white man, it will be hard for him to get a hearing and justice. He and his wife go walkabout.

In town, the local policeman, Fletcher, Bryan Brown, is definitely in charge, a touch of the genial but also more than a touch of the arrogant. A significant part of the plot is his going out into the desert in pursuit of Sam and his falling victim to the desert and lack of water.

When Sam gives himself up, a young judge (Matt Day) arrives, rejects the suggestion that the case be held in the bar, takes it outside with a desk and deck chairs. Fred is there in support of Sam.

The court scene is very moving, the young judge, rather inexperienced and a bit full of himself, makes demands in his questions, impatient for answers, not appreciating the pace of indigenous reflection and response.

The screenplay leads the audience to an appreciation of Sam, as well as the old aboriginal man, Archie (Gibson John also in a first film role) who was taken from his family and is subservient to the white owner, to watching Philomach, and wondering where he will finish. But the film also dramatises the exploitation of the indigenous, both men and women, by insensitive and cruel white men, treating the workers as the equivalent of slaves, no respect for them as persons, a rugged atmosphere, a rugged life, with seemingly no future for the indigenous men.

But, in 2018, almost 90 years later, an indigenous director all is telling the story and reminding everyone of the shame.

1. A significant film about indigenous Australians? Post 1788 Australian history? Way to treatment of black people?

2. The director, his interests, films, awards?

3. The need for this kind of film for Australian audiences? To look back into history? To accept history? Consequences for the present and future?

4. The title, Australia in the outback, the outback perspective, indigenous perspective, land and country? The reference to sweet and good country for cattle? Yet the irony of the harsh history and reality?

5. The tone, the initial boiling water, the background voices, harsh violence and races and?

6. The next focus on Sam, his face, in court, the judge in the case?

7. The narrative, the insertion of images which correspond to memories and imagination of the different characters? The effectiveness of this device?

8. Fred Smith, his land, house, Sam and Lucy as equals, a peaceful man, biblical, reading the Scriptures, justice and equality? His life, lending sent to do the work for Harry Mitchell, leaving him as caretaker during his trip to town?

9. Harry Mitchell, the background World War I, not believing all Australians were equal, saying that God was not on the Western front? Arrival by course, disturbing people, his request of friend, his tone, Fred wanting to say no, eventually saying yes? Sam going, the hard work, Harry’s treatment of Sam and his wife, his niece? The accommodation? Lucy and Harry sexual exploitation? Wanting Lucy? A rage, the promise? Lizzie and her shame? Sam and his wanting to protect Lucy?

10. Sam, Amanda dignity, his age, relationship with Lizzie, aboriginal traditions? French treatment? His work, being busy, protecting, upset? Harry’s arrival, the threats, the gun at the door, his shooting, killing Harry? His saying he had killed a white man and expecting the consequences? Going on the run with Lizzie, her walking behind him, in country?

11. Fletcher, his role as the police, importance, self-image? Attending the funeral, his assistant and his death? Sam heading off, giving him the water, going to the pool, Sam watching?

12. The natives, their attack on Lizzie, Sam killing them?

13. Fletcher, the law, tough, his attitudes, in the bar, his relationship with Mel, concerned about her daughter? The daughter’s work amongst the men? The funeral, the aftermath, his pursuit? The screening of Ned Kelly and his closing down? His giving up, the return, sweet, hope, his attitude towards the judge, the clashes, is observing the case, the
verdict, accompanying the group out of town – and the shooting of Sam?

14. Kennedy, tough landowner, his relationship with A Mac, beating him for stealing the balance, Archie and his role in the land, can into despising him, moving him out of the hut, favouring Philip back, giving Phil a Mac the boots, the discussion about his being a witness of the case?

15. Archie, his background, one of the stolen generation, his work, attitudes, for education, his being put down, attitude towards Philip back?

16. For a Mac, the killing, taking the watch in the pouch, going to town, sting the chicken, the bonding with Lucy? Is watching the trial? Throwing the watch in the water?

17. Fred, good man, his code, present at the trial, defending Lizzie, her pregnancy, happy at the result, driving them away from town? The response to Sam’s death?

18. The judge, younger, his importance, not wanting the case in the bar? The encounter with Fletcher, the drink, talk Western Mark the case outside, the chairs, the men of the town standing at the back? The racist attitude towards Sam? His questioning the witnesses, demanding answers? The aboriginal men and women keeping quiet? Slow…? His being fair, appraising the case? Appraising it accurately and letting Sam go?

19. The story from the 1920s, the 21st century perspective, the regrets about the past, the challenges of the past into the present and future?

SWINGING SAFARI

Australia, 2018, 96 minutes, Colour.
Guy Pearce, Julian Mc Mahon, Radha Mitchell, Kylie Minogue, Asher Keddie, Jeremy Sims, Jack Thompson, Atticus Robb, Darcy Wilson,
Directed by Stephan Elliot.

The Americans can certainly make raucous, ultra-raucous comedies. So can writer-director, Stephan Elliott. He is best remembered for Priscilla but he also made A Few Best Men and Welcome to Woop Woop.

The success of this film and audience response will depend on moods. For those wanting a laugh, they will enjoy it very much. For those who don’t do raucous comedy very well, it will seem very irritating and very silly. And the rest will probably be somewhere in between – and depending on those moods. How much laughing with or laughing at?

This is the 1970s, 1975 to be particular, with the success of Jaws. The film was made on the Gold Coast. The song, Swinging Safari, become something of a theme song, but in the background are many of the Australian hit songs of the time.

In the foreground, in the tradition of Dame Edna and her mocking the products of the past and their advertising, there are all kinds of visual icons of what was popular in those days in the shops, in homes, fashions and accessories, food and gadgets. Also in the foreground are the fashions and clothes of the time, Tony Abbott -like budgies, long hair, that is for the men, and stylised hairdos for the women. And, a variety of clothes.

It is summer. Three families are at the beach. We are introduced to each of them, the role of the father, the presence of the mother, the number of children. They are all friends – but, an experiment of permissiveness of the times, sexual, keys in a bowl and changing partners, leads to some excess but also to regrets and clashes.

The story is told from the point of view of a young photographer who gets his friends to be involved in making short films, small plots, eccentric characters, and one friend geared up to do all the stunts, including being set alight and having to jump into the swimming pool (with the other kids pouring in chlorine). The young man is Jeff Marsh, ably played by Atticus Rob, rather more serious than the other kids and sympathetic to Melly (Darcy Wilson) who is introverted, critical, on the way to serious lamia.

The other main theme is a beached whale. Everyone is fascinated, the Mayor, Jack Thompson, encouraging tourists – but, after it is impossible to get the whale back into the water after it dies, explosives are planted with an enormous explosion and bits of blubber, huge and small, descending on all the characters, something like an apocalyptic judgement.

The film has attracted strong character actors for the parents. Guy Pearce and Radha Mitchell almost and recognisably raucous) are the Halls. Julian Mc Mahon and Kylie Minogue (playing rather morose) are the Joneses. Jeremy Sims on Asher Keddie are the Marshes.

Priscilla worked well and led to stage productions. Welcome to Woop Woop seems rather stupid. And, somewhere in between, depending on your vantage points of good or bad, lies Swinging Safari.

1. A look at Australia in the 1970s? Laughing with the characters and the situations, laughing at them…?

2. The re-creation of the period, the town, homes, interiors of the homes, the streets, cars and traffic? The beach? The beached whale?

3. The title, the song, its being played, the overtones? The range of songs from the 1970s? From Australia?

4. The director and his work, his style? The touch of autobiography? 1975? The teenager making films? The influence of Jaws, his action films, creating plots, the special effects? His camera, using Jerome and the others? The glimpses of the films? Action, stunts, fire, the swimming pool?

5. The tone, comic, raucous? The post-hippy era? Experimental morals? The humorous retrospect on clothes, hairstyles, fashions? Issues of parents, discipline or not for their children? Sexual experimentation, keys and the bowl?

6. Jeff Marsh as the focus, his story, his place in the family, his parents, his father’s job, his sister and her sexual behaviour? His friendship with Melly, her being quiet and reserved, the bond between them, each encouraging the other, their sharing, the decision to run away, the fire, finally escaping from the town?

7. Introduction to the families, the Hall family, work, the number of children, the genial father, the ambitious wife? The range of kids? The Marsh family, work, the practical father, the adventurous mother? The promiscuous daughter and the lineup of young men? The Jones family, the father and his being surly, his wife and her being morose? The effect on the children?

8. The range of kids, at home, the activities, meals and separate table, Melly not eating, Jeff eating so that they could all leave the table, the older children getting together, sex preoccupation, the younger boys and girls and their activities?

9. The sex episode, the parents and the times, daring, the plan, the keys and the bowl, hesitations, the behaviour, sexual partners? Jeff and Melly watching?

10. The shared interests of the families, meals, at the beach? The experience of the sex partners and the souring of relationship? The clashes? The children’s behaviour? The arguments? An eventual reconciliation?

11. Importance of the beached whale? The families and their looking, Melly and her compassion? Jeff filming? The role of the Mayor? Tourism? The blow to tourism when it stayed beached? The plan to explode the whale? The comedy and the moral touch of everybody being pelted with the whale blubber?

12. The use of the various icons of the period, in the shops, products, advertisements?

13. The brashness of the times, dismissing of some skin cancer, racial slurs, prejudices, condemnation of proctors, blacks…? 21st-century audiences and the response?
Laughing at the past and prejudice?

14. The blend of the raucous, the silly, comic touches, remembering? Comparisons with today?

STAR WARS: THE LAST JEDI

US/UK, 2017, 152 minutes, Colour.

Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Andy Serkis, Lupita Ngyon’go, Domhnall Gleeson, Anthony Daniels, Gwendolyn Christie, Kelly Marie Tran, Laura Dern, Justin Theroux.
Directed by Rian Johnson.

Within 10 days of release around the world, The Last Jedi had drawn in almost $1 billion at the box office. That’s popularity.
It is 40 years since the first words began to scroll upwards on the screen, introducing audiences to the galaxy far, far away, to the now-immediately-recognisable opening to John Williams striking score. And, 40 years later, that is the way that episode eight, The Last Jedi, opens. Not only do we know instantly that we are in the galaxy, that we have gone far, far away from our ordinary lives, but we feel what it is like to be in the galaxy, remembering the past episodes, hopeful for this new one.

Those in charge in the galaxy now are the First Order, ruled over by a Gollum -like creature (and, in fact, he is played by Andy Serkis), sinister and slimy both in look and voice. He is ruthless, his Star Wars aggression being led by General Hux (Domnhall Gleeson), assertive but something of a weak and insipid character. Meanwhile, the rebels are at their headquarters spaceship, led by Princess Leia. This film is dedicated to Carrie Fisher who had completed her work for the film before her untimely death. She has a strong and substantial role in this episode, reminding us of the strength of her character when we met first met her in 1977.

The film is also strong for the presence of Mark Hamill. In episode seven, Rey (an intrepid Daisy Ridley) has gone to the planet where Luke Skywalker has exiled himself, on a craggy island. Her mission is to bring him back to help the rebels. He is reluctant, treats her with dismissal but, ultimately does train her in Jedi ways. He still has The Force and communicates with Leia. He also tells the story of his trying to train Kylo Ren (Adam Driver) and his discovery of the young man given over to the Darkside, even responsible for the death of his father, Han Solo – and initially prepared to destroy the rebel headquarters and his mother.

Also in the action is the adventure a pilot, Poe Damaron (Oscar Isaac), involved initially in daring raids against the First Order, disobeying orders but being successful, though demoted when Leia is injured and hands over to her successor, Vice Admiral Holdo (Laura Dern).

And, just as we might have been wondering where Finn is (John Boyega), he seems to come out of hibernation and soon goes on an important mission to try to get the codes to destroy the First Order headquarters. He is accompanied by Rose, Kelly Marie Tran, whose sister was killed in one of Poe’s all attacks. They infiltrate the headquarters and meet a dubious character who knows the codes, played by Benicio del Toro.

So, the stage is set for more adventures and star wars, Vice Admiral Holdo will sacrificing herself so that the remnant can escape. The stage is also set for a confrontation between Luke Skywalker and Kylo Ren, Luke relying on the Force to play strategic tricks on Kylo Ren.

And so, the stage is also set for the passing of the old Jedi links, Luke and Leia, the anointing of Rey as the new Jedi with Poe and Finn to be the co-warriors in episode nine.

After 40 years, changing the imagination and consciousness of audiences worldwide, the force of the series is still with us.

1. The popularity of the Star Wars films? For 40 years? Around the world? Shaping world consciousness and imagination?

2. The title, Luke as the Last Jedi? Rey is the first new Jedi? The tradition of the tradition continuing?

3. The familiar opening, the rolling information, the situation, John Williams music? Audiences familiar with the galaxy? At home there?

4. The situation: the First Order, domination, the rebels? Episode eight in the continuity with the past – and looking forward to the third part of the third trilogy?

5. The visuals of space, vastness, the range of planets? The island, the crags, the sea? The First Order headquarters, the throne room for Snoke? The rebels’ headquarters? The space ships, exteriors and interiors, in motion, in battle?

6. The special effects, the battle sequences?

7. Snoke, ruling the First Order, General Hux, his orders, the attack? Subservience to Snoke? His weak character? Poe, in his ship, his skill at manoeuvres? The destruction? The dangers, Leia and her commands, his disregarding them? His attack, the destruction and success? The hero and his disobeying orders?

8. Rey and her story, the quest from the previous film, on the island, seeking Luke? His story, the past heroics, the Jedi code, his retiring to the island, yet still having his powers, the Force? Being the last of the Jedi? Rey and her visit, her request for his help, Luke ignoring her, rebuking her, further treatment? Chewbacca’s intervention? R2D2? The island and its desolation? The crags, the water? Luke’s resistance? Yet changing, the training process for Rey? His sensing of Leia’s presence? His decision to intervene? His telling Rey the story of Kylo Ren, Kylo Ren and the darkness, Luke wanting to kill him, to destroy the dark side? The darkness that Kylo Ren had killed Han Solo? – And his even intending to destroy his mother?

9. Rose, guardian of the codes? The death of her sister with Poe? Finn and his background, with the Empire and the soldiery? Emerging, leaking water, his bewilderment? Poe’s saving him? The buildup to the mission? The command controls? Finn and Rose going to the ship, infiltrating, the encounter with DJ? Friendly, leading them on, their being captured, his double standards? Ironic tone? The return, the commander of the code? The importance of timing?

10. Kylo Ren, his subservience to Snoke, audiences with him, the issue of the Dark Side? The interactions with Rey? Their being together, the discussions, the bond, her seeing the good in him? His betraying her, leading the attack, willing for his mother to die? Yet stepping back, hesitating? His killing Snoke, Snoke’s presumption and shock at his destruction? The laser fights? Eventually the confrontation with Luke, the fight to the death?

11. Leia, her injuries and the attack, the Force, moving through space, returning, her recovery? Handing on the authority to Vice Admiral Holdo? Holdo, her presence, strength, Poe resentful of her command? Her acting by the book? Dismissing Poe? The plan, the time travel, saving the ship, the fighter ships and their being destroyed by the First Order? Her decision to evacuate everybody from the ship? Her remaining, saving the crew? Her death?

12. The buildup to the climax, General Hux, the attack? The rebel escape, the Fort, 3CPIO and his presence, advice?

13. Luke, his presence, the encounter with Leia and her comment on her hair? Rey, Rose, Finn? Rose and her death?

14. The confrontation between Luke and Kylo Ren? The laser swords? The Force? Luke eluding Kylo Ren? But his returning to the island, his presence there, his death and disappearance?

15. The starship, the escape of the small group – and into the next sequel?

SPIELBERG

US, 2017, 150 minutes, Colour.
Directed by Susan Lacy.

This is an extensive study of Steven Spielberg’s films as well as a portrait of the director over the decades. It was produced by HBO. Spielberg has given many interviews over the decades and a lot of material from these interviews has been incorporated into the film as well as interviews with his parents, his sisters, various producers, his close friend directors (Scorsese, DePalma?, Lucas, Ford Coppola), as well as quite a range of interviews with actors who performed in his films.

There are some criticisms that this was a film from Spielberg’s point of view, with his own words. But, this was the intention of the film. It is Spielberg’s perspective on himself and his career and he is not uncritical himself, as a person when young, his reaction to his parents’ divorce and screamed relationship with his father, his marriage to Amy Irving, the experience of divorce, his marriage to Kate Capshaw and their large family, his filmmaking as a boy, his brashness as a young director at Universal, the changes over the decades in his films, techniques, subjects.

While brought up as Jewish, a strong influence from his grandparents, the family did not live in Jewish areas and Spielberg gave up his traditions. However, with his research for Schindler’s List and the experience of making it, he rediscovered his Jewish background and donated the profits from Schindler’s List to establishing the Shaoh Foundation, recording the experiences of Holocaust survivors as well as survivors of other genocides.

As a portrait of Spielberg himself without his films, this would be an interesting documentary. His father was a traveller, an inventor in IT, and Spielberg grew up with his sisters to a large extent in Phoenix Arizona. He was a child nerd, not interested in sport, bullied at school. But he had his camera, started to make films as a teenager in the 1960s (there are quite a lot of clips from these films which do indicate his talent for filmmaking, for performance, the special effects). His parents divorced and, while he was close to his imaginative mother who married again, he blamed his father for many years.

On a visit to Universal Studios he stayed behind, allegedly setting up an office there (partner David Geffen says it is of ‘Print the legend’ kind of story) but was taken on by producer Sidney Scheinberg and given many opportunities, filming a number of series episodes at Universal when he was 20, including directing Joan Crawford in a Night Gallery episode.

While the film opens with a study of how Jaws was made, despite all odds and his inexperience, filmed at sea rather than on land, the shark not working on so having to find different ways of creating suspense, the scenes remind audiences of what an impact Jaws made at the time. And, it broke box office records in 1975.

The film then goes back, highlighting Duel (1973), his response to bullying, a small film that made an enormous impact which led to his making The Sugarland Express, getting a favourable review from Pauline Kael, going on to Jaws and, with its success, really looking back.

There are extensive studies of key films: Close Encounters, Raiders of the Lost Ark, ET, the Indiana Jones films, and, most importantly for his filmmaking, for his consciousness about his Jewish identity, and his first Oscar, Schindler’s List (and interviews with Liam Neeson, Ralph Fiennes, Ben Kingsley). This was in 1993, the same year that he made Jurassic Park, introducing computer-generated effects, especially the dinosaurs. There is quite a lot of background for his making of Saving Private Ryan, and introducing interviews with Tom Hanks who has appeared in five Spielberg films.

Other films get strong treatment but always in the context of Spielberg’s belief in family, the difficulties that he experienced with divorce and alienation from his father, focusing on children in Close Encounters, ET, the reconciliation and truth telling with his father (Sean Connery) for Indiana Jones, AI/Artificial Intelligence, the Leonardo DiCaprio? character in Catch Me if you Can. There are also themes of freedom especially in Amistad and, at some length, in Lincoln (interviews with Daniel Day Lewis) and Bridge of Spies.

There is always some disappointment at the lesser treatment of other films – and merely some glimpses of Hook, War Horse, Tin Tin, and nothing on Always or The Terminal.

As the documentary was being brought to a close, Spielberg was working on Bridge of Spies. By the time the documentary was screened at the end of 2017, he already had The Post and Ready Player One ready for release.

This documentary was made as Spielberg turned 70.