CHEVALIER

Greece, 2015, 104 minutes, Colour.
Directed by Athina Rachel Tsangari.

The Chevalier of the title refers to a particular ring, to be worn by the victor in a competition amongst a group of men.

This is a film which requires a great deal of attention to the dialogue. It opens with a group of men scuba diving and coming ashore to their luxury boat. The film spends some time focusing on the characters of each of the men in the group.

However, the main action focuses on how they spend the evening before they return to Athens.

It is suggested that they play games, each of the men evaluating the others in all aspects of their behaviour and attitudes. This leads to a great deal of discussion, a great deal of assessment, clashes rising, rivalries and comparisons.

Unless the audience has particularly focused on each of the characters, the way that the film moves and is edited means that the action moves from one to another and some audiences may not have time to really pinpoint each of the characters, their background, their personalities, their manner of speaking, their participation in the games, their assessments and criticisms.

A film for reflection and discussion – in the context of Greek men.

PLANETARIUM

France, 2016, 104 minutes, Colour.
Natalie Portman, Lily- Rose Depp, Emanuel Salinger, Amira Casar, Pierre Salvadori, Louis Garrel, David Bennent,, Damien Chappelle.
Directed by Rebecca Zlotowski.

This is a rather interesting and intriguing at times drama from France, with dialogue in French and, because the two central characters are American, also in English.

The setting is the late 1930s in France. Two sisters are in a cabaret circuit able to hold seances involving an incredulous audience. (Interestingly, the compere and manager of the cabaret is played by the rather haunting little boy from The Tin Drum, David Bennent.) The sisters attract an entrepreneur, Korban. Originally from Eastern Europe, Jewish and later stigmatised for this, who is involved in the film industry of the time. He is particularly interested in filming a seance after he himself has had an extraordinary experience, imagining that he was being pushed back in his chair and throttled by sinister figure. He is played by Emanuel Salinger.

The two sisters are played by Natalie Portman and Lily- Rose Depp, daughter of Vanessa Paradis and Johnny Depp). In fact, Natalie Portman was 34 at the time of filming and Lily- Rose Depp only 16. The sisters are Laura and Kate. Kate is the medium, going into a trance after serious breathing enabling her to be in touch with the other world. Laura is the much more practical manager.

Korban persuades the sisters to become involved in filming, wanting to capture a seance to intrigue the public as well is to make money, and he is seen in many discussions with his patrons, producers and financiers. Ultimately, filming the seance is not a success, most people not seeing the barely perceptible changes in Kate. Korban is the victim of anti-Semitism, accused of fraud and jailed.

Laura has a career in films, giving the audience the opportunity to see something of the styles of filmmaking at the time, cameras, screenings, the work of the actors, interactions and the work of the technicians.

Kate has fragile health and dies.

An unusual film, an opportunity to go back into France in the late 1930s and enjoy the performances of the two actresses.

1. A French perspective on friends in the 1930s? Interest in seances in contact with of the worlds? The French film industry of the time?

2. The re-creation of the period, costumes and decor? Cabaret, film sets? Paris, the Riviera? The coast? Apartments in hotels? The venues for seances? The musical score?

3. The title, the focus on the stars?

4. A portrait of two sisters? The older in her 30s, the younger in her teens? The bond between the two? The performances of the actresses, distinctive characters? The opening, Eve returning to visit Laura, the death of Kate? The flashbacks?

5. The sisters, Kate and her powers, concentration, otherworldly? Laura as practical and the manager? The performances? Cabaret? The woman unwilling, yet having an experience of what was hidden? The compere and his management? Korban, presence in the audience? Is interest?

6. The character of Korban, from Eastern Europe, French citizen, Jewish and the prejudice against him? His interest in the two sisters? His having the sittings and his own experience, reaching back from the chair, imagining someone pulling and choking him? Intrigued, the business side, his involvement in filmmaking, his wanting to film such episodes, audience interest, moneymaking? His interest in Laura, her ability and acting, fostering her career? The interactions between himself and the sisters? Their living in his house? The meals, visitors? Film sets? The re-enactments? His faith and them? Others critical there was nothing to be seen? His financial difficulties, the sponsor, the withdrawal of money? The anti-Semitism and his regard?

7. Laura and Kate, inseparable, the bonds? Laura, interest in the films, her auditions, the success? Performance, the lines, acting? Her involvement with in the film world? The contract with Kate, otherworldly, yet fascinated by what was going on, a young age?

8. Kate, in the sittings, her breathing, sensing of other worlds, the characters? Their experience? Of this experience? Interest in the film world but are not becoming involved? Her illness, her death?

9. Laura, relationship with Korban, suspicions of him? The actors? Her interactions with permanent, his character, in the film, with Laura, her separation from him?

10. The, her interest in phenomena, the visits, society, her background? Are interest in the sisters? Friendship? Her returning to visit Laura after Kate’s death?

11. The film crew, the practical look at film styles of the period, Korban and his wanting inventiveness, cameras and their capacities? The technicians, the contribution, the editing room, the screenings?

12. The fate of Korban, imprisonment and the blackening of his reputation?

13. A rather different portrait of two sisters in a rather different context of the 1930s, film, finance, anti-Semitism?

THE SHADOW LAUGHS


US, 1933, 67 minutes, Black-and-white.
Hal Skelly, Rose Hobart, Harry T.Morley, Walter Fenner, Robert Keith, Geoffrey Bryant, Cesar Romero.
Directed by Arthur Hoerl.


While it is an enjoyable occupation to go back to the 1930s and 1940s, especially via You tube, to watch the small budget supporting features of the period – and there are many very good ones – this is not one of them.

There were later films with the character The Shadow, but this is not clear here. There is a central character, a newspaper man, who does laugh a lot. However, while there are a number of murders, there are probably too many suspicious characters, cluttered interactions and the plotline is not always clear at all.

Of historical interest, character actor, Robert Keith, makes an early appearance in his career, as does Cesar Romero.

Not one to hunt down.

 

 

 

 

THE CROW

US, 1994, 97 minutes, Colour.
Brandon Lee, Rochelle Davis, Ernie Hudson, Michael Wincott, Bai Ling, Sofia Shinas, David Patrick Kelly, Tony Todd, Jon Polito.
Directed by Alex Proyas.

The Crow is based on a series of comic books and comic strips by James O'Barr.

While there was a number of films from comics during the 1990s, The Phantom and others, it was only in the 21st-century that graphic novels and comic books led to the Marvel Universe and the films of DC comics. Superheroes.

Eric Draven, central character of the film, is not a superhero. He is an ordinary man, engaged to be married, who is attacked by thugs, his fiancee raped and killed, he himself falling from a window to his death. A year later, he rises from the dead, a gaunt figure with a kind of Halloween mask (very similar to the mask worn by Heath Ledger in The Dark Knight). A symbolic crow guides him through the city and to his revenge.

He tracks down the thugs who are responsible for his fiancee's death and for his own. At first, he is invulnerable, healing from wounds. There are violent encounters with each of the thugs, including quite a car chase through the city, wrapping the driver with bombs and a huge explosion. He also confronts the archvillain, the mastermind between moving people out of their accommodation and taking over. He is Top Dollar, played by Michael Wincott. Top Dollar is supremely arrogant character and, for the finale, after an encounter in the ruins of the vast church, the action moves to the top of the church and hero and villain engage in the sword fight while the young girl who has been this devoted follower slips and is hanging on to the guttering of the church roof.

The other main character is played by genial Ernie Hudson, a detective who had done his best in the case investigation and becomes an ally of Eric.

Four years after this film, Australian director Alex Proyas made the futuristic film Dark City. Both these films re-create a truly dark city, stylised streets and buildings, partly realistic, partly the world of sinister fantasy.

There were several other Crow films but they did not reach the status of this original.

Brandon Lee was the son of Bruce Lee. He died from an accident with a prop gun during the filming of The Crow.

1. The popularity of the film? From the comic book and strip? Recreation of the comic on screen? The status of Brandon Lee? His death?

2. The 1990s, film versions of comic heroes, prior to the superheroes of the 21st-century?

3. The atmosphere of the city, stylised, dark, the streets and the touch of the sinister, the buildings, skyscrapers, churches, the church roofs, the interiors and broken? Apartments, meeting halls? The special effects? Eric and his ability to move? The car chases? The fights, the shootouts? The musical score, the song?

4. The narrative line of the film, the flashbacks through touch and through memories? The stylised visualising of these flashbacks?

5. The opening, Eric and Shelley, the preparation for the wedding, the atmosphere of Halloween, the Devil’s Day? The thugs and their attack? The violence, the attack on Shelley, the rape? The attack on Eric, his falling out the window to his death?

6. The character of Sarah, her age, her presence, devotion to Shelley, her own home, her sister and relationships, the sister and the cooking, the change of heart? Sarah and her discussions and meetings with Allbrecht? Meeting Eric again? Sharing the action? Ultimately in peril, on the church roof, the fall, her rescue? The devotion, going to the cemetery? Helping Allbrecht?

7. The year later, the graves in the cemetery, the earth moving, Eric and his rising from the dead? His wounds being able to heal? His mission of vengeance? His vulnerability after achieving his mission? His mask, becoming his face, sinister, the crooked smile, Halloween?

8. The importance of the crow, visually, its flying through the city, Eric being its avatar? Its search, site, insights, leading Eric? The target for the thugs?

9. Allbrecht, policeman, sincere, his response to Eric on Shelley’s death, his investigations being thwarted, the clash with his superior officer, his being suspended? The encounters with Sarah, the friendship, buying the meal? The encounter with Eric, coming to his apartment, the discussion, an ally of Eric? The deaths of the thugs? Going to the church, his gun, his being shot on the steps? His healing and hospital?

10. Top Dollar, sinister, his aims at making money, moving people out, his gross thugs? His advisor? Sinister? His authorising the killing of Eric and Shelley? The target for Eric’s revenge? His meetings, his board, discussions, making money? His self-confidence? Taking Sarah? The interior of the church, the fight on the roof? His arrogance, wounding Eric? Eric touching him and his being filled with the memories and dying?

11. The range of thugs, Eric’s encounter with them, the thug with the knives, the rapist and the bath, the car chase and the explosives, the survivor reporting to Top Dollar, his death?

12. The meeting, Top Dollar presiding, Eric and his attack, the body count and the special effects for the fight and the shooting?

13. Gideon, the pawn shop, in league with Top Dollar? Eric’s visit, Gideon going to Top Dollar, being taunted, the sword and his death?

14. The effect on Eric, the guns, the knives? On the church roof? His taking the cross, the sword, the sword fight on the roof?

15. His return to the cemetery, his being buried again? Sarah’s visit and the flowers?

 

PITCH PERFECT 3

US, 2017, 93 minutes, Colour.
Anna Kendrick, Rebel Wilson, Hailee Steinfeld, Brittany Snow, Ruby Rose, Anna Camp, John Lithgow, Elizabeth Banks, John Michael Higgins.
Directed by Trish Sie.

Given the amount of singing in this film, both a cappella and with instrument accompaniment, the pitch of the now, very well-known group, the Bella’s, is still very effective.

However, the use of the word “perfect� in the title is quite an overstatement!

This is one for the fans only. It presupposes audience liking the central characters, especially Beca and Fat Amy, Anna Kendrick and Rebel Wilson; it presupposes audience knowledge of the ups and downs of the group, the different personalities, their interactions, their failures and successes in the past in competitions, their being on a high at the end of the sequel. They have a strong desire to join up again, especially since Beca has given up her job as a music producer, in frustration with the antics of the talent. Everybody finds themselves available – and the venue for this third film in the series is Europe, Spain, Italy and France, the girls participating in a USO concert tour.

The first part of the film could be very wearing for some audiences. The whole film is very female-oriented in its tone, very “girly� in its characters, behaviour and their appeal. There are some token males throughout the film, generally friendly, and Navy man accompanying the group, a record producer…

The film does start with a huge explosion on a yacht in the Mediterranean and Beca and Amy leaping off. Then it goes into flashback. Halfway through the film, a new character is introduced, Fat Amy’s father, who calls her by her real name, Patricia. Since Patricia is Australian, then her father, played by John Lithgow, has to have an Australian accent – or, at least, caricature of one. He has deserted his family in the past, is clearly hypocritical in seeking out his daughter and has dire intentions! This gives a bit of conflict drama to the screenplay – over and above the Bellas trying to compete with another talented group.

The screenplay seems to admit that this will be the last of the Pitch Perfect films for a while (anyone for Pitch Perfect: The Reunion in 10 years time!). The dialogue makes it quite clear that each of the Bellas has different intentions for the future, family, study, business…

This third film is rather forgettable, certainly not perfect. However, it must be said that Beca, Fat Amy and the other Bellas have provided a lot of entertainment to audiences in recent years.

JUMANJI: WELCOME TO THE JUNGLE

US, 2017, 119 minutes, Colour.
Dwayne Johnson, Jack Black, Kevin Hart, Karen Gillan, Bobby Canavale, Rhys Darby, Tim Matheson, Nick Jonas, Alex Wolff, Madison Iseman, Maribeth Monroe, Ser Darius Blain.
Directed by Jake Kasdan.

Back in the 1990s, there was a film of the board game, Jumanji, an action adventure, featuring Robin Williams and, if memory serves, stampeding rhinoceros. In this version of the board game, there are more than four adventurers in the land of Jumanji, a fantasy land that blends jungle and overtones of middle eastern towns and markets. In the rhinoceros stampede is back.

The film opens in 1996, a young man finding of the board game (but not having seen the film!), Switches on the game and disappears, leaving his home dilapidated over the next 20 years and his father a psychological wreck.

2017. Much more up-to-date. We are introduced for different students. Spencer is a raking nerd who writes assignments for fellow students. One of these students his Fridge, an African-American? sports hero wanting a scholarship. Then there is Martha, rather misanthropic, shy and awkward, wanting to study rather than socialise. Quite by contrast is the glamorous Bethany, incapacitated in life without her phone, flirtatious and unconscious of her interviewing in other people’s lives. They are all put in detention.

And, what do they find in detention but an old tradition of Jumanji – with choices with whom they might identify in the game. They press the buttons, drawn into the game, and there they are, in the form of the characters they have chosen.

And here is one of the advantages of the film, some humour that adults might enjoy as well. Spencer the nerd now appears in the form of Dwayne Johnson, tall, strong and musclebound. But, inside, he is this still the same nervous and awkward Spencer, amusement for the audience in seeing Dwayne Johnson coping with his inner nerd. Fridge, on the other hand, has become a zoologist and has grown up to be diminutive, Kevin Hart, a screen motormouth if ever there was one. Martha has become the glamorous and tough heroine, Karen Gillan. Bethany, on the other hand, has made a mistake in interpreting the name of her character and she is transformed into – Jack black. And there is quite some amusement to be had in seeing Jack black as male, trying to come to terms with his inner Bethany, always with the touch of the feminine.

So, off they go, encountering a British explorer who gives them a mission, to recover a stalled jewel, taken by the archvillain Bobby can avail and restore it to a mountain crag which is in the form of a Jaguar with the jewel forming its eye.

There are some corny adventures, some wisecracks, some heroism and some cowardice, hippopotamus swallowing, Jaguars pursuing, elephant rides, sweeping and swooping helicopter ride through canyons, pursued by enemies and a surveillance Eagle, enough adventures to keep audience attention. Old-time Saturday matinee stuff.

They also meet the young man who disappeared 20 years earlier, Nick Jonas, and they team up with him to get the helicopter, to get themselves to the mountain, to fulfil the mission with quite some acrobatic derring-do and get back home to ordinary life.

This kind of adventure always has some kind of moral and the four characters learn about themselves, learn to be their better selves, Spencer and Martha being attracted and having a kiss, and all being well unless they should find themselves trapped in yet another game.

The target audience is adolescent boys (either in age or in mentality).

1. The popularity of the game? The film of the 1990s? This updating?

2. A fantasy for younger audiences? Older audiences? Game-players?

3. The 1996 setting, the ordinary American town, homes? 20 years later? The same time, the high school, homes and families? The school principal and the office? Teachers? Detention? Sports?

4. The fantasy world? Hawaiian and Australian locations? The mountains, the valleys, the city, the market? The vehicle centre? The flights, the helicopter? Bikes and pursuits?

5. The special effects, being drawn into the Jumanji world? The animals, hippopotamus, rhinoceros pursuit, the elephant, the insects and scorpions? The bike riding and stunts? The deaths, landing back to earth through the year? Effects for the imagination?

6. The 1996 setting, the boy, finding the game, starting it – and the light seen from the street and his disappearance? The later images of the house, his aged father?

7. Spencer, at home, games, writing essays? Fridge, sports, Spencer writing his essay? The teacher noting the similarities? The visit to the principal? The threats and attention? Bethany, self-preoccupation, on the phone during exams, vanity? Detention? Martha, serious and studious, the sports mistress, criticising her? Detention?

8. The group in detention, together, the different characters, interactions, likes and dislikes? The discovery of the cassette, plugging it in? The effect, their being drawn into the game?

9. The choosing particular characters? Spencer and his becoming Dwayne Johnson, his opposite, size, Braun? Yet his continued diffidence? Fridge, so ologist, becoming diminutive, with Kevin Hart incessant patter? The reserved Martha, her becoming the glamorous warrior? Bethany, her mistake in interpreting the name, incarnated as Jack black? Bearded, middle-age, fat – but his performance as a reincarnated Bethany, the feminine touch, discovery of her maleness, the innuendo?

10. The arrival of Nigel, jovial, giving them the mission? The jewel, its having been captured by Bobby? The group and their fears, Bethany and the death experience with hippopotamus, landing back to earth? Their having three bars for three lives? Each death at the bar disappearing?

11. The initial reactions, criticisms of each other? Spencer amazed, being the Prof, eventually using his skills, his strength in the fights? Fridge and his knowledge of animals? Martha and her having to fight, the dancing fight? Bethany and the training for Martha to use her wiles?

12. Going into the town, the market, fridge exploding with the cake? The snakes, retrieving the jewel? Fridge having it – and losing it from the helicopter? The finding it again, the rhinoceros surrounding it, the pursuit of fridge? Spencer and his picking it up?

13. The encounter with Alex, his being part of the missing map? His life in Jumanji? 20 years? His identity? His wanting to get out, not reaching the right level? Working with the group? Going to the hut with the vehicles? Martha and her seduction, her fights? The getting the helicopter, the flight through the valleys, Spencer fixing the mechanism, they’re going higher?

14. The crime, the surveillance, reporting to Bobby? The pursuit on the motor bikes?

15. Each of the characters becoming their better selves? Collaboration, self-sacrifice? Affirmation? Spencer and the attraction to Martha – and the comedy of the kiss? Bethany and her attraction to Alex?

16. Reaching the Jaguar, to restore the jewel? The various difficulties, motorbike pursuits, spent on the motorbike? Fridge and the elephant? The climb, Martha, willing her death, landing back to earth, Spencer catching her, the restoration of the jewel?

17. Nigel, congratulating them on their mission? The issue of going back to real time? Their return?

18. The different selves, friendships? Meeting Alex, his restored life, family, his father?

19. An entertaining fantasy for younger audiences

CATS

UK, 1998, 120 minutes, Colour.
Elaine Page, John Mills, Ken Page.
Directed by David Mallet.

Audiences around the world have enjoyed Andrew Lloyd Webber’s Cats. It is not an easy piece of musical theatre to translate to the big screen so this version is a filmed version of the stage performance. A great deal of care has been given to the multi-cameras and their takes on the show at large as well as to close-ups and the highlighting of particular performances. And the editing is well-paced. It is an opportunity to experience something of the impact of Cats.

Andrew Lord Webber came to prominence with Tim Rice for Joseph and his Technicolour Dreamcoat followed quickly by Jesus Christ Superstar. There were other compositions including Starlight Express as well as Evita. Lord Webber’s impact came especially with The Phantom of the Opera – and continued for many decades.

The libretto for Cats comes from TS Eliot’s Old Possums Book of Practical Cats. (And, in the set design, there is an old car with the number plate TS 1.)

What is striking about the film is the staging, the stage itself, the rubbish tip, the night, all colourfully presented. Also striking is the costume design and the make up for such a wide range of cats.

What is important about the musical is the dancing and the choreography, all presented vividly and strikingly.

The star attractions for this performance are from Elaine Page as Grizabella, and her famous rendition of Memories. Surprising is the appearance of John Mills as Gus the theatre cat. Ken Page is dominating as Old Deuteronomy.

The rest of the cast are not well-known but are very talented singers and dancers, many with ballet backgrounds, who portray the group of cats – and then are singled out for their particular songs and as individual cats including the Mc Cavity, Mistoffeles.

This means that this version of Cats, as well as the theatrical version, is really an elaborate and colourful pageant, an example of musical theatre.

While the basic conceit is fanciful, and Lloyd Webber’s music brings the fancy to life, the audience is mainly entertained although, in the latter part of the production, there is the famous line from Elliot: to have the experience but miss the meaning.

Memories is at the core of Cats, Grizabella’s performance and the echo from the young cat, and it forms a plaintiff finale for this opportunity for those who could not get to theatre to still experience Cats.

FERDINAND

US, 2017, 106 minutes, Colour.
Voices of: John Cena, Kate Mac Kinnon, Bobby Cannavale, Jack Gore, Carlos Saldanha, Jeremy Sisto, Colin H. Murphy, Anthony Anderson, Peyton Manning, David Tennant, Gina Rodriguez, Sally Phillips, Daveed Diggs.
Directed by Carlos Saldanha.

Ferdinand is a bull. He lives in Spain. At first, he is a little bull, along with some friends, whose main goal in life is to be chosen by the matador to go to the ring in Madrid, for greater glory. The young bulls watch their fathers’ striving to be chosen by the matador – and Ferdinand’s father is chosen rather than the father of Val, Ferdinand’s biggest rival and taunter, a real case of bully-ing. Ferdinand actually prefers not to fight, plants a flower and waters it, delights in smelling his flower.

Ferdinand has the opportunity to escape and finishes up at a flower farm, bonding with the little girl, Nina, and her father and her dog who is unwilling (despite his eager tail wagging) to befriend Ferdinand. Suddenly, little bull, transforming into big, very big bull. All should be lovely at the farm but Ferdinand, after some to-ing and fro-ing, decides not to obey the command about his not going to the town and the elaborate flower show. He is delighted by the flowers and the display – but is stung by a bee and what follows are some spectacular scenes of mayhem and smashes, including a literal bull in a china shop.

Back to the Casa del Toro. He meets his old friends – and there is a newcomer, a Scottish-brogued bull called Angus. Val has grown bigger at this stage and is eager to be chosen for Madrid. Ferdinand is under the charge of a bucktoothed goat and trainer, Lupe, who is charmed by his friendship, understands his reluctance to fight and they concoct a plan for escaping. Val and Ferdinand do have a clash with Val breaking one of his horns and so ineligible for the ring, Ferdinand being chosen.

The escape sequences are also quite elaborate, having to go through the house and Ferdinand having to breathe in a lot to get out of windows and get through kitchen spaces. Fortunately, there are three tiny hedgehogs with comic voices doing comic turns who are escape experts.

There are some funny scenes when the group try to go to Madrid to rescue Ferdinand, the animals, commandeering a bus, an enormous traffic jam in Madrid which provides the opportunity for a very animated car chase through the city.

As we see right from the beginning, with Ferdinand sniffing his favourite flower, this is not a film that promotes bullfighting. On the contrary, it takes humane stands in consideration of the animals, which means that the final bullfight does not go as the matador predicted, nor as the crowd initially wanted, but humanity prevails or whatever the word for the combination of bull-humanity could be also prevails.

A very good voice cast is led by John Cena as Ferdinand, Kate MacKinnon? enjoying herself as the toothy goat, Bobby Cannavale as both Val and his father – and a good turn and from Angus the Scottish bull voiced by David Tennant.

The director, Carlos Saldanha, originally from Brazil, has directed or co-directed a number of the Ice Age films as well as Rio and Rio 2.

1. An entertaining film for younger and older audiences? Animation, animals and humans, voices? Bright colours, the Spanish setting? The farm for the bulls, flower farms? Madrid? The arena? The musical score? The Spanish tone?

2. The film based on a book for children and the illustrations from the book?

3. The voice cast, the range, American expense accents, Hispanic, British and Scottish?

4. The introduction to Ferdinand, a little bull, his friends, Val and his tough stances, Bones and the others, their friendship? Their attitude towards their fathers? The bulls parading, wanting to be chosen by the matador, to go to Madrid in the arena? The contrast with Ferdinand and his attitude, the flower, watering it, smelling it? The ridicule of the others? Val stamping on it?

5. Ferdinand, the rivalry between his father and Val’s father, his father being chosen?

6. Ferdinand, his escape, on the train, the men in pursuit? Finding Nina, her father? The welcome? The range of flowers and his delight? Growing bigger? Nina and her devotion? The family dog and his wry remarks? Wagging his tail and friendship and not wanting this? Ferdinand forbidden to go to the market? To-ing and fro-ing? His going, delight, the crowds, the people, the stalls, the flowers? His being stung by the bee – and the consequent mayhem? His being rounded up? The return to the house of the bull?

7. The humour of the literal bull in a china shop?

8. The meeting with Lupe, goat, character, appearance, teeth, voice? Job to train Ferdinand? Bones and the other bulls, their friendship? Val and his hostility, taunting Ferdinand? Wanting to go to the arena?

9. The organisation of the escape, the humour of Ferdinand and his size, getting through windows, going through the house? Ferdinand seeing the pictures of all the bulls killed, including his father? Wanting Val to come with them, Val’s resistance, wanting a fight, breaking his home, his humiliation?

10. The humour with the hedgehogs, the characters, voices, antics, helping with the escape?

11. Everybody getting out, the pursuit, getting into the bus, the people afraid and squashing, the humour of the chases, getting to Madrid, the traffic jam, getting to the arena?

12. Ferdinand, his capture, the matador and the choices at the farm, his getting dressed and preparing for the arena?

13. Ferdinand, not wanting to fight, his sitting down, provoking the matador? The red cape? The matador angry, the reversal of roles? The attitude of the crowd, Ferdinand and the flower, the defeat of the matador and his humiliation, the crowd cheering Ferdinand, throwing the flowers?

14. Nina, her father, seeing the story of Ferdinand? Their hurrying to the arena? Nina going out into the arena and reconciled with Ferdinand? Taking him and all the others home? And the dog still wagging his tail?

15. The film’s portrayal of bulls, matadors, the arena and bullfights? The stands against the bullfights? The humanitarian attitude towards animals and the victimisation?

RADIN!

France, 2016, 89 minutes, Colour.
Dany Boon, Laurence Arne, Noemie Schmidt.
Directed by Fred Cavaye.

Radin means someone who is stingy.

Dany Boon has appeared in quite a number of comedies. He is François, doomed already in the womb to be mean in his approach to his parents, his family, his friends. The audience is given a glimpse of this in his growing up years, but, especially, in his thrift in buying condoms which leads to his girlfriend becoming pregnant, something he is unaware of until his daughter appears in decades later in his life.

François is very frugal, using food stamps and bargaining with them at the supermarket, careful about electricity, an almost empty wardrobe… His outlet is music, coaching children, playing in an orchestra.

His behaviour is challenged by a fellow musician, Valerie, who is attracted to him, whom he takes out to an expensive meal (while he subsists on meagre rations of water), and then by the long-lost daughter who comes to stay with him. There is an emotional development as his daughter needs a kidney transplant – and François is compatible with her.

His neighbours dislike him intensely but his daughter tells the story about his supporting an orphanage in Mexico – which he doesn’t. This makes them very forgiving. And, at the end, after donating his kidney, in reality or in imagination, he and his daughter go to Mexico to meet the orphans.

Slight, but humorous – and a bit of a mirror-image for those who are stingy in attitude and behaviour.

1. The comedy with serious undertones? And some moralising?

2. Friends, the city, homes, streets, restaurants, theatre, church, music recitals? The neighbourhood, enclosed, the homes and streets? The contrast with Mexico, the orphanage, the desert? The musical score?

3. The background of François? In the womb, his mother’s words? Destined to be mean? As a child, the date to the cinema in the multiscreens, his music?

4. François and his story, his age, the glimpse of the sexual encounter and the cheap condom? The later revelation of his daughter? His music? Teaching the children? Playing in the orchestra? His mean way of life? The attraction to Valerie?

5. The sequences showing François and his stinginess? Not returning things to people, the pen, the helmet…? Electricity at home? Darkness? Issues of money, going to the bank, the discussions about how to save money, the outing to the restaurant and his thinking about declaring bankruptcy? His forever ringing his banker friend? Borrowing the tuxedo and the tight shoes? His empty wardrobe? Food and leftovers? Quibbling with certificates at the checkout?

6. The attraction to Valerie, her wanting a lesson? Going out to the restaurant, the waiter and his comments? François being careful with the food, Valerie enjoying the meal, putting her in the taxi and walking home?

7. Laura, her arrival, explanation, his disbelief, his allowing her to stay? All the notices and the various charges for water, electricity…? Her putting up with him? His contacting her mother? The stories about Mexico, the orphanage?

8. The hostility of the people in the neighbourhood, the graffiti against him? The meeting in his house, his not contributing to the expenses? Laura and her explanation, their apologies, everybody admiring him about Mexico? Valerie, admiring him? Her non-profit organisation? Raising the money? His speech at the dinner, the recital?

9. The lift from his neighbour, chatting, the neighbour and financial difficulty, he and his children coming into François’s house? Laura helping him? The phone call to the church, playing the music quickly? The would-be director and his sense of doom? The priest congratulating him on being modern? Valerie giving him a lift back?

10. The truth about Mexico? His being able to cover it? The truth about Laura, her need for a kidney? The challenge to him? His response?

11. And the visit to Mexico, the orphans, his good deeds – real or fantasy? In the finale stranded in the desert?

LE VOYAGE THE FANNY/FANNY'S JOURNEY


France, 2016, 94 minutes, Colour.
Leonie Souchaud, Fantine Harduin, Juliane Lepoureau, Ryan Brodie, Anais Meiringer. Meyer injure, Cecile de France, Stephane De Groodt.
Directed by Lola Doilon.

Fanny’s Journey is a rather late entry in films about World War II, the Holocaust, the taking of Jewish parents, care for the children by local French, the continued need for escape – and refuge in Switzerland.

The film is been directed by Lola Doilon, the daughter of distinguished French director Jacques Doilon.

Leone Souchard show is very good as the young Fanny, one a group of children who are fostered, corresponding with their mother for several years, then denounced, having to move, having to keep on moving – and the woman in charge of the escapes, played by Cecile de France, putting Fanny in charge, making to her demands on her sense of responsibility and her ability to lead the children to safety. Clearly, there is quite some suspense as the children are small, required not to give out information, not to tell people their real name, suffer from hunger and thirst, from fatigue, but continue their quest.

German troops are seen and there is always a risk, especially the Germans requisitioning a farm of a man who is shielding the children.

However, while the film is a true story, and it is said about the children not seeing their parents again, it is a story of valiant children, courage and enterprise.

1. A World War II story? Jewish persecution? France? Family shielding and saving children?

2. 1943, the situation in France, parents taken and arrested, children entrusted to families? The towns, the homes, the way of life? The dangers? Moving from one house to another? Homes, play, the dormitories? The effect on the children?

3. The French countryside, the towns, train rides, the cities? The countryside, the mountains? The French- Swiss border? The musical score?

4. The focus on Fanny and her sisters? Their ages? The farewell from their mother? The letters from daughters to mother, mother to daughters? Their dependence on each other? Fanny the oldest? The relationship with the other children? The sympathetic parents?

5. The German occupation, the French police, collaboration? Denunciations? The consequences?

6. The children moving, cars and trains? Madame Forman? Strict? If the children? Receiving them, the dormitories, the discipline? Fanny and her work with the boy, the vegetables, his comic touches, listening to the radio? The denunciation? Having to move?

7. Madame foreman, the dangers of the railway station, the documents, the distracting the police and fainting? Getting the children on the train? The reappearance, putting Fanny in charge? Never seen again? (A character based on a real life woman who saved many children?)

8. The different children, boys and girls, Victor and his difference, aloofness, his criticisms of Eli, especially when he won went from the train? Diane, being mute? Her sister? The boys and the girls? In the train, and his leadership, her lacking in confidence, urge to rise to the occasion?

9. Eli, Leaving, his being caught, the letter?

10. The dangers, the police, in custody, no food, little boy and his defiance of the police, urging them to shoot him? The open door? The escape?

11. Into the countryside, the help, the cover of the summer camp, running to the top of the hill, through the forest? The effect on the children, hunger, thirst, fatigue? The water, the berries? Finding the hut, staying there?

12. Fanny going to the town, the man helping, the health of the children?

13. Jean the farmer, his help, the Germans coming to requisition his farm? Taking them in the wagon, explaining the border? The running across, the hole in the fence, the no man’s land, Fanny going out to retrieve the child, zigzagging in her running as Eli had advised, to safety?

14. The 21st century tribute to the parents, to the children and, especially, to those who saved them?