QUARTIER LONTAIN/ DISTANT NEIGHBOURHOOD

France, 2010, 98 minutes, Colour.
Pascal Greggory, Jonathan Zaccai, Alexandra Maria Lara, Leo Legrand, Laura Moisson.
Directed by Sam Garbarski.

Although this is a film about sadness in the family and its effect on the different members, the treatment is rather gentle.

The title refers to a town on where the central character, Thomas, Pascal Greggory, grew up. As the film opens, he is in middle age, a successful cartoonist though with something of a writer’s block. On his way to a convention, he takes the wrong train and alights at his home town, meeting old friend who stayed in his family business, going to look at his old house, going to see his mother’s grave at the cemetery where he has a fall and there is a flashback which takes up most of the action of the film.

Thomas returns to age 14, reliving his past yet knowing what was to come. We see the details of life in the house, his room, relationship with his sister, his father workjng in the shop, his mother keeping house. We see him at school, with his friends and their activities, meeting an attractive girl who serves as something of an inspiration.

Thomas knows that his father will leave the family at a birthday celebration and Thomas is anxious that this will not happen. As the family has the birthday cake, the father decides to go to a shop, Thomas following him, finding him at the station, getting on a train to Paris and leaving their lives. Thomas is unable to stop him.

When Thomas returns to the present, he finds himself in the cemetery but there is a value, even the sadness, in re-living this important part of his life.

1. The title? The town of Thomas’ younger days? In his memory? In his reliving the past?

2. The present, home, the train ride, the mistake? The town, the station, the streets and shops, the cemetery? The past? The same town, the same locales? The home, school? The railway station? The musical score?

3. The picture of a family, a family broken? The repercussions for children into adulthood?

4. The focus on Thomas, his work as a cartoonist, his relationship with his wife, going to the convention, his comics, his heroine? His being asked about his work by the fan?

5. Travel, the train, making a mistake, getting off at his home town? The effect of meeting his friend after 20 years, talking, hearing about the house, going to see it? Going to the cemetery, his fall? The flashback?

6. Thomas and his waking up aged 14? His knowing what was to come? His re-living the events day by day? His relationship with his father, knowing that his father was to leave? Trying to bond with him? Knowing that he would leave on his birthday? The birthday having passed? But the difficulty and its not being celebrated? Thomas and his anticipation of the celebration?

7. Thomas and his mother, as a person, loving, day by day life, love for her husband? Thomas knowing what was to come, her not being able to manage the shop, the sadness of her life? His relationship with his sister?

8. Thomas and his friend, comradeship, school, sharing activities? The meeting with Sylvie? The attraction? Her being an inspiration to him?

9. The building up to this birthday celebration, following his father to the station, unable to persuade him to stay? The father’s reasons, going? Thomas communicating this to his mother?

10. Waking at her grave? The experience of going back into the past? Helping him taught his future?

FRONT PAGE STORY

UK, 1954, 99 minutes, Black-and-white.
Jack Hawkins, Elizabeth Allen, Eva Bartok, Derek Farr, Michael Goodliffe, Martin Miller, Walter Fitzgerald, Joseph Tomelty, Jenny Jones, Helen Haye.
Directed by Gordon Parry.

From the title, this is a film about newspapers. It takes place over one day in a popular British tabloid.

The focus of the film is on the news editor played by Jack Hawkins. Hawkins, always a serious actor, was playing many war roles at this time in his career. Elizabeth Allen (The Heart of the Matter) plays his neglected wife. The editor is workaholic and does not appreciate the tensions between him and his wife.

The film shows the working of the paper during the day. There is a range of journalists, Derek Farr as a sleazy journalist who has had a thing for the editor’s wife in the past. There is a poetic, idealistic journalist played by Michael Goodliffe. Walter Fitzgerald is an old veteran who is drinking but shows that he has the capacity for tracking down a story.

The stories include the arrival of a nuclear scientist in Britain, the presence of politicians and police, the tracking down of the man, his being seen handing over secrets, his going to the paper and wanting to write an article about world peace but is taken away because of his criminal actions.

Another story concerns a mercy killing, allegedly, by woman played by Eva Bartok who does not say one word during the whole film. She is acquitted but is pursued in the streets by journalists and rushes away in front of an oncoming vehicle and dies.

The third story involves a woman going to hospital, her group of young and poor children going to the office and being looked after by the staff, with the news finally arriving that the woman has died.

The dramatic buildup of the film is a confrontation between the editor and the idealistic journalist, the screenplay providing rather long speeches highlighting both sides of an argument about the service that the papers do each day and the ideals of respect for those in the public eye. The idealist has to back down in some ways while the editor, hearing that his wife has been killed in a plane crash, grieves but the happy ending provides him with the news that she is safe and that he must reassess his life.

1. The newspaper drama? British and serious? The comparison with American stories – and their touches of satire?

2. The British setting, the city, homes, offices, newspaper production? Hospitals, courts, the airport? The contemporary issues? The musical score?

3. The title, the aims for newspapers? Headlines, dramatic stories, the role of the editor and supervision decisions, the news editor and deploying the staff, human relations? The range of journalists, mainly men in those times, the women journalists and contact with government officials, the range of stories, the contacts? The style of the 1950s and ability and technology for communication? Following people, photographs, accosting people? Serious stories? Sentiment? Death?

4. Jack Hawkins as JG, workaholic, his relationship with his wife, not appreciating her desperation? Phone calls, arriving at the office, going to the meal with his friends? The past relationship? Her decision to leave? The note? Going to the airport, on the waitlist, the support of her mother? Her not going – but being on the list, the crash and the victims?

5. JG, his age, experience, working, not wanting a holiday, lack of communication with his wife? His skills with the journalist, editing, news stories, decisions?

6. The range of journalists, the old man and his drinking, his daughter, going to interview the scientist, following him, the opportunity after the airport, the phone call, trapping the man? Police and politics? The atmosphere of nuclear bombs, sharing of secrets? The scientist, his desire for peace, wanting to write the article, passing on secrets, subversive, idealistic? JG informing the authorities, the arrest of the man, his saying he was doing his duty as with the police and the editor?

7. The importance of the court case, the background of mercy-killing, the idealistic and poetic journalist and his sympathy, present in court, the other journalists and their discussions, wanting interviews with the woman? The judge, lawyers and prosecutors? The plea? The jury, the acquittal? The woman, her walking free, the journalist following her, the more exploitative journalist, accosting the woman, her running and being knocked over and dying? The reaction of the journalist, in the bar, callous remarks, the idealist punching out the pragmatic man?

8. Jenny, the mother dying, the absent father? The children in the office, the journalist looking after them? News of the mother’s death? JG and his explaining everything to Jenny, supporting her?

9. The idealist, his drinking, going back to the office, the confrontation with JG? The significance of the speeches by the two men, the idealist and his putting his principles on a pedestal and the contrast with JG, getting out a paper, daily, the pragmatic issues? The service of a paper?

10. JG thinking his wife was on the plane, people sympathy? The audience seeing her arriving, waiting, his finally glimpsing her – and the day being important for him to learn more about his wife? The future?

BECOMING BOND

US, 2017, 92 minutes, Colour.
George Lazenby, Josh Lawson, Kassandra Clementi, Jeff Garlin, Dana Carvey, Diana Rigg.
Directed by Josh Greenbaum.


This Is a documentary about George Lazenby. On the one hand, it does explore serious matters about Lazenby himself, his life, growing up, his work in the garage, his being a car salesman, being a model, the opportunities, the choice for 007, his experience of the producers, making the film, the promotion, his womanising, the loves of his life, but, especially, his opting out of the Bond contract.

On the other hand, there is a lot of tongue-in-cheek, quite some humour, Lazenby appearing as something of a larrikin (the meaning of which is explained on screen!).

Basically, the film is an interview with Lazenby at 76. He is particularly genial, light-hearted, not taking himself too seriously. He is very direct about his life, his own character, the women in his life, his relationship with his love, Belinda, and walking out on her. At one stage, the interviewer asks him whether all he is saying is true or not – and his reply is that he is remembering it and saying it (which does not necessarily guarantee it).

Which means then that the film is an interesting 90 minute to camera interview with George Lazenby interspersed with dramatised past episodes, Josh Lawson playing the part of Lazenby. They are not meant to be taken seriously (as some disappointed commentators have complained). Rather, they contain repetitions of Lazenby’s own words, even in his own voice as spoken by other characters.

This means that we see something of George Lazenby’s childhood in Goulburn and Queanbeyan, his comments about his family, his uncertainty as to what he would do after school which he did not like. He seems to be fairly content in his work in the garage. His eager response to the opportunity to be a car salesman, initially not persuasive, but told to listen and then very successful.

We see his tentative relationship with Belinda, her snobbish father who is a friend, literally, of Prime Minister Menzies. We see Belinda going to England, George following her, his work as a car salesman, and an eager photographer sending stills to agents and his becoming a star model in England and on the continent, a collage of all his poses, glimpses of his real photos and video clips and advertisements.

His agent, played by Jane Seymour (herself a Bond girl) urges him to go to the office of the 007 films, Harry Salzman (played by Jeff Garlin as a variation on Harvey Weinstein). Director Peter Hunt is also brought in only to discover that Lazenby has no film experience whatsoever.

There are lots of scenes of the making of Her Majesty’s Secret Service in 1968, especially scenes with Diana Rigg (who appears momentarily later in the film commenting on Lazenby’s giving up his career as a film star).

The latter part of the film is quite interesting enabling audiences to understand why his film was a one-off, the pressures on him by the producers, his growing a beard and wearing this on tour and paying for his own tour, interviews with David Frost, with Johnny Carson (re-enacted rather prissily by Dana Carvey), and other interviewers including Michael Parkinson.

The moral of Lazenby’s story is that he did what he liked, not living up to people’s expectations. He might have lost money but he would have been constricted, his life controlled and he has preferred to marry, have children, drive racing cars, not be indebted to anyone.

So, even with the light tone and the serious undertones, this documentary is a contribution to the James Bond movie history.

THE MAN WHO INVENTED CHRISTMAS

2017, 104 minutes, Colour.
Dan Stevens, Christopher Plummer, Jonathan Pryce, Simon Callow, Miriam Margolyes, Ian Mc Neice, Morfydd Clark, Donald Sumpter, Bill Paterson, Miles Jupp, Annette Badland, Justin Edwards, Anna Murphy.
Directed by Bharat Nalluri.

One might have thought that Jesus himself might have been considered the “inventor� of Christmas – or, at least, Matthew or Luke in their Gospels. But, no, the man of the title is Charles Dickens, so well-known for his novel, A Christmas Carol.

This is an entertaining imagination about Dickens and his crisis in 1843, his failure with three books including Martin Chuzzlewit and his book on his American tour (with which the film opens, an extrovert extravaganza from his audience and his wishing he could get home!). Dickens has a block, is in debt, his fear that if he doesn’t produce another book or, if it fails, he will never write again.

Dan Stevens (Downton Abbey and his reminding us of his role as the Beast in Beauty and the Beast) is a sometimes frantic Dickens, caught up in his own world and imagination, angry with others, including his wife, resentful of his father and his extravagance, living in his imagination as he gathers names, images, family connections to produce A Christmas Carol.

Just as there are ghosts and fantasy in the novel itself, this film uses the same technique. Central to it all is Scrooge himself (and there are a couple of scenes in the trailer which are, unfortunately, not in the film, scenes where Dickens is trying to work out the name Scrooge as well is what he will call his story). Scrooge is played by Christopher Plummer, relishing the role, denouncing humbug, misanthropic, pessimistic, quick with the putdown of Dickens himself (the author – allegedly!). The ghost of Scrooge enables Dickens to focus on a story, the character of Scrooge and his heartlessness toward Bob Cratchit and, especially, the ailing Tiny Tim. Actually, by the end, Scrooge is able to challenge Dickens who then discovers his own Scrooginess, redeeming Scrooge himself.

We see how Dickens loves collecting names, relishing Marley, for instance. There is an nice touch at the end when he hears the name Copperfield. In fact, the presentation of his father in this film is very much like Mr Micawber.

Dickens has a put-upon wife, several children, a manager of his household and a maid. They all have a lot to put up with. And then his father turns up, Dickens having bought his parents a house in Devon. His father, well played by Jonathan Pryce, really has no conception of money and imposes on his son, his wife always patient. Dickens finds him exceedingly exasperating but, as he has a flashback about his father’s imprisonment, Dickens himself going to a blacking factory (with echoes of Oliver Twist), being bullied, he finally remembers that a bequest from his father is that everyone should play a part in lightening others’ loads.

Dickens’ sister and her family arrive from Manchester for a visit – and their little son is ill and has a crutch. Which means that various characters that Dickens encounters become part of his fantasy, his sister’s family becoming the Cratchits, his good friend and confidante, John Forster (a likeable Justin Edwards), becomes the ghost of Christmas present and his lawyer becomes the ghost of Jacob Marley. Dickens goes into this world quite frequently and, happily, with “God bless us everyone�, there is Christmas cheer all round as the book is finally published on time, John Leach (played by Simon Callow who has played Dickens on screen and on stage) finishing the sketches, Thackeray, seen as a rival to Dickens, giving the book a very warm review.

In the note at the end of the film remind us that one of the great effects of the novel was an increase in philanthropy, in people giving to those in need.

1. The title, audience expectations? Charles Dickens and A Christmas Carol? The 19th century and the status of celebrating Christmas? The British style, cards and goodwill (and not particularly based on the Gospel stories)? Germany and the Christmas trees? Victoria and Albert introducing them to England? And philanthropy?

2. Audiences and Dickens, their knowledge of him, his novels, the plots as well-known, film and television versions? Stories derived from Dickens? His reputation?

3. The recreation of the 19th century, the United States and Dickens’ theatre tour, the extroverted response of the people, song and dance on stage, eulogy speeches? Contrast with London, his wanting to go home? The household, the interiors of his house, scenes on the streets, the publishing house, the home of the artist, Inns? The musical score and the overtones of Christmas songs?

4. The fantasy in the novel? The ghosts of Christmas past present and future? The fantasy in this story of Dickens? Scrooge and his appearances, Christopher Plummer relishing the role? Humbug, cranky, inhuman? The encounter with the ghosts? Dickens’ sister and in-laws representing the Cratchits? The ghost of Jacob Marley? The girl ghost of Christmas past, the jolly ghost of Christmas present and his friend Foster? The ghost of the future? These ghosts and their apparitions familiar from the novels? The inspiration for Dickens writing, creative? Trying to write, the blocks, the interruptions? Testing out what he wrote on the maid? Dickens and his noting down particular names – and the final encounter at the railway station and Copperfield?

5. The focus on financial difficulties, at home, the failure of his three previous books? The decorations home, the chandelier? His father wanting money? The going to visit the lawyer, the loan, his fees? And the lawyer appearing as the ghost of Jacob Marley?

6. Scrooge, his appearance, dialogue, language, crotchety, criticisms?

7. Writing and imagination, the role of the author, ideas, writers blocks, difficulties, the actual writing and the equipment in the 19th century, testing out the text, going to the illustrator and the demands, the style of the book, the demands of the publishers? Foster and bouncing ideas from him – yet being angry with him? Reading to the maid? His nephew and his crutches? Tiny Tim?

8. Dickens, at home, his wife, hard on her, yet dependent on her? The many children? Tensions and joy?

9. The background of his parents, his genial mother, the memories of his father, a jovial man, irresponsible, arrested, taken to prison, yet exhorting his son? Dickens buying his elderly parents a house in Devon? The coming to London, his carefree father, borrowing money, an article for the Spectator but never finishing it, buying a new vest, toys for the children, the chandelier? Genial with the children? Dickens and his response to his father, the memories, criticising his extravagance, banishing him? The talk with Scrooge, Tiny Tim and the change of heart? Hurrying to the station, telling his parents to return? His father’s bequest about lightening others’ loads? And the image of Mr Micawber?

10. Forster, a good friend? Patient, his fiancee and her father’s rejection, being the ghost of Christmas present? Going to the artist? His being hurt by Dickens? The reconciliation? And the fiancee’s father’s relenting?

11. Dickens’ sister, her husband, from Manchester, her attitude towards their father, her sick son, her husband – and their being embodied as the Cratchit family in Dickens’ imagination?

12. The visit to the artist, his attitudes, his skills? Dickens disagreeing with the interpretation of the sketch of the ghost? The publishers, the time limit, the demands?

13. The visit to the blacking factory, rekindling the memories of Dickens and his past, the hard work, his being bullied, humiliated by the managers? The revelation of Dickens own Scrooginess?

14. The importance of the visions of Marley, the vision of the ghosts, the death of Tim? Scrooge, the challenge, Scrooge and the vault, the walls coming in, Dickens and his new awareness, saving him?

15. The firing of the maid in his anger, lending her the book on Aladdin, her bringing it back, the being reinstated? The joy at the end, the wife, the parents, the book in Dickens’s hand?

16. The book itself, its appearance, the character of Thackeray and his comments and success, his favourable review of the book?

17. The aftermath notes, the celebration of Christmas – and the increase of philanthropy and kindness as a consequence of the book?

THE STAR

US, 2017, 86 minutes, Colour.
Voices of: Stephen Yuen, Keegan- Michael Key, Aidy Bryant, Gina Rodriguez, Zachary Levi, Christopher Plummer, Ving Rhames, Gabriel Iglesias, Kelly Clarkson, Anthony Anderson, Kris Kristofferson, Kristin Chenoweth, Mariah Carey, Oprah Winfrey, Tracy Morgan.
Directed by Timothy Reckart.

Teachers and parents have been asking about this film. They want to know whether it would be helpful in classes about the religious meaning of Christmas, whether it will be helpful for families to see the film in preparation for Christmas.

This is an animation film, sponsored by Sony, with a great deal of the animation work done in Canada. The animation decision indicates that this will not be a “realistic “presentation of the familiar stories from the Gospels of Matthew and Luke.

(One might add that some bloggers have taken a very serious stance, objecting that this means of communication is not fit for gospel stories, is irreverent, could demean the stories. They forget that there has been a long tradition of cribs, different imagination of humans and animals in cribs, and Christmas legends like The Small One with Bing Crosby’s 1947 recording available on Youtube.)

It is important to note that this is a film designed for the youngest of audiences. It is definitely geared to “littlies� and the parents who accompany them and who are eager for their children to learn, as befits their age, something about Christmas – rather than the tinsel and commercialism, the over-emphasis on Santa Claus and children knowing more about him, the North pole, his reindeers than about Jesus.)

The filmmakers agree that they have taken liberties with imagining and embellishing the story, wanting to add some tones of humour to delight the children’s audience, some slapstick and pratfalls to have them laughing (which the littlies do), and a touch of drama with Mary and Joseph hurrying to Bethlehem, a sinister King Herod manipulating the wise men and a brutal soldier and two fierce dogs in pursuit of Mary and Joseph.

So, while Mary and Joseph and Herod are significant characters, the point about this telling of the story is that it is from the point of view of the animals and their being the central characters as well. Actually, the humans can’t hear them talk, only the familiar animal sounds. But, the audience hears them and they have a range of voices from a number of American actors and comedians including Oprah Winfrey, Tracy Morgan, Mariah Carey as the camels and Christopher Plummer as Herod.

The central character is a donkey called Bo. He and an old donkey (voiced by Kris Kristofferson) are mill donkeys, going in circles all their lives, Bo eager to escape but not really knowing how. He is well voiced by Korean- American actor, Steven Yuen. Bo has a cheeky dove friend, prone to wisecracks (Keegan Michael Key). They want to be in the king’s entourage.

Bo and Dave want to help Mary, who has been kind to Bo, and they hurry along the road to Bethlehem where they meet a lost sheep, Ruth (Aidy Bryant). Lots of comedy here, verbal and physical.

While the pursuing soldier might be frightening, the littlies might find the two snarling dogs (one fierce, the other rather dumb) fiercer – though they do have a crib conversion!

The key elements of Mary and Joseph, annunciation, betrothal, visit from Elizabeth and Zachary, inns and stables are all there – though, for some tastes the expected very American accents of Gina Rodriguez and Zachary Levi sound too modern, Mary prone to say ‘OK’ a lot. While Herod is evil, we see all the elements of Matthew 2 – though not the killing of the Innocents, the fierce soldier in pursuit being enough.

The film opens ‘9 months BC’! The light of the annunciation vision goes up into the sky to shine for the Magi and all, people and animals alike.

It is not a film for older children, unless they are tolerant of films for those younger than they are, nor a film designed for adults. The older children will identify more with The Nativity Story of 2006.

But, this is a nice little film for little audiences, part of initial steps to learning the Gospel stories.

DARK PARADISE

US, 2016, 89 minutes, Colour.
Boti Bliss, Antonio Sabato Jr, Ion Overman, Madison Spielvogel.
Directed by Michael Feiffer.

Dark Paradise is just a time-passer. The focus is almost completely on women, a con man being the villain.

The screenplay is not particularly subtle. It opens with scuba diving and a murder – which makes audiences immediately suspicious of the seemingly charming boat captain played by Antonia Sabato Jr. We are also introduced to a young woman who is bitter about life, especially her father and relationships who is visited by a lawyer who suddenly reveals that she has inherited more than $8 million because of an invention from her father in IT. She then decides to finance a holiday with two of her friends in Hawaii – where they meet the charming conman and she falls for him.

One of her friends is assaulted and goes into coma, and the young woman has to reassess her relationship with the captain. She returns to Hawaii.

Then disaster upon disaster, his disappearance, revelations about him, her bank accounts being emptied.

Although there is mention of connection with the FBI and the customs officers in Hawaii are helpful, the young woman and her best friend decide to take the law into their own hands and, comparatively easily within the time limits of the film, they track down the conman who is living in luxury in LA, drug him, force his pass word from him to recover the money, a shooting is involved – and the woman who was raped by him recovers.

1. The blend of romance and thriller for female sensibility?

2. Los Angeles settings, poor, affluent? Hawaiian settings? Luxury, the beaches and sea, scenery? Musical score?

3. The opening, the scuba diving, the murder, the dead woman, the malevolent man? Setting a tone for what followed?

4. Tamara’s story, her resentment of her father, his influence, her relationships? The lawyer, his news, her father and his death, the $8 million? The background her for her father in IT, his invention, in prison? Her response to the money? Financing the holiday for her friends?

5. The women, their sharing, going to Hawaii, Daphne and the resort, the encounter with Dario, his story about the boat, charm, Italian background and style? Tamara and the attraction? Time with him, the sexual relationship? Her scepticism? His seduction?

6. The friends, the rape and violence, the woman in coma? Family, the women and their support? Her coming out of the coma, her telling the truth, the audience seeing it in flashback? Dario and his attack?

7. Tamara, the decision to return to Hawaii, the infatuation with Dario? His disappearance, her bank account cleared? The stories about him and the boat? Going to the authorities in Hawaii?

8. The return, with Shelley? The FBI connections? Their taking the law into their own hands? The address, surveillance, following Dario, his Brazilian nationality, Shelley and her ploys, the fast car, the home, drugging him? Forcing him to give the information about the accounts? The gun, Tamara shooting his leg? His attack on Tamara, Shelley shooting him?

9. The recovery of the money? The happy ending?

10. A glossy potboiler?

SHOT CALLER

US, 2017, 121 minutes, Colour.
Nikolaj Coster- Waldau, John Bernthal, Omari Hardwick, Lake Bell, Holt Mc Callany, Benjamin Bratt, Jeffrey Donovan, Evan Jones, Max Greenfield, Emory Cohen.
Directed by Ric Roman Waugh.

This is a little heard of film, which is a pity. It is not a film that everyone would enjoy but for those who like serious and strong dramas with moral issues and emotional issues, this can be recommended.

The film has been written and directed by Ric Roman Waugh, better known for his work in stunts since the 1980s.

The film opens and closes with letters, the opening with a letter from a criminal in jail to his son, the ending with a letter from the son to his father, in jail.

The structure of the film is such that it seems to start, in terms of the narrative, at point B. A man who has been behind bars for ten years is released just as there is a hanging in the corridor. He looks tough, especially with a handlebar moustache, lines in his face. He is picked up by other criminals, taken to accommodation, goes to a club where there is a drive-by shooting and he makes contact with a rather baby-faced veteran from Afghanistan with discussion about stolen arms.

When the screenplay unexpectedly takes us back to point A, it is quite a surprise. How could the man that we have just seen leaving prison be the rather dapper stockbroker, with wife and young son, dining at a fashionable restaurant and discussing business, be the same man who leaves jail ten years later?

Nikolaj Coster-Waldau? is most persuasive in the central role, shading the character of the stockbroker in his good days and as a prisoner in his bad days.

The continued flashbacks from the continuing point B, take quite a while to show the details of what happened in point A, car accident, court case, imprisonment.

Where the film is very interesting, psychologically speaking, is in the experience of the man in jail – real name Jacob, nickname “Money� because of his being a stockbroker. The screenplay raises the questions about how one survives in jail, the pressures of gangs, racial segregation, emotional blackmail. And the question whether a prisoner under such pressures has the exercise of free will or not. To that extent, the film shows the steps in the gradual downfall of Jacob leading to fights in the courtyard, murders, connections with arms dealing outside the prison, corrupt guards.

There is some emotion during the sequences with the visit of Jacob’s wife (Lake Bell), her sadness, her being mystified by the changes in her husband, and her surname growing up during his teen years.

All this is leading to point C, what will happen to Jacob as he leaves prison, the talk of an arms deal and his taking control. His liaison is Shotgun (Jon Bernthal) whom he had known in prison but is now making the connections for handing over of the weapons to a Mexican cartel.

In the meantime, we have been introduced to some of the police in Los Angeles, especially Omari Hardwick seen in a raid and wounded immediately in action when confronting a suburban paedophile. He is also Jacob’s supervisor during his probation. It emerges that the police have a leak within the rogue group and we wonder how Jacob is going to handle the situation. At times, this is not a pretty picture. The scenes of the sale and the raid are well executed and we are still puzzling over Jacob’s motivation and his subsequent behaviour.

There are explanations, some coming right at the end, which means that the audience is involved throughout the film with Jacob and his character, the changes, the motivations, some dismay at his behaviour, some hopes for change in behaviour, but the audience puzzling and reflecting right up to the end of the film.

1. The title? The focus on Jacob and his life and career? The tone?

2. The Californian story, Los Angeles, prisons? The business world? The courts? Prison? Apartments, clubs, police precincts? The background of arms smuggling? The musical score?

3. The structure: starting with point B, moving back to point A, with flashbacks filling in the background? Moving forward towards point C?

4. The focus on Jacob, the strength of Nikolai Coster -Waldau’s presence and performance? His name, nickname in prison of “Money�? The opening film with his writing a letter to his son? His being freed, the hanging in the corridor, the corrupt guard and his communications? Jacob getting out? Meeting up with Shotgun? With Howie? The group, in the club, the encounter with the girl, drive-by shooting and her being shot? Jacob and his suspicions of a leak? Going to his apartment, the visit with the probation officer? His post-prison situation and the arms deals?

5. The insertion of the flashbacks? Jacob at home with his wife, with his son? His business life? The dinner, his being drunk? Driving, the accident? The passenger’s death? His facing the truth, DUI? In court, the interview with his lawyers, the advice of the plea, his wife not wanting it? The visits in prison? The widow suing him? His sentence?

6. The downhill trajectory of his life in prison? His arrival, the warnings, the men in the dormitory? Tough, the night attack on the weak prisoner? The gangs in the yard, the leader with his glasses? The race divisions? The pressures on Jacob? The talk, emotional blackmail? The drugs and his smuggling the container in his cavity, the toilet scene in getting the drugs out? His achievement? The connections? The violence in the yard, the enemies, his taking part in the attack, stabbing the prisoner? The viciousness of the leader with his glasses? To court, his wife present, the increase in his sentence? His wife filing for divorce? Not seeing his son?

7. His treatment in prison, isolation, the group going out to the individual cages, the white shorts, the exercise, the talk, the complicit guard? The introduction to Beast, his influence, running the arms deals from inside the prison? Beast wanting Jacob to participate – but the threat to his family?

8. The setup, Shotgun and his links with the police? The interview with the officer? Jacob coming to confront him, killing him? The swapping the phones? Giving information to the police, making the connections? The Mexican group, Jacob interviewing the leader, from the past in prison? With Howie, the information about the guns, his lies? The plan for the arms deal, the lorries, the drive, the meeting, information, the phones, the police and the waiting, the attack? Jacob’s arrest? His getting Howie out of the truck and getting him to vanish, Howie observing what went on?

9. The police stories? The story of Kutcher, the paedophile, going to the house, his being shot, his vest, getting into the house, shooting the paedophile and rescuing the girl? His fellow officers congratulating him? Planning with the group, the arms deals? His meeting with Jacob and his being the probation officer? The information, the death of Shotgun? The raid, the arrest, Jacob not giving him any information?

10. Jacob, going to see his wife, at the house, getting her to sign the documents, her security? Meeting his son and his son’s disappointment?

11. Sentenced to life, the cages, with Beast, smuggling in the weapon? Fighting Beast and killing him? His power over the guard, future running things?

12. The closing of the film and his letter to his son?

BIG IN JAPAN

Australia, 2017, 95 minutes, Colour.
David Elliott- Jones.
Directed by Lachlan Mc Leod.

Watching this film provided a biblical moment, watching a somewhat (actually more than a somewhat) quest for fame and celebrity: a different translation for the beginning of the old Testament book of Ecclesiastes: Inanity of Inanities, all is Inanity.

There is a lot going for this documentary. It is very entertaining. It is often very funny. But, underlying the whole enterprise, and sometimes more explicitly, there are serious observations about fame and celebrity.

The basic premise is this. Dave Elliott- Jones and his colleagues, director Lachlan Mc Leod and his cinematographer (as well as their girlfriends who are not to the forefront in the film except that they agree that it is best to come home at the end – they must be very long-suffering) decide to explore what it is to be famous. They also want to know why people want to be famous, what drives them. And, in order to find out what they do to be famous, Dave agrees that he is prepared to do anything to achieve celebrity, fame, being seen and noticed, having hits and likes on social media.

With all respect to Dave, there is a reference to the nerdish culture during the film and, at least in appearance, Dave fits the bill, rather skinny, glasses, short back and sides. However, as the film goes on, we see that underlying this nerdish exterior is someone who is really and truly prepared to do anything. The word “exhibitionism “does not occur in the film, but one wonders about it.

The trouble is that Dave and his friends come from Melbourne, not the epicentre of celebrity – or at least compared with celebrity in Japan. So, off they go to Japan and actually spend two years there in this quest for fame.

The unlikely-looking Dave does some auditions, creates a character Mr Jonesu for some rather silly Japanese commercials. His big bid for celebrity is based on the Japanese food, Inigo, and he makes an absurd hat/mask in the form of black and white Inigo to sit on his head, something like an empty television screen. He also strips, wearing only a red loincloth. Actually, this does not raise too many eyebrows even in the most public places in Japan. He does get photographed – but we knew that the Japanese were incessant photo-takers and, with smart phones, there is no inhibition in time or place for the quick snap or the quick selfie. Fair enough, the emphasis is on self, and oneself with the celebrity.

Interestingly, Dave and his friends choose three celebrities to meet in Japan, visualising their performances, but also having very frank talks with them about their origins, their aims, what the celebrity means to them personally.

The first is a huge and burley African-American? wrestler who had minimum career back at home but who has hit the Japanese sensibility and media, wrestling and calling himself The Beast. Lots of photos, lots of interviews – but he has sensed that the Japanese love the cute side of celebrities. So he is a master also of posing as cute as well as brutal. His name is Bob Sapp and we see quite a few glimpses of his success – as well as some later reflections about how it will all turn out.

The second is a Canadian girl, Kelsey Parnigoni who wants to be a celebrity singer, not quite possible at home in Canada, much more successful with self-promotion in Japan, forming a group of singing girls, on tour, but the group collapsing and her going solo. Since she is in mid-or-beginning-career, her point of view is forward-thinking and hopeful.

The third person certainly raises eyebrows and curiosity. This is a man from Adelaide who, he says, was bullied at school because he was fat. He lacked self-confidence. He also began an interest in cross-dressing. And, in Hong Kong, while wrestling, he combined his long haired and bearded look, his wrestling ability, and his capacity for wearing all kinds of dresses. And the name? Ladybeard. In six months he had a huge following, continually posing for photos, mainly for women fans rather than men, all kinds of costumes and dresses and an expert at the provocative as well as the cute. But, as with the others, he also has a very frank talk with Dave about his life.

In a way, there is a certain disbelief watching the Japanese and their cults of celebrity, and more than a certain disbelief that individuals would, in a sense, sacrifice themselves on the altar of fame.

It does get all too much for Dave when he is dared to stand under a freezing waterfall and he and his team and the girlfriends pack up and come home to make films in Melbourne – not without inserting some moralising about celebrity and fame.

Actually, this film could make Dave quite famous in itself!

1. An entertaining documentary? Dave’s story? And his story in Japan? And the quest for being famous?

2. The serious aspects of the documentary? The quest for fame, contemporary means to achieve fame, social media? Japan and its culture as a way and place for celebrity? International celebrity? The value of this kind of fame? The inanity of most of it?

3. The personal story, the introduction to Dave, his appearance, slight build, spectacles, the touch of the nerd? His relationship with his director and the director’s comments to camera? The glimpses of the photographer? The mention of the girls sharing the life in Japan? The decision, the issue of fame, giving years of his life to the quest? The Japanese choice?

4. The choice of Japan, going there, the cult of celebrity, foreign celebrities, their eccentricities, outlandish behaviour? Television, photographs? Fans, groupies? The cult celebrities, cute and tough? And the predominance of women fans?

5. Dave, his attempts? Willing, to do anything? The interviews with him being filmed and his talking to camera? The response of his director? Going public, the bit parts, the auditions? The commercials with Mr Jonesu and their stupidity? The Inigo, his becoming the Inigo man, the mask on his head, naked except the loincloth? Going out into public places? Accosting people? People’s responses, photographs, curiosity? The importance of social media responses, setting up quotas for Facebook, hits? His offer to remove the loincloth, with the dare, standing under the waterfall, freezing, cold, too much and his coming out? The effect on his morale?

6. The sequences with The Beast, Bob Sapp? Wrestler, tough? Big? African- American? His career at home, not successful? Going to Japan, the wrestling, his image, the fans? Friendly, with the touch of the cute? The board of discussions with Dave? His performance, the fall, the possibility of giving up?

7. Kelsey Parnigoni, from Canada, her hopes, singing, forming the group, on tour, the records, the fans? Success, falling out? Her going solo? Her explanation of her motivations?

8. Ladybeard, from Adelaide, cross-dresser? Character, considered fat at school, his low self-esteem? Going to Hong Kong, wrestling? Going to Japan, the huge Twitter following in six months, his hair, big beard, tough? The range of clothes and dresses? Photos, posing with fans, the touch of the cute? Mainly women fans? His frank talking with Dave about himself, his growing up, securities and insecurities? Response to fans?

9. The reality of being famous or not? The Facebook community? The nerd culture? The role of Facebook and Twitter?

10. Dave and his decision to pack up, the group coming home? Making films?

11. Dave, his friends and their conclusions about fame and the quest, two years of their life? Audience response to the themes of fame and the value of fame, quests? And the significance of this documentary to help understanding?

NEW MOON

US, 1940, 105 minutes, Black and white.
Jeanette Mac Donald, Nelson Eddy, Mary Boland, George Zucco, H.B.Warner, Grant Mitchell.
Directed by Robert Z. Leonard.

New Moon is one of the later collaborations between Jeanette Mac Donald and Nelson Eddy, popular in the latter part of the 1930s and early 1940s for their operators. New Moon was written by Oscar Hammerstein and Otto Harbuch to the music of Sigmund Romberg (Student Prince, Desert Song). The operetta first appeared on Broadway in 1928. Romberg had also written the music for Maytime, one of the first collaborations between the singers.

As with Maytime, the scene is that of the French Revolution. This time the story opens on a boat going from Marseille to New Orleans with aristocrats and a group of revolutionaries to be sold in the markets in New Orleans. The leader of the revolutionaries is a Duke who sang subversive songs and was arrested. He is played by Nelson Eddy in, perhaps, a more vigorous performance than usual. Jeanette Mac Donald is an aristocrat, travelling with her aunt, the redoubtable Mary Boland (Mrs Bennett in Pride and Prejudice, director Robert Z. Leonard’s next film after New Moon).

Most of the action is set on a plantation where the Duke, unrecognised, has been sold as a servant for Marianne, Janet Mac Donald. There is some sparring between the two but he persuades her to sing at a social gathering, a banquet that he also has recommended and supervised. There is a touch of gossip about his response to her singing.

However, the chief of police arrives from France to round up all the revolutionaries and send them back to Paris for execution. Marianne realises who Charles, the servant, is and wants to sell him on but he takes the opportunity to round up the men and take over the newly arrived ship, New Moon. They do and are pursued by the police chief on a boat with women who were to be brides of settlers in Martinique. H. B. Warner portrays a kindly Franciscan friar in charge of the women. Marianne and her aunt go on the boat which is taken over by Charles and his crew, caught in a storm, wrecked, and they are able to save everything from the ship and able to set up an idealistic revolutionary community.

The main concern is Marianne’s haughty attitude towards Charles and its eventually breaking down.

This operetta is famous for some tuneful songs including Lover Come Back, One Kiss, Wanting You, Softly as in a Morning Sunrise, Stout-hearted Men. The musical had been made in the early sound era with Laurence Tibbett and Grace Moore.

1. The popularity of Jeanette Mac Donald- Nelson Eddy musicals? Operettas? This screen presence? Rapport? Singing voices?

2. The operettas of Sigmund Romberg? From the 1920s? The various film versions? Mac Donald and Eddy in Maytime? The popularity of the songs: Lover come back, One Kiss, Stout-hearted Men, Wanting You, Softly as in a Morning Sunrise?

3. 1789, the background of the French Revolution, the men deported from France, the aristocracy and their lifestyle, the governor of Louisiana, life in New Orleans and Louisiana, the police, military?

4. The introduction to Marianne, returning from France with her aunt, her gossiping aunt, society, her singing? The captain of the ship, the singing of the men? Her aunt’s complaint? Her going to the captain? Meeting Charles, mistaking him for a member of the crew? The interaction between them? His touch of the flirtatious? A response?

5. New Orleans, the plantation, the governor and the entourage, the plan to have a party? Marianne shock at Charles’s presence? His being bought in the market? The interactions between the two, the touch of disdain, yet the attraction? The lavish meal, Charles’s directions, Marianne’s reaction, enjoying it? Charles getting her to sing? The gossip about his response? Going for the walk, the slaves and their singing, the prayers and the tree? The melody?

6. The arrival of the police inspector? Telling Marianne about the men? About the Duke? Her summoning him, sending him to Baton Rouge? Her motives?

7. The arrival of the New Moon, Charles gathering the men, the march and Stout-hearted Men? The taking of the ship?

8. The ship going to Martinique with the brides, the care of the Franciscan friar, Marianne and her aunt wanting to go? The rival ship, the attack, Charles and his men taking over the ship?

9. The storm, washing up on the island, able to rescue everything and set up a colony? The French Revolution in practice? Citizens being equal? The men doing the work? The domestic work for the women? Charles as a peacemaker? The friar urging him to promote unions amongst the men and women? The ceremonies?

10. The men singing and courting Marianne? Her complaint to Charles? Her acceptance of the commune, milking the goats, her aunt and the goats? Charles and his agreeing to a former marriage? Marianne finally persuaded?

11. The arrival of the friendship, the interruption of the discussion on the wedding night between the two? The learning the truth about him, about his grandmother’s help, about his not being a ladies’ man?

12. The French announcing the Republic, the military and the islanders combining? And the happy ending?

13. The plot, melodrama – and the interspersing of the songs?

SLEEPLESS

US, 2017, 95 minutes, Colour.
Jamie Foxx, Michelle Monaghan, Scoot Mc Nairy, Dermot Mulrooney, T.I., David Harbour, Gabrielle Union, Octavius J. Johnson.
Directed by Baran bo Odar.

Sleepless did not receive good reviews and so went straight to DVD and television exhibition.

The director Baran do Odar is Swedish and seems to be infatuated with the city of Las Vegas where the film is set, quite a lot of street scenes, quite a lot of the neon hoardings for the casinos, interiors of the casinos themselves.

The action takes place over one night, the robbery of drugs and these drugs being stolen by two police. This provides difficulties for the casino owner who was robbed but had promised the drugs to a high-profile drug-dealing family. Since one of the robbers was a police officer, the casino boss abducts his son, holding him till the drugs are handed over. In the meantime, and internal affairs officer, who has had some harsh experiences, is on the track of the dealers.

The film is a strong cast with Jamie Foxx as the policeman, Michelle Monaghan as the internal affairs officer, Scoot Mc Nairy as the son of the drug Lord, Dermot Mulroney as the casino chief. David Harbour is the partner of the internal affairs officer and Gabriel union and Octavius J. Johnson are Foxx’s wife and son.

There are a lot of intricacies as the night goes on, Foxx confronting the casino owner to get his son back, substituting sugar for the drugs, the anger of the dealer, the confrontation with the casino owner, with the two internal affairs officers observing what was going on.

Ultimately, this leads to some shootouts with everybody involved, the death of the casino owner, the revelation that the internal affairs officer is in the pay of the drug dealing family, thinking that his partner has been killed in a car accident – but she emerges to indicate the truth. In the meantime, it is revealed that Foxx has been undercover for the DA.

An action show for those who like police action shows with drug dealers and quite a lot of fights.

1. A Las Vegas story? Drug dealing? The casinos? Police? DEA, undercover work? Internal affairs? The combination?

2. The scenes of Las Vegas, night, overall views, the lights, the casinos, the streets? The interiors of the casino? Drug deals on the streets? Police precincts? The musical score?

3. The title, one night for all the characters?

4. The opening, the drug deal, the robbery, the police car arriving, the shootout? Vincent taking the drugs? Audiences suspicion of him? His partner?

5. Vincent, Jamie Foxx character, under suspicion? The revelation that he was DEA? His relationship with his wife, the tensions? With his son, taking him to the sports? His being abducted? Vincent wounded? His quest to get his son back? The phone calls, his taking the drugs to the casino? In the locker? Confronting Rubino? The issue with Novak? The drugs taken? His dilemmas? The thugs at the casino and the fights? The issues with Bryant? The substitution of sugar for the drugs? The repercussions? Getting his son away, the fights and his son helping? His confrontation with his partner, his partner being killed? And the thug? His wife, her arrival, with the gun? The boy driving the van on killing the thug?

6. Bryant, internal affairs, the interaction and her face, the psychologist, the brief talk? Tough? Her partnership with Denison? Following the leads, wanting to get Rubino and Novak and his family? At the casino, surveillance of Vincent? Taking the drugs and hiding them? Stand over with the receptionist? Waiting, searching the casino, assessing what it happened? Denison and the drugs? In the car park, the final confrontation, in the car with Denison, the truth, her being wounded, Denison killing the car driver? The crash, Denison denouncing Bryant, her coming out of the car, his death?

7. Rubino, drugs, the casino, his thugs, the deal with the Novak’s, taking Vincent’s son, the torture? The deals, substitute? Placating Novak? In the car, Novak shooting him?

8. Novak, with his father, the drug deals, the timeline? Ruthless, sadistic? With Vincent, with the boy, with Rubino? The final confrontation and his death?

9. The fast pace, the many fights, the brutality and violence, top police, internal affairs, undercover work, casinos, drug dealers?