ONLY THE BRAVE

US, 2017, 134 minutes, Colour.
Josh Brolin, Jennifer Connolly, Miles Teller, Jeff Bridges, James Badge Dale, Andi Mac Dowell, Taylor Kitsch, Alex Russell.
Directed by Joseph Kosinski.

This is a fine film about firefighters, especially in Arizona. It is based on a true story and serves as a tribute to the firefighters. And, if an audience does not know the background of the story, it is well advised that they do not research it at all before seeing the film and so lessening its impact.

The Western states of the United States are frequently subject to huge forest fires. Professional firefighters as well as volunteers have to be ready at short notice to go into action. One of the great values of this film is how well and seriously it presents these themes. It highlights the professionalism needed by the firefighters, their dedication and commitment, the rigours of training which is very military-like, the need for following orders, the strong camaraderie in collaboration, the ever present dangers as well as the sometimes of long absences from home and family.

For other countries, like Australia, which experience fires in the summer seasons, this is a film well worth seeing. Visually, it certainly brings home the reality of the fires, their extent, the rapidity of movement given the winds, the intensity of the flames. Audiences will see how physically demanding the work is, hard work, with mental concentration – as well as the strategies that have to be developed by the leaders and supervisors to combat the fires. In this film, there are many fire sequences, realistic, and editing with the performers so that the experience of the fires is particularly real.

The film has a very good cast and is well written, based on a long article written in 2014 for GQ by Sean Flynn.

The film depends on the presence and performance of Josh Brolin as Eric, the superintendent of the group in Prescott, Arizona. He embodies very well the kind of sturdy solidity and responsibility that the firefighter leader must have. He is completely believable in the role. Jennifer Connolly is his strong-minded wife, Amanda, a horse-whisperer who is supportive of her husband but is beginning to change her mind about the need for having a family.

It is interesting to see Jeff Bridges, in the familiar kind of role as the older mentor, but with short back and sides and wearing glasses. He is a senior role model – although, towards the end of the film, he does have a moment to branch out at a celebration in a bar, singing Riders in the Sky. Andi Mac Dowell has some moments as his wife.

A team of good actors take the role of the special squad on which the film focuses. They are volunteers but want to be recognised and certified as an official group for their district. One of the episode shows their work in being observed for certification – and Eric using his crew with the observer, standing his ground in the decision about tactics. They are accepted and there are great celebrations, and T-shirts, to hail of the occasion.

It is Miles Teller (Whiplash) who has second billing. He plays Brendan Mc Donough who, it is noted at the end, served as a special adviser for the film. Actually, when he first appears, he is a heroin addict, something of a loner and a loser, has got a girl pregnant in a one-night stand, has been picked up the public by the police and jailed. He is ousted from his home by his mother. On probation, he does go to Eric and applies for a job with the firefighters, is interviewed strongly, is tested in a long-distance run and is finally accepted.

He clashes with one of the men who fancies himself a ladies’ man, Mac (Taylor Kitsch) but they develop a friendship, Brendan taking Mac in when he breaks up with his girlfriend, Mac fitting out the house for Brendan’s baby after her mother relents, supporting him after he is bitten by a snake. James Badge Dale is also strong as the captain of the group.

The action of the film builds up to a final fire, the historical fire in 2013 when the town of Yarnell stands in the pathway of the fire and the Granite Mountain Hotshots have to defend homes and stop the fire.

This is a solid film, interesting and entertaining, strong characterisations, significant action sequences, and showing how in reality, rather than in sloganeering, it is fighters like this who can make America great.

1. The title? Its being verified by the characters? A tribute to them?

2. A true story, American fires, the firefighters and their skills, their work? Arizona? The historical fire in 2013 and its toll?

3. The New Mexico locations for Arizona? The city of Prescott? The town, homes, the horses, bars, hospitals? The fire centre? Offices? The musical score?

4. The fire sequences, actual footage, edited in, the range of fires, the action, the intensity? The image of the burning bear?

5. The film as a portrayal of firefighters, their professionalism, professionals and volunteers? Experience, applications for licenses? Special firefighters for particular towns and areas? Supervisors and experience, captains and leadership, the range of men, young, the macho attitudes, tough, camaraderie, the choices for joining the firefighters, the rigorous training, running, push-ups et cetera? Testing their knowledge of the rules and protocols for work in combating the fires? Knowing them by heart? Always ready?

6. The firefighters as a group, personalities, trained and drilled, their loyalties, collaboration, following orders, seeing them in action?

7. The background of families, wives, children? The connections with them, domestic sequences? Their frequent absences? Dangers?

8. Eric and Amanda, the introduction, Eric waking, the phone calls, the jobs? Amanda working with the horses, her clients? Both of them tough? Not having any children? Their hard pasts and overcoming them? Continued tensions, yet love? Amanda and the horses, caring for the wounded horse, the car accident, the clients the next morning? Eric and his concern? Eric and his past experience, drugs and addiction? His abilities? His reliance on Duane? The discussions with Duane about the squad, certification, the discussion with the mayor in the bar, persuading the mayor? The reasons for giving the chance to Brendan, his own past? Calling him Donut? Jesse as his 2 IC? Eric and his knowledge, study, ability and situations, plans, the confrontation with Hayes and his taking his stance, his anger, breaking the chair – Duane’s visit, success? The celebration, the party, the T-shirts? Getting the name, Mount Granite? The ethos of the group? Yet the personal tensions with Amanda, her change her mind about having children? The discussions, going for the walk, talking with Duane, coming home, the sexual encounter – and his death?

9. Amanda, strong, her work? The discussions with Eric, changing her mind about children?

10. Duane, family life, his wife, his experience, the scenes at home, the meals and visitors, grandchildren? Duane and his talk with Eric, with the mayor? Success, the celebration, the new chair? In the bar, singing Riders in the Sky? The final talk with Eric and Eric’s decision about having children? Happier at the end?

11. Brendan, drug addiction, news of the pregnancy, in trouble with the police and larceny, in jail, parole? His mother wanting him out of home? His going to see Natalie, the truth of the pregnancy, her not wanting contact? His going to see Eric, the application, the interview? His being tested, Mac’s shoes and the hundred dollars? The run, his being sick, yet completing it, the photo verification? His being accepted? The exercise and training? His relationship with the men, and the clashes with Mac?

12. Natalie and her pregnancy, Brendan going to the supermarket, buying the goods, leaving them at the door? Eventually Natalie opening the door, offering him to hold the baby? The reconciliation, his mother proud of him?

13. The episode with the snake, going to hospital? Mac, the friendship, the sexy girlfriend, breaking off? The hospital, the attraction to the nurse? His having a place to stay with Brendan? Getting the house ready for the baby? In the hospital, support, snoring?

14. Time passing, the seasons, the firefighting seasons? The little girl growing up? The celebration and the families together?

15. The range of fires treated, the information given on locations, the jobs, the different strategies, seeing the men in action, hard work? The significance of saving the historic tree?

16. The bar, Duane singing, Brendan wanting to leave, the talk with Eric, Eric stand against his leaving – and later apology?

17. The final, the huge fire, Brendan as lookout, the danger, being rescued from the fire? The errors of the professionals, drenching the wrong place? The dangers, Eric and his leadership, decisions, having to move? The audience seeing the exercise of covering themselves – and their having to do it? The fire passing over them? Their deaths?

18. Getting the families in the gymnasium, the sadness, Amanda’s response? The desperate wives? Brendan’s arrival – and his sense of guilt of surviving?

19. The three years passing, Amanda and the horses, settled? Brendan with his daughter, at the tree on the monument?

20. Brendan Mc Donough having a role as adviser for the film? The photos of all the men with the actors who portray them?

21. A fine tribute, an American pride film, justified?

ONE FRIGHTENED NIGHT

US, 1935, 66 minutes, Black and white.
Charlie Grapewin, Mary Carlisle, Arthur Hohl, Wallace Ford, Lucien Littlefield, Regis Toomey, Hedda Hopper, Clarence Wilson, Evalyn Knapp, Rafaela Ottiano, Fred Kelsey.
Directed by Christy Cabanne.

There have been a lot of films about old mansions, storms, old dark houses. And there is often a murder – and there is often a will. This is a rather brighter version of that kind of story.

There is a storm. A tree falls on the power lines. There is a blackout. However, everything else is played in the light.

Charlie Grapewin portrays a cantankerous (to put it mildly) old codger who decides to announce how he is leaving his money and has gathered his relatives and associates together for a dinner. The only difficulty for those inheriting would be for his long-lost granddaughter to turn up. After the group, which includes gossip writer Hedda Hopper and up-and-coming star, Regis Toomey as a playboy, have decided how they would use the money, a lawyer turns up with the granddaughter.

Actually, there are two granddaughters. Another claimant arrives, a theatrical performer, who comes with her partner, a magician, played by Wallace Ford, here called Wally Ford. He gets into all kinds of tangles as he performs his tricks with the various people – and the ending gives him a comeuppance!

Then the first claimant suddenly dies, poisoned.

There is a lot of to-ing and fro-ing as regards who might have done this – and it emerges that it is the doctor who was in league with the pseudo-claimant. Actually, he defends himself with great stability and goes with the sheriff with rather more dignity than might have been expected of this kind of murderer.

Some good characterisations, quite a lot of verve thanks to Wallace Ford, a pleasing variation on the theme.

KILLER APP

US, 2017, 83 minutes, Colour.
Ashley Rickards, Skyler Maxon, Jonny Rees, Brooke Langton, Will Lancaster, Manny Pérez, Niki Koss, Jennifer Missoni.
Directed by Tomasso Cardile.

This is a film for and made by young adults enthralled by the lure of IT, its potential, the intrigue, and the possibilities of making a great deal of money. Older audiences might find it too much. The images on the cinema screen reflect and portray so many of the complex IT screens and images.

The film opens with a commercial for a company called Titan with the founder, Jonny Rees, urging his associate who has created not only an app but a robotic app to demonstrate what she has done. The experiment fails. The doomed associate writes down a code and then throws herself from the building. Titan seems to be able to go on…

Then a group of young and ambitious men and women arrive, welcomed by an associate who also voices the robot who is able to guide them from one place to another. They have accommodation in the Titan building – although there is a floor to which they have no access. They are assembled for a briefing with the founder and each has to put forward some kind of pitch, what they are working on, what they are developing, what are their hopes.

The central character is Jessie who may or may not be the illegitimate daughter of the founder – she is. She is cautioned by her mother as she goes to work for Titan, is persuaded to sign a confidentiality contract. However, she is rather surly as well is assertive, especially towards Matteo with whom she had a past relationship. There is also Stacey who is obviously meant to be the seductive character and another eccentric who has an app near his eyes which is able to tell him in detail his state of health. There is also a nice contender, Ian.

There is a certain rivalry amongst the group. However, the founder does take an interest in his daughter although she is prepared to defy him. Then Matteo gives a presentation having taken the main themes of her app, which will enable the computer to make connections between enemies.

And so, this is a promise for various characters to be knocked off, the first being Matteo. Stacey has been in an automated car with him but has escaped. She tries seduction with the founder – but is also confronted and knocked off. The man with the health app also goes into a frenzy.

Jessie’s mother also turns up, careful for her daughter, it also attacked but not dying, instead going to hospital.

And so, the scene is set, a lot of whizbang computer effects to enhance the action, and Matteo is revealed to be the villain.

And the possibilities of reconciliations all round and IT progress.

The intended audience may be too busy with their own projects and sitting at their own screens to have time to watch this melodramatic mirror of their activities!

(And the original title was antisocial.app!!)

STRAY DOG/ NORA INU


Japan, 1949, 122 minutes, Black and white.
Toshiro Mifune, Takashi Shimura.
Directed by Akira Kurosawa.

Stray Dog is an early film by celebrated filmmaker, Akira Kurosawa. He began making films during the war, in 1943. This is an early film but very soon afterwards he made Living and Rashomon following these landmark films of the 1950s with a significant series of films for the next 30 years.

While long in running time, this is a rather small film, a narrow focus. Toshiro Mifune portrays a young detective on his first case. But a pickpocket takes his gun from his pocket on a crowded bus. He takes time to investigate and pursue the finding of his gun. He is encouraged by his chief. He is also encouraged by the help of a veteran policeman, detective Sato, Takashi Shimura.

His search takes him to an archives of photos of pickpockets, his identifying a woman, following her all day until she relents and gives him some information. He follows the tracks of the criminal, following him to an eventual confrontation with the gun, and the wounding of detective Sato.

Detective Sato encourages the young detective in completing his first case and assuring him that this gives him some experience. The film was also something of a commentary on petty crime and violence in Japan in the years following the end of the war.

1. The film of postwar Japan? The work of the director? At the beginning of his career?

2. A Japanese story, police and detectives, crime and criminals, underworld, violence and murder?

3. The black-and-white photography, the Japanese city, the streets, homes, clubs, police precincts? The musical score?

4. The title, the reference to the criminal, wandering, like a stray dog? Becoming savage?

5. The focus on the detective? His first case, in the bus, pickpockets, losing his gun? His pursuit of the man through the streets, the details of the chase? His discussion with his chief? The lenient attitude of the chief, helping him to search for the gun? The discussions with Detective Sato? The indication of the woman pickpocket, the archives, the search, identifying the photo?

6. The meeting with the woman, her defiance, the detective following her the whole day, her giving in, giving hints?

7. The detective following through, the dancer and her mother, information about the criminal?

8. The further killings? The gun and the number of bullets?

9. The detective, his discussions with detective Sato? Sato and his experience? Encouragement?

10. On the job, the discovery of the criminal, the pursuit, Sato and his presence? Going into the woods? The confrontation with the gun? The shootings? Sato being injured?

11. The taking of the criminal? Condemnation?

12. The young detective at the beginning of his career, visiting Sato in hospital, Sato’s words of wisdom about further work and forgetting the original case?

13. The film’s comment on crime in postwar Japan?

TWO OR THREE THINGS I KNOW ABOUT HER/ DEUX OU TROIS CHOSES QUE JE SAIT D’ELLE

France, 1967, 87 minutes, Colour.
Marina Vlady, Roger Montsoret, Anny Duperey, Raoul Levy, Jean Narboni, Yves Beneyton, Juliet Berto.
Directed by Jean- Luc Godard.

In the 1950s, Jean- Luc Godard was an avid critic, one of the New Wave, including François Truffaut, Claude Chabrol, Eric Rohmer, who made such an impact on world cinema in the 1950s and 1960s. What he made a number of feature films, especially such films as Breathless as well as Le Mepris/Contempt, he began to move more and more into feature films which were more essays, thought and ideas pieces with social commentary. This is one of those films.

The setting is 1967 and so there is the background of the war in Vietnam and the various characters make comments on the impact of the war, on the role of President Johnson, on the range of bombings in Indochina and the fact that this did not bring about peace negotiations.

In this context, we are introduced to the actress Marina Vlady, with something of her biography, and she assumes the role of a French housewife, devoted to her husband and family, yet moving into prostitution. This provides a great deal of comment, including the title, about men and women during the 1960s and the extraordinary changes which occurred at that time.

The film also offers a range of chapters, headings focus on industrialisation, the word “ideas� coming on screen quite frequently as we see the characters in their actions as well as hear them in their conversations.

There are visuals of changes in industrialisation in France at that period. In retrospect, the new buildings in Paris are still reminiscent of buildings half a century later.

There is also a critique of capitalism, especially in the range of goods in a shop, whether customers need them or not, the power of advertising and promotion, the effect, especially on women as they talk amongst themselves, the touches of gossip in ordinary life in contrast with the ideas and abstractions that also pervade the film.

This film then is a reflection of the latter part of the 1960s, a further step in Godard’s cinematic exploration of ideas and themes and are continually aggressive perspective on contemporary life.

ARMY OF ONE

US, 2016, 92 minutes, Colour.
Nicolas Cage, Russell Brand, Wendi Mc Clendon- Covey, Amer Chadha -Patel, Paul Scheer, Will Sasso, Denis O' Hare, Rainn Wilson, Chenoa Morrison.
Directed by Larry Charles.

Although he won an Oscar for his portrayal of the desperate alcoholic in Leaving Las Vegas, Nicolas Cage is much better known as a star of action films. This is especially true as he grew older, making several action films a year. So, it is more than a surprise to find him here and something of a shock to see his portrayal of Gary Faulkner, who is seen in the final credits with scenes that the audience has seen in the film as well as some interviews with him.

In fact, Nicolas Cage has to be seen to be believed. Full in the face, grey hair and ponytail, thick beard, incessantly talking, incessantly loud, with a physical condition that needs dialysis, with a mental condition that has him in institutions, this is quite a characterisation.

But, the director is Larry Charles, best known for his television and film satire, producing and directing such shows as Curb Your Enthusiasm as well as Seinfeld and series like Entourage. His main films have been the vehicles for Sasha Baron Cohen (who might have been very interesting in this role as well): Borat, Bruno, The Dictator.

The film indicates that this is based on a true story – or, possibly, an element of truth.

Gary Faulkner lives in Colorado, is a handyman along with some friends. He is obsessed with 9/11 and the search for Osama bin Laden, feeling desperate that the Americans have not found him. As part of his mental condition, he has visions of God who gives him the mission to find bin Laden. And, God is seen in the person of British comedian, Russell Brand, his accent, his wild hair looking a bit like traditional Jesus pictures, his particular comedic style with its language, more than rough edges, satire. And yet, beneath a lot of the comedy and the witticisms of his dialogue, there are quite a number of theological elements that audiences can respond to, especially about the nature of the knowledge and power of God, creation, omnipresence, interventions – and the issue of human freedom and free will.

Gary Faulkner makes several attempts to find bin Laden including buying a dilapidated boat, setting sail from San Diego, turning a few circles and landing on the beach. He decides to hang glide from Israel and cuts up the hang gliding mechanism despite advice against it and crash lands, breaking a lot of limbs. When he gets despondent, God continues to appear, challenging him and he finally goes to Pakistan. The sequences were filmed in Morocco – and there is some observation of life in Pakistan as well as some touches of parody.

Denis O’ Hare and Rainn Wilson appear as CIA agents in Pakistan who deport Gary after he has a dream about finding bin Laden in his cave, confronting him (and bin Laden not understanding his ideas at all) and their having a sword fight.

In the meantime, Gary meets an old friend back home and has a relationship with her and is very good to her niece who has cerebral palsy.

Eventually, President Obama announces the attack on bin Laden – but, Gary, in the tradition of American conspiracy theories, says that he may not be dead because it is alleged that he was buried at sea and, therefore, there was no body.

Audiences may be put off at first by Cage’s a touch hysterical performance but the film is worth persevering with, has quite a lot of funny moments and, released in the year just before Donald Trump took office, might seem a touch more real than when the film was first written and produced.

1. The premise of the film? A true story? The truth? Element of truth? And the images of the actual Gary Faulkner at the end of the film, interviews with him, his mission and his perspective?

2. A piece of Americana? Cinema of the absurd? The tradition of satire on military issues? Yet the realities of the 21st-century, 9/11, the invasion of Iraq, the consequences in Iraq, the war in Afghanistan, America’s involvement in uprisings throughout the world?

3. The background of the period of George W. Bush? Reflecting some of the absurdities of the period? The film released on the eve of the presidency of Donald Trump? (And that Donald Trump might well enjoy and endorse the characters and action of the film?)

4. Americanism, making America great again, the critique of the search for Osama bin Laden, American patriotism, rugged individuals – yet madness and mental conditions? And the actual finding of bin Laden and the announcements by President Obama?

5. The opening, Gary and his hang gliding into Pakistan, the American flags on the wings?

6. The presence of Nicolas Cage, his career in action films, action hero? A different kind of performance, manic, extroverted, incessant talking, mental? The impact of Cage’s performance?

7. The work of the director, his satirical work, writing and directing? This film in that tradition – satire on America, on the world?

8. The introduction of God? Having Russell Brand as God? His look – touch of traditional images of Jesus? His English accent? His jargon, swearing, ironic comments? The quotations from the Bible? The discussions about the nature of God, omniscience, omnipresence, all-powerful? The comedy of the various places in which he appeared? In reality, visions, on the television? In the bar? Television interviews? The thought behind the dialogue for God – and raising all kinds of theological implications, the role of God, creation, Providence, human free will…?

9. The introduction to Gary, his character, manner of speaking, all-American? His physical condition and the dialysis? His mental condition, in the institution, the incessant commentary? At home, his friend turning him out? Yet the continued friendship? At the bar, drinking, workers handymen?

10. Gary and his obsession about bin Laden? God and his apparitions, giving him a mission? Gary believing it, putting it into practice? His visit to the doctor, asking for the money for the boat, the doctor’s refusal, giving him the money for the ring – and this later being exposed on television? The deal for the boat with the pot-smoker? Trying to equip it? The official and his argument with her about parking the boat? Setting sail, the map, his going in circles, landing on the beach?

11. The past friendship with Marci? Meeting her in the supermarket? The visit? Lizzie and cerebral palsy? Gary and his instant ability to relate to Lizzie? The attraction to Marci? The sexual relationship? Gary being uninhibited?

12. Marci and her patience, listening to his plans for finding bin Laden? Her care for Lizzie? Her own needs?

13. Gary buying the hang glider, the advice of the shop attendant, his cutting it up in pieces, trying to get it on the plane? His buying the sword, God on the shopping channel? His practice, slicing the fruit, Marcy and her success? At the airport, their refusing to let him take it on the plane – and God intervening?

14. On the plane to Israel, the hang gliding, the little boys, taking off, the crash, the broken bones, return to America, recovery?

15. The temptation to give up? God and Gary’s intense experience of him and the mission, especially the encounter in the bar and God challenging him?

16. The visit to Pakistan, the sword, his making friends, helping the man with his takeaway food and getting the crowds, the taxi ride and talking about bin Laden, his room, the muezzins and his waking up, examining the woman in the burqa, seeing the women in burqas exercising – and the screenplay providing a lot of insight into Pakistan as well as some parody?

17. The days passing, their being numbered? His failing in his mission, sense of depression? His dreams, God? Bin Laden and the conversations with him?

18. The CIA, the chief, suspicious attitudes the assistant, his enthusiasm to find Gary, wanting to go undercover himself but too tall? Their eventually getting Gary, the interrogation, their getting nowhere? Wanting to support him?

19. Gary, the dream, in the mountains, with the taxi, pursuing the man, finding the cave, on dialysis, the discussions with bin Laden, bin Laden not understanding anything, their fighting with the swords? His waking up?

20. The return home, with Marci and Lizzie, always bringing gifts? The possibility of settling down? Watching the mission against bin Laden on television?

21. Gary, the conspiracy theory, bin Laden buried at sea, therefore not dead… Americans and conspiracy theories?

22. The film as funny, parody, critique of America, yet the serious undertones?

ROSITA

Denmark, 2015, 90 minutes, Colour.
Mikkel Boe Folsgaard, Mercedes Cabral, Jens Albinus, Julie Agnete Vang, Mads Riisom.
Directed by Frederikke Aspock.

This is a Scandinavian film which focuses on social concerns – but it is also a film of great interest to audiences in the Philippines. The topic is mail-order brides.

Rosita is a mail-order bride, brought to a small fishing town by an older man who feels the need to have a wife. His more reclusive son serves as a translator.

The film shows in detail the life of the village, the Danish experience, the difficulties for a mail-order bride, especially one with a child, coming to such a different climate, such a different culture with a different language.

The film also raises the theme of arranged marriages and the contrast with people falling in love and the consequences for them and for their families.

1. Danish story? Filipino story?

2. The Danish town, by the sea, fishermen, cannery, homes, clubs, bars? The musical score?

3. The title, Rosita herself, the situation, coming from the Philippines, tourist visa, to marry, wanting to work, wanting to bring her son? Language issues? Customs issues? Support from Filipinos living locally?

4. Introduction to the family, Johannes, drinking, with Maja, the sex in the toilet, her being sick of it? At home, with his father? With his brother? His being a fisherman? The father and his work? The cannery? The brother and his pregnant wife?

5. Ulrik wanting to marry again, the connections with the Filipinos, Rosita’s arrival? The language barrier? His showing her round? The kitchen, cleaning? The meals? The meal? Her meeting Johannes? His speaking English, the translations and communication?

6. Rosita, her ordinary life, wanting to work, the tourist visa? Johannes allowing her to clean the boat? Coming home to Ulrik? Sexual experiences? Support?

7. Johannes, the translations, attracted to Rosita, she to him? The awkwardness of the relationship with his father? His brother noticing?

8. The father, going to the prostitute, his drinking, playing football with his sons? Promising a future to Rosita? Johannes telling his father about the son, the father taken aback, yet his willingness for the son to come?

9. Johannes’ relationship with Maja, her work in the salon, tensions between the two, the relationship, wanting to move? Maja realising the truth?

10. Rosita, the support from the local Filipinos, at the club?

11. The wedding, Johannes dressed, talking with his father, not going in? The wedding?

12. The future, Rosita with Ulrik, bringing her son, Johannes and Maja – and going off in the future?

13. Reflection on migrant situations in Scandinavia? Mail-order brides?

GLORY

Bulgaria, 2016, 101 minutes, Colour.
Stefan Denolyubov, Margita Gosheva.
Directed by Christina Groseva, Petar Valchanov.

Glory is an interesting drama about integrity and political corruption. The setting is Bulgaria, a city, a small town, railway tracks, shared accommodation for the workers.

The central character is a worker who on his inspection of the lines discovers money. He makes the decision to hand it over to the authorities. While this does have some significant consequences for him as he is feted as something of a hero, there are also some dire consequences where, while is being promoted by the authorities, he is left alone and his watch disappears.

This might seem insignificant in itself, it is important for the man who pursues the case, is in trouble with the woman who is in charge of the whole affair and who tries to cover it up, eventually going to visit the man at his home and trying to make everything smooth. But, with the worker getting headlines, there is criticism of the management of the railways and the lines and his fellow workers attack him.

While the film is contemporary, it also harks back to the bureaucratic days of Communist regimes, totalitarian bosses on the make, exploitation of the workers despite the ideology in favour of them, a depressing society.

1. A Bulgarian story, universal story?

2. The Bulgarian city, the background of shacks compared with apartments, government offices, the railways, the tracks? PR conferences? Bars? TV Studios? The musical score?

3. The title, the irony that the it referred to the watch? The watch as the core of the opening up of the drama, the tragic dimensions?

4. The opening, time on the phone, setting the watch? the watch as gift of his father? Wearing it? The irony of Julia taking it, losing it, the gift of the new watch and its running slow, digital and difficult? The substitute watch, a fake Glory, running too fast? Julia finding the actual watch in the car, taking it to Tzanko’s house after all the difficulties?

5. Tzanko, rugged look, hair and beard, at home, the rabbits, walking the line, the wrench and the screws, the money, discovering the big haul, his momentary dilemma? His honesty and calling in the situation, the police, the transport ministry and Julia, filming, deciding to make a hero of Tzanko, creating a media stunt – in the light of the journalist exposing corruption in his television programs?

6. Julia, tough talking, PR, her staff, loyal to the minister and saving him, antipathy towards the journalist? Her treatment of her staff, spin doctor, her expertise, tense and angry, blaming others?

7. Julia and her husband, the interview with the doctor, the tests, the option of eggs or embryos, the mutual consent? Her daily injections, her forgetting, her tolerant husband, bringing the injections, her making a fuss? The range of injections, her husband and his consistency? Eventually going to the tests, watching the television and seeing the expose, her leaving, coming back, the reprimand of the doctor, yet the successful embryos?

8. The portrait of Julia’s husband, with the doctor and her continually taking phone calls? Being at her beck and call, the injections, picking up Tzanko, bringing him? The arguments at home, her kissing him? His wanting to have the child? Finally taking her to see Tzanko and waiting in the car – and the radio music playing and the final sound effect of a slamming door?

9. Tzanko’s friendship with the lady at the bar, about how to use the phone, feeding the rabbits? The co-workers at the bar and conversations with him?

10. At the site, the television interview and the realisation that he stammered badly? The crew laughing, editing him? Appearing on television, the hero? The preparation for the event, his getting spruced up, eating in the street, the husband picking him up, all the executives, spilling the drink on his trousers, Julia demanding everybody to volunteer their trousers? Going to the room, the details of the setting, where the cameras were? The boy and his reciting the heroic poem? The speech of the Minister? The award, the new watch after Julia taking his and his anxiety? The photo shoot and the details? The cocktail party, the food and drink? His going to search for the watch? In the toilets, the trousers taken, his waiting?

11. Tzanko and his talking to the Minister, the small talk, giving him information about the fuel and diesel thefts, offering names and dates?

12. The meeting with the journalist?

13. The frustration of his phone calls to the Ministry about the watch, being put on hold, the music, the background with Julia with her staff and putting him off? Tomorrow and tomorrow…? Leaving the watch at reception, his coming in, the fake watch, still trying to phone?

14. His going to the TV station, the journalist using him after their meeting, the drinks? The text, about the Minister, telling him the details, the theft of the diesel? The addition about the watch? Julia watching this on television, her immediate reactions, wanting to see Tzanko, wanting a retraction? Getting the gang of toughs, searching Sanko’s house, planting the money, the threats, urging him to apologise on TV and go free? His doing so?

15. His fellow workers, hearing him on television, his denunciation, that bashing him? Julia and her hearing of the linesman being killed and her anxiety about Tzanko?

16. Her finally going to see him, offering the watch? His head shaven, beard, the bruises? His picking up the piping – and the end of the film? The door slamming on the car? His hitting her? His taking the watch and letting her go free? Or…?

DICK TRACY

US, 1990, 105 minutes, Colour.
Warren Beatty, Al Pacino, Madonna, Glenn Hedley, Charlie Korsmo, William Forsythe, Dustin Hoffman, Ed O' Ross, Seymour Cassel, James Caan, Paul Sorvino, R.G.Armstrong, James Tolkan, Michael J.Pollard, Estelle Parsons, Charles Durning, Alan Garfield, John Schuck, Mandy Patinkin, Jack Keogh, Kathy Bates, Colm Meany, Catherine O' Hara, Dick Van Dyke, Henry Silva, Bert Remsen, Tom Signorelli, Ian Wolfe, Mary Woronov, Henry Jones, Mike Mazurki.
Directed by Warren Beatty.

This was an ambitious project by Warren Beatty. He co-wrote and directed the project as well as starring as the famous detective.

Dick Tracy began his life as a comic strip and featured in television series in the 1940s and 50s. With his advanced technology of his watch and the possibility of communication, he actually anticipated all kinds of electronic developments of the 21st-century.

The film takes the tone of the comic strip, characters with make up and disfigurements like the cartoon series personalities. But, it is the villains who are made up in this way – William Forsyth, Paul Sorvino and a mumbling Dustin Hoffman. The colour photography is very bright with many of the characters, going darker when we move into the area of the villains.

While the film is slight in its plot, it is entertaining as a variation on the crime and detection themes.

What makes a difference is the introduction of songs, especially courtesy of Madonna who also plays a significant role.

The cast list is most impressive, so many Hollywood character actors being persuaded by Warren Beatty to appear in his film.

It did not have the follow-up that might have been anticipated and so has become an interesting historical piece from the 80s into the 1990s.

1. The popularity of the comic strip, old films, television series? An interpretation for the 1990s?

2. A comic strip film adaptation before the Action Hero genre?

3. Warren Beatty, star, direction, co-writing? A project for him?

4. The strong cast, stars, character actors?

5. An Oscar for the sets and decoration? The stylised city, New York? Exteriors and interiors? Officers, clubs, warehouse, apartments? Prison? The visual style and the use of basic colours?

6. The musical score, Stephen Sondheim and the range of songs, the Oscar for “Sooner or Later�? The other songs? Madonna and her performances?

7. A live-action comic strip? The range of characters, the Oscar for make up? Masks, the actors underneath the make up? Caricatures? The contrast with the normal characters?

8. Dick Tracy, Warren Beatty, age, style, presence? Information from his watch? Always on the job? His work, not wanting to sit behind a desk? His relationship with Tess, the meetings, the meals, in love with her, his shyness and awkwardness in expressing himself? The target of the thugs? The confrontation with Big Boy Caprice? The other thugs and their machine guns? The attempts to kill him? The cement and his being saved? The machine guns and he and Tess at the door, The Kid saving them? Encounters with the Kid, chasing him, Helping him, all the food with Tess and himself, the new suit and his choice? Not wanting to go to the orphanage?

9. Tracy and his assistants, their clothing and colour? Surveillance and reporting back from Caprice? The attacks on the club? The shootouts in the Chicago gangster style?

10. Tess, personality, living alone, the attraction to Dick? Out together, the meals together? The encounter with the Kid, looking after him? Feeding him? The separation from Dick, wanting him to say something? Being saved by the Kid? Going to her mother, her mother’s advice? The return, her being abducted, the imprisonment planned by the mysterious faceless person? Her being rescued? The dangers, with Dick, his talking, his having to go, his throwing the ring to her? A future? A touch of jealousy with Breathless??

11. Big Boy Caprice, Al Pacino’s screen presence, loud, the gangster, his clothes and shoulders? The confrontation with Lips, killing him? The documents, taking over the club? His ambitions, the song and dance rehearsal with Breathless and the girls? His henchmen and taking over the henchmen from Lips? The pianist and his support of Caprice? Taking over Breathless, forcing her to sing and dance him? Getting rid of his enemies, his puzzle about the surveillance, setting Tracy up, killing the agent with the surveillance? The mystery of the faceless person? With Tess, hiding in the wine cellar, the tunnel, claiming that he did not abduct her? The buildup to the confrontation with Dick Tracy? The fight, the rescue of Tess? His falling to his death?

12. The range of other gangsters, Lips, slurping the oysters, his hold over Breathless, his being abducted, the cement and his death?

13. Caprice, holding the meeting of the gangsters, his plans, the gangsters walking out, disagreeing, being blown up in the car?

14. Breathless, wanting to be a successful singer, her relationship with Lips, being taken over by Caprice, the rehearsals, the range of songs, Sooner or Later, singing with the pianist? The dance routines with the girls? Her coming onto Dick? Her unwillingness to testify? The kiss and Tess seeing them? Her unmasking as the faceless killer? Unable to shoot Dick? Her reassurance requested the end? Her death?

15. And Mumbles, Dustin Hoffman’s look, performance, speech? With Lips, with Caprice? With the police, the Interrogations? Speeding up his speech on the recorder, information? The woman taking stenography notes?

16. The opening with the gangsters, the killings and the machine guns? The various raids, the various confrontations and the cars, crashes, explosions? The buildup to a finale, the deaths of the gangsters?

17. A colourful imagining of a comic strip and bringing it alive?

LOVE LIFTING

Hong Kong, 2012, 92 minutes, Colour.
Elanne Kwong, Chapman To.
Directed by Herman Lau.

Each of the words in this title needs noting. This is a film about an athlete, a woman skilled in gymnastics and weightlifting. However, she has diabetes and this puts an end, she thinks, to an athletics career.

However, a writer moves in to the house next door, they become friends, he supporting her, urging her to go into sports coaching where she flourishes. They marry, have a child.

The pathos of the love element, quite unexpected, is that the husband dies in an accident, quite jolting for the audience. The wife’s story is told in his words and she finds his diary and his account of their life.

This is the kind of film that could have been easily made in the United States, emotional, a touch of the heart on sleeve – but, gently, sometimes sadly, sometimes humorously, moving in its impact.

1. The historical story? Chinese? Universal? Universal content, style?

2. China in the 21st century, the new China, gymnasium and weightlifting, the country town and its life, the marriage, pregnancy, birth and family? Diabetes, the medical background? Further training, testing, and the Championships? The musical score?

3. The framework of the diary, the husband recording his memories, significant events, not on the computer, writing his own words? Then his death, his wife finding the diary and reading it?

4. Li Li, the contests, the winning, her losing, her talents? Collapsing, the diabetes (and her getting better)? Going home, doing the lifting, working with the delivery men, getting the money, her brother and enthusiasm? Encountering Yung, sharing, marrying, happy life, her pregnancy, the difficulties, the choice to have the child, died, her being sick, the birth? The years passing, love for her son? The prospects in life?

5. The time of the Beijing Olympics, the idea that she should go back to weightlifting, the husband making the contact, paying, buying her shoes, her training and the variety of coaches? Their support?

6. Yung becoming a househusband, looking after the baby, the meals, shopping, the neighbours hoping that Li Li would succeed, his son in the toilet, playing with the toy car, his wandering away, his father reprimanding him, hitting him? His illness, the father’s care? Li li, the exasperation, coming home, angry and sorry?

7. The range of training, successes, the issue of the substance, the question of the insulin, the bureaucracy about the documents, the translation, her being accepted?

8. The neighbour, the warning about the ex-wife? Yung, his mother, not having seen her for seven years, the discussions, telling her his story, the reconciliation? Her eagerness to see her grandson?

9. You Li Li happy, his going back to the car, the accident, hospital, his death? Her reaction, alone, the diary? Asking him why he had not kept his promises? Her wanting to win gold for him?

10. The further training, strong motivation, her memories? The national championships, the range of events, the heavyweights, up to 125 kg, the flashbacks of their life giving her motivation? The runner-up and her skills? The medal, the acclaim?