LA PRIMA LINEA/ THE FRONT LINE

Italy, 2009, 100 minutes, Colour.
Riccardo Scamarcio, Giovanna Mezzogiorno, Fabio Rongione.
Directed by Renato De Maria.

There have been quite a number of films from Europe about the terrorist uprisings in the 1960s and 1970s. There have been stories of the Bader- Meinhof group in Germany. There have been films about action in Italy, especially the abduction and killing of the Prime Minister, Aldo Moro.

In a sense, this film presupposes that background.

The film is based on the autobiography the central character, Sergio. We see him arrested in the early 1980s, being interviewed in 1989 at the time of the fall of the Berlin Wall, reminiscing about his activities over the previous 20 years, from the time that he was 15 years old and absorbed the rebellious ideology of the times, expecting revolution and change.

The main action of the film has him planning an escape for his partner from the prison in Rovigo. However, at various times during the action, there are flashbacks to the activities of the 1960s (and newsreel footage), many vicious attacks, explosions, targeted assassinations in the 1970s. The group is called The Front Line – but, after meeting Susanna, Sergio decides to leave the group though continuing some activities. Susanna does not want to leave and is arrested and imprisoned.

The central characters have the time in serving their prison sentences to reflect on what they have done, on the people they have killed – and an afternote indicates that after their release from prison they were involved in volunteer services.

Ricardo Scarmacio and Giovanna Mezzogiorno have been prominent in many Italian films in the 2000s and 2010s.

1. A memoir of protest years? Rebellion? Warfare and terrorism? Murders and assassinations? The ethos of the rebels?

2. The film based on the autobiography of the central character? His history, his perspective on himself, his activities, his motivations? His relationship with Susanna? His being interviewed in 1989?

3. The Italian settings, the cities of the North, Milan, Venice, Rovigo? The period settings of the 1960s and news footage? The attacks of the 1970s? The 1980s? The musical score?

4. The title, the focus on the group, their considering themselves at war, not murderers? Their attacks? The innocent victims? The assassination targets? The later considering the deaths? Their prison sentences? The final information and then doing volunteer work after completing their sentences?

5. Sergio, his history, as a boy, indoctrination, his relationship with his parents and his visits to them, socialisation, rebellion, his expectations of change? His group, The Front Line? The rage? Their ideology? The bond between them, friendship? His work in the 1960s? Into the 1970s and the visualising of the various attacks? His decision to move out of The Front Line? His relationship with Susanna? The clashes with her? Her imprisonment? His arrest in 1983?

6. Susanna, from the South, her personality, her family, severing her ties yet the phone calls? Coming north for action? Involvement in attacks? The encounter with Sergio, staying with him, the relationship? His wanting to move out of The Front Line and her refusal? Her arrest, imprisonment? The prison scenes, shared cells, the lineups for showers, the guards? The plan for the escape? Sergio’s message? The women wanting to go?

7. The setting up of the escape plan? In Venice, the beginning of the day? The occasion for Sergio to reminisce and the insertion of the flashbacks? Travelling to Rovigo, the roadblocks? Contacts with the others in the group? To the prison, machine-gunning the guard towers? The old pensioner and his dog and his going back and his being killed? The explosions, the women escaping? The vehicles and driving?

8. The impact of this film for an Italian audience and going back into this history? An outside audience observing, trying to measure the motivations of the rebels, trying to
understand Italian society at the time? The targets for assassination, politicians, businessmen, reminiscences about churches and liking them, but not the priests there, speculation about their lives?

9. The film and its recreation of the period – as drama, a semi-documentary?

YOU CAN'T SAVE YOURSELF ALONE/ NESSUNO SI SALVA DA SOLO

Italy, 2015, 103 minutes, Colour.
Riccardo Scamacio, Jasmine Trinca, Anna Galiena, Angela Molina.
Directed by. Sergio Castellitto.

Something of a two-hander drama. The centre is a meal at a restaurant where a separated couple meet, bicker, remember, feel their love. He is played by Riccardo Scamarcio, she by Jasmine Trinca.

The screenplay was written by Margaret Mazzentini and directed by her husband Sergio Castellitto. (they had also collaborated on her novels/films, Don’t Move (2004) and Twice Born (2012), both with Penelope Cruz.

The flashbacks trace their meeting, attraction, falling in love, marriage, birth of a child, her changing, his work, infidelilty. Not without hope.

1. The title? With reference to Delia and Gaetano? The love, the marriage, family? Alienation? Reconciliation?

2. The present and the range of flashbacks, building up the story of Delia and Gaetano?

3. The main action in the present, Delia preparing to go out, leaving her son? Gaetano and his arrival at the restaurant? The meal, the discussions during the meal, the insertion of the flashbacks? The revelation of each character from the past and the present? Changes? The other people in the restaurant, observations? Delia and her anger, throwing the ice cream? The kindly couple talking at the end?

4. The focus of Delia, her health work, her appearance, the difficulties? Her relationship with her dominating mother? The encounter with Gaetano? The attraction, his manner, talk? The going out, in love, sexual relationship? Their eventually marrying – on the beach, throwing the bouquet and the priest catching it? Pregnancy? The effect of the child? Health issues, food, exercise, Delia becoming more and more protective? Her physical transformation? Her accomplishments?

5. Gaeatano, pleasant, the touch of the womaniser, the encounter with Delia, the banter, going out, her criticisms of his lifestyle? The sexual relationship? The wedding? His writing, writer’s block, writing for television and film? His becoming preoccupied?

6. The buildup of the clash between the two? Delia and her sense of alienation, becoming more demanding, the touch of obsession? Gaetano, becoming lax, the blonde girlfriend and the relationship? Delia’s reaction?

7. The buildup to the separation, the angers, the custody of the child? Meeting to discuss the separation, possible divorce, possessions, custody…?

8. The focus of the two and how they loved each other, the exasperations of their married life and the effects? The meal, the kindly couple, the possibility of some kind of reconciliation? Delia watching, Gaetano leaving, going down the street, waving?

YOU CAN'T SAVE YOURSELF ALONE/ NESSUNO SI SALVA DA SOLO

Italy, 2015, 103 minutes, Colour.
Riccardo Scamacio, Jasmine Trinca, Anna Galiena, Angela Molina.
Directed by. Sergio Castellitto.

Something of a two-hander drama. The centre is a meal at a restaurant where a separated couple meet, bicker, remember, feel their love. He is played by Riccardo Scamarcio, she by Jasmine Trinca.

The screenplay was written by Margaret Mazzentini and directed by her husband Sergio Castellitto. (they had also collaborated on her novels/films, Don’t Move (2004) and Twice Born (2012), both with Penelope Cruz.

The flashbacks trace their meeting, attraction, falling in love, marriage, birth of a child, her changing, his work, infidelilty. Not without hope.

1. The title? With reference to Delia and Gaetano? The love, the marriage, family? Alienation? Reconciliation?

2. The present and the range of flashbacks, building up the story of Delia and Gaetano?

3. The main action in the present, Delia preparing to go out, leaving her son? Gaetano and his arrival at the restaurant? The meal, the discussions during the meal, the insertion of the flashbacks? The revelation of each character from the past and the present? Changes? The other people in the restaurant, observations? Delia and her anger, throwing the ice cream? The kindly couple talking at the end?

4. The focus of Delia, her health work, her appearance, the difficulties? Her relationship with her dominating mother? The encounter with Gaetano? The attraction, his manner, talk? The going out, in love, sexual relationship? Their eventually marrying – on the beach, throwing the bouquet and the priest catching it? Pregnancy? The effect of the child? Health issues, food, exercise, Delia becoming more and more protective? Her physical transformation? Her accomplishments?

5. Gaeatano, pleasant, the touch of the womaniser, the encounter with Delia, the banter, going out, her criticisms of his lifestyle? The sexual relationship? The wedding? His writing, writer’s block, writing for television and film? His becoming preoccupied?

6. The buildup of the clash between the two? Delia and her sense of alienation, becoming more demanding, the touch of obsession? Gaetano, becoming lax, the blonde girlfriend and the relationship? Delia’s reaction?

7. The buildup to the separation, the angers, the custody of the child? Meeting to discuss the separation, possible divorce, possessions, custody…?

8. The focus of the two and how they loved each other, the exasperations of their married life and the effects? The meal, the kindly couple, the possibility of some kind of reconciliation? Delia watching, Gaetano leaving, going down the street, waving?

THREE DAYS IN SEPTEMBER

Republic of Macedonia/ Kosovo, 2015, 92 minutes, Colour.
Irena Ristic, Milica Stojanova, Salaetin Bilal, Adem Karaga.
Directed by Darijan Pejovski.

This is very strong drama about two women and their encounters during three days in September. The film is from Macedonia, an interesting story from the Balkans.

The initial focus is on a prostitute, Marika, working on the streets, being picked up and experiencing violence and stand overtactics from a thug who wants to recover money from for his boss. She fights back and kills him, fleeing the situation and going to a railway station, intending to go back to her mother.

The second focus is on Jana, perhaps the same age as Marika, who has done some medical training and is in a carriage on the train ready to go on holiday to the family home which she has not visited for years. She offers some sympathy to Marika which leads to quite some complications.

Marika follows Jana to her house and, more reluctantly this time, Jana helps her. There are quite some complications for Jana herself, memories of her father in the building of the house and an unfinished mansion by a lakeside. She meets again the owner of the local shop who had been a friend of her father and had helped finance the building. His son is the local policeman, lazy in his past, according to his father, but Jana’s father had helped him get into police college. The town is rather deserted, very few adults, and the policeman with very little to do.

We learn that in the past, Jana had had a fall at the age of 12 and had been in a coma for years. She also had a twin sister, Kristina. The policeman is in cahoots with foreign interests who want to buy the unfinished building and he tries to persuade Jana to sell.

The drama becomes more interesting as Jana discovers the truth, the policeman puts pressure on her about Marika as well is the building, Jana and her plans to help Marika as well as the audience learning much more about Jana herself.

Persuasively acted, offbeat in its story, a glimpse of life in the Balkans for those not familiar with those countries.

1. The title, the focus on the three days, the two women, their histories, their interconnections, their future?

2. The Balkan origins of the film? A Balkan story? Macedonia/Kosovo? Crossing the border to Bulgaria?

3. The streets with the prostitutes, the cars, the attack and the death? The contrast with the countryside? The train ride, the deserted town, the shops, the roads, the holiday house, the unfinished hotel? Local scenery? The musical score?

4. The focus on two women, different, the same? The interactions on the train, Jana and her helping, Marika and her injuries? Exchanging basic stories? Jana arriving, going to the shop, reacquainting herself with the owner, memories of the past, her father, building the house? The owner and his son helping with the building? The death of the mother and the father? Jana going to the house, Marika following her? Jana and warning her off, Marika waiting, her being invited in?

5. The two women interacting? The help? Jana allowing Marika to stay? Going for the swim?

6. Jana wanting to buy the ointment for Marika? Seeing the newspaper? Confronting Marika, the gun, the reversal of handling the gun? The background of hunting, Jana and her father? Jana and her talking about people who kill, wanting to kill again? The effect on Marika and her defending herself against the man extorting the money?

7. The visit of the policeman, the shop owner’s son, his saying his son was lazy, Jana’s father getting him to police school? The few people in the town? The son trying to persuade his father to extort money from Jana? His going to the house, staying outside?

8. Marika, getting lost, going to the house of the old lady, the chatter, the old lady recognising Marika was in difficulty?

9. Jana, the deal with the policeman, his wanting her to sell the hotel site, his contacts, the plan for a high-class brothel, his wanting the money for the commission?

10. Jana, her plan, her revealing herself as Kristina? That Jana had died? The revelation of the true story about the past? The policeman pitching himself as a hero and rescuing Jana? The truth about his sexual assault on Kristina, aged 12? The shooting of the bottles? The injuries to Jana, going into a coma for years? Kristina and her own studies, medical, wanting to find a new life?

11. Cutting Marika’s hair, giving her Kristina’s passport? The plan, Marika fixing the car? Jana and her cover story, that Marika had gone? Going to see the potential buyers, the cheque? Marika’s return, the rifle, confronting the policeman, her telling him the truth, shooting him?

12. Marika, going to the border control, her freedom? Kristina and her going to a future?

13. The Balkan story – but universal implications?

THE BUTTERFLY TREE

Australia, 2017, 98 minutes, Colour.
Melissa George, Ewen Leslie, Ed Oxenbould, Sophie Lowe.
Directed by Priscilla Cameron.

This is a drama set in a Queensland town, some filming at Mount Tambourine. While it is a Queensland story, it could be universal. The focus is on three central characters.

And the title? Finn, the teenager of the film, is a serious collector of butterflies and other insects, cataloguing them, mounting them, photographing them. There is a tree on the grounds of the house owned by his father which also has a tree, full of butterflies. He is played by Ed Oxenbould.

Visually, the film wants to communicate to the audience that Evelyn, a middle-aged woman who has come to settle in the town, is, symbolically, a butterfly. During the opening credits, we see her dancing, her costume elaborate, wings like a giant butterfly. In fact, she is a burlesque performer, with a partial striptease, and dancing on rollerskates. There will be later allusions to her as a butterfly throughout the film. She is played by Melissa George.

The third central character is Al, the widower who is Finn’s father. He teaches at a local campus and is involved with one of the students, Sophie Lowe, to the disapproval of the authorities. He is played by Ewen Leslie.

Evelyn, the attractive butterfly, encounters Al by chance, his wanting to buy a display case that she has in a garage sale so that he can give it to Finn. The two are attracted, his coming back to get his wallet which he lost at her shop and greenhouse, promising to return. In the meantime, Finn encounters her, buying some flowers to commemorate his dead mother, and her offering him a job. He experiences an intense adolescent infatuation.

All does not go smoothly because Al wants to break off with the student, experiencing something a breakdown when she confronts him and he weeps. There is tension between himself and his son, his son holding the memory of his mother sacred and resenting his father’s affairs.

And, as we expect, there will be tension between father and son because of Evelyn.

There is a further complication with Evelyn, the reason she has come to the town, why she is not dancing, a problem with health.

But, the butterflies prevail and the audience will leave the cinema more cheered than depressed.

1. An Australian story? Universal story? tragedy? Loneliness, relationships?

2. The Queensland setting, the town, homes, school, the open road, the store and the greenhouse? Hospitals? The musical score?

3. The title, Finn and his love for butterflies? His tree? And the images of Evelyn as a butterfly?

4. The credits, the focus on Evelyn, burlesque, exotic dancing, the butterfly wings, her costume, striptease, her body? The rollerskates? At home, re-creating the dances and the costume? Finn and his photographing her, the album?

5. Finn, at home, his room, memories of his mother, the shrine, the flowers? The later flashbacks and her dancing with Al, being with Finn? His age, experience, loneliness? Clashes with his father, his father and the girlfriend, Finn watching? On his bike, buying the flowers, the attraction to Evelyn, her kindness towards him, offering him the job? The gift of the camera? His taking the photos, taking them to the shop, the development, putting the photos in an album? The photos of the breasts? Al finding them? Finn’s anger at his father?

6. Al, relationship with Shelley? The tension at home with his son? The meals? His going to the school, the principal and asking him about relationships? Shelley coming in, her advances, his wanting to break it off? Her pursuing him to the home, stripping, taunting him? His weeping and her leaving? His driving, seeing the garage sale, stopping to buy the display case? The encounter with Evelyn, the attraction? Inviting him back? His losing his wallet and the return, their talk, her giving him the wallet?

7. Finn, his infatuation, touching Evelyn? The photos?

8. Evelyn, her health, the documents, her having to go to hospital? Finn and his visits? The mastectomy? The aftermath?

9. Finn, angry, going to Evelyn, staying in the car? Returning, Al’s anger, chopping down the tree, freeing the butterflies? Finn’s reaction?

10. The aftermath, hospital, then taking his father, Al in the hospital, recovering? Giving Finn the letter with his wife’s suicide note? The effect on Finn?

11. The happiness of the final credits, Evelyn recovered, father and son, everybody joyfully dancing?

JUST TO BE SURE/ OTEZ-MOI D'UNE DOUTE

France, 2017, 100 minutes, Colour.
François Damiens, Cecile De France, Guy Marchand, Andre Wilms, Alice de Lencquesaing, Esteban.
Directed by Carine Tardieu.

This light drama has been highly touted as very popular at the French box office. While it is a pleasant entertainment, it is a comparatively ordinary film. (Some French reviewers have referred to it as “hilarious� which might indicate the French sense of humour is very different from other senses of humour!)

Not that there is not plenty to enjoy. The title is provocative – and refers to themes of paternity which are explored in several different ways throughout the film.

The central character is Erman (François Damiens), a working man in his mid-40s, an expert in bomb disposal and active along the Brittany coast, finding remainders from World War II. He leads a squad who generally have to detonate the bombs they discover but also risk dangers, especially from mines in farming fields. Erman is a widower, fond memories of his wife, devoted to his father, an ageing man who loves going out on his boat and needs medical clearances to continue to do so. Erman also has a daughter, Juliet, aged 22, pregnant and declaring she does not know who the father is.

First paternity problem.

There are quite some complications when Erman and his daughter go to the doctor to check on whether they are carrying a disease which has carried off family members in the previous generation. And so, the main paternity problem. It would seem that Erman’s sailing father is not actually his father. What to do? Try to find out the truth? Let it be? He even asks the rather awkward young man, Didier (Esteban) whom his daughter has persuaded him to take on for a job - which he does not do well.

There is an amusing sequence when he goes to a private detective – a rather older woman with an acerbic tongue. But she does the job and for the rest of the film, we can rather enjoy Erman’s searching out his actual father, their encounters, the bond between them.

Another part of the plot is the fact of Erman being upset when a driver hits a boar on the road during the night. She is Anna, Cecile de France, a doctor, who is able to put the boar down. Later, Erman sees her in the town, is very much attracted, invites her to dinner. But then there is a further paternity complication – which the trailer unfortunately reveals but which will not be revealed here.

So, paternal complications, the role of the two fathers, the discovery of Juliet’s baby’s father (not too difficult), the possibility of a romance between Erman and Anna, the birth of the baby…

On the whole, the film has a rather gentle sense of humour, rather than hilarious, and there are some serious moments as well as, towards the end and the birth of the baby, some farcical moments.

And so, the meaning of the title, just being sure who is who – and how.

1. The title, tone? Themes? Paternity issues?

2. Brittany, the countryside, the sea and the beaches, cliffs? The town, streets, hospital, offices? The range of sites and explosions? Here?

3. The serious tone as well as the comic? The range of the School, even the opening, The Magic Flute and the patter song? Resumed at the end? Contemporary songs?

4. Erman’s story, in his 40s, bomb disposals, seeing him in action, with his team, the dangers, robots and going out into the field, explosions? Widower, memories of his wife? His daughter, her pregnancy, his reactions, no father? The visit with Juliet to the doctor, the discussion about the hereditary disease, the issue of paternity? Going to the private detective, her manner, getting results? The father who brought him up, old, working on the boats, wanting a health clearance? His dilemma as to whether to seek out the birth father? Asking Didier? His experience of the shock?

5. The decision to visit Joseph, following him, in the car, the supermarket, helping him? The dog? The discussions, the co-looking at the photos? Lots of reminiscing? Bastien marrying his wife while she was pregnant? Knowing? Erwan and his befriending Joseph, the dog, Pinochet and the jokes? The coincidence of meeting Anna, her being Joseph’s daughter, the attraction?

6. Work on the site, the range of friends, the gatherings? Didier, Juliet getting him work? Slow? The father wearing the Zorro mask? Discovering Didier’s mask? Erwan asking Didier to post the documents? The discussions about Juliet? Didier willing to take responsibility? On the crane, the declaration, the effect on Bastien? His being present at the birth, not holding the baby? Registering as the father?

7. Juliet, her age, tough, alone, the one night stand? Commenting on the date with her father? Anger, leaving home, going to Bastien? The water breaking, the taxi to the hospital, the birth? The baby, Didier? Father and grandfather present?

8. The accident on the road, the boar? Anna, killing the boar, Erwan’s reaction? Seeing her as a doctor, in the street, the client who was always talking about Hitler in Brazil? Erwan talking, inviting her to dinner? Meeting her at Joseph’s home, the discovery that she was his sister? His abrupt manner with her, the dinner, Anna asking him about freezing around women? His father, the boat, her presence, the picnic, his abrupt behaviour? Their going to the doctor to check on the DNA?

9. Bastien, nice, a good father, widower? On the boat, getting the clearance to sail, going to Anna, inviting her onto the boat? His knowing about his wife’s pregnancy before marrying her? Didier is telling everybody and the truth from the crane? Bastien and his going to hospital, holding the baby?

10. Erwan, the effect, the time given to the two fathers, the outings with Joseph, at the stall and the woman robbing them with the change – and the later revenge? Joseph’s collapse, hospital? The clash with Juliet? What Erwan learnt from Bastien and his great qualities?

11. The finale, DNA, the hotel, the results, the romantic future?

SO WELL REMEMBERED


UK, 1947, 140 minutes, Black-and-white.
John Mills, Martha Scott, Patricia Roc, Trevor Howard, Richard Carlson, Reginald Tate, Beatrice Varley, Frederick Leister.
Directed by Edward Dmytryk.

So Well Remembered is based on a novel by James Hilton, very popular at the time and with film versions of his Lost Horizon, Goodbye Mr Chips, Random Harvest. He narrates this film throughout.

The film opens on V-Day?, 8th May 1945. There are celebrations in a Lancashire town with a focus of attention on John Mills playing George Boswell who had a significant role in the history of the town. The screenplay then goes into flashback, back to 1919, to council meetings, to George making a played for a young woman, Olivia (Martha Scott, American actress who appeared in Our Town – and play Charlton Heston’s mother in The Ten Commandments as well as Ben Hur). She has made an application to work in the library but has to stand down because of hostility to her father, an industrialist who built exploitative slums in the town and has served 20 years in prison.

George also edits the local paper and is concerned about social issues, having grown up in the slums. He courts Olivia, marries her and they have a son. She is socially ambitious and urges George to stand for Westminster politics. However, he is more concerned about local issues which come to a head with an outbreak of diphtheria, Olivia taking her son for vaccination but, disliking ordinary people, leaves beforehand – and the boy later dies. This leads to Olivia walking out on George.

As the years go by, George becomes an alderman, continues his strong friendship with the local doctor, Trevor Howard, who is socially concerned but is also an alcoholic. He has also become the foster father of a young baby (Juliet Mills as the baby) and Patricia Roc as the grown woman.

There is a final complication when Olivia returns to the town, takes over the mills, is confronted by George, and is very possessive of her son who suffers facial injuries in the war. He and Julie are married.

This is a fine example of British filmmaking in the postwar period, interesting plot, social concerns, a reflection on the previous quarter of a century. It has very good performances – and was produced by Adrian Scott and directed by Edward Dmytryk just prior to their being named as part of the Hollywood Ten and going to prison for Communist activities.

1. As a good example of cinema in postwar Britain? Quality, history, society, values?

2. Based on a novel by James Hilton? His reputation and other novels, film versions? His doing the narration throughout this film?

3. The Lancashire settings, the industrial town, local officials and meetings, the newspaper and the press, the wealthy mansion, the poor and their conditions, the slums, health issues? The musical score?

4. V Day in Europe, 8 May 1945? The framework for the story? The focus on George, his story, his perspective, on the town, characters?

5. The action going back quarter of a century, 1919? The status of the town, industry, industrialised, workers being exploited? The meetings, the issue of the librarian, George and his role with the newspaper, his speeches at the meeting, the social concern? The industrialist, his being in prison? Issues of reform, political influence, local campaigns?

6. The portrait of George, at the meetings, his pleading for Olivia and her job, the comment on her trim figure and the reactions? Driving her home? The encounter with her father, his reputation, George talking with him? Olivia getting the job? The two together, the outings, the proposal? The situation with her father, the doctor and his friendship, the drive, her father’s death? His standing in the library at the window? Accepting George’s proposal, George being happy?

7. The complexity of Olivia’s character, the influence of her father, his crimes, years in prison? Her determination? Her plans, social climbing, ambitions, her spurning ordinary people? Her marrying George, happiness, going to London, society meetings, political meetings, her contacts? The pregnancy, the birth of their son? Her pushing George towards politics?

8. George, visits to London, meeting the politicians, the discussions about Lancashire concerns, his agreeing to campaign, his variety of speeches, his concerns, criticism of the establishment, the doctor and his plain?

9. The outbreak of diphtheria, the importance of vaccination? The poor, the children being vaccinated, the long lines? Olivia coming at George’s urging, not liking the people, the dirt, her taking the baby away, no vaccination? His later getting ill, his death?

10. Olivia growing away from George, his not fulfilling her hopes? Hopes for a comfortable life, for her son? The impact of his death? The decision to leave?

11. The maid, Annie, tough, George relying on her, exasperated with Olivia, deciding to leave, Olivia leaving and Annie staying? Over the years?

12. The doctor, his work in the town, his drinking? His exploration of plans for the poor, changing the slums? Olivia and her reaction, his having driven her father? The little girl, the doctor fostering her? George as his friend? George defying the politicians and criticising their self-serving plans?

13. The years passing, George and his life, politics, becoming an alderman, helping everyone in the town? The paper? His friendship with the doctor, Julie and her growing up, the coming of the war, her enlisting?

14. The war situation, the north of England, not experiencing the blitzes? Juliet, nursing, helping with the troops?

15. Charles, his drinking, the encounter with George, his being rude? Coming next day, the apology? The encounter with Juliet?

16. Charles in service, and wounded, injured in his face? In hospital, Juliet caring for him? His mother and her visits? Olivia taking over? The effect on Charles, her domination?

17. George and the meeting with Olivia, not as difficult as he might have expected? Her life, in the mansion, the meals, her ownership, the poor conditions, her spurning ordinary people, downplaying their work in the war, her self-focus, Charles and her hopes? His reaction to her, going home, and happy? Charles eventually defying his mother, with the marriage certificate?

18. The industrial conditions, war situations, the threat of strike, George and his deal with Olivia?

19. The marrying, the future for Charles and Julie? George shielding them? Olivia and the ruining of her plans?

20. George, 1945, his remembering? A story of Britain between the wars? The victory against the Nazis? Hopes for a new and better England? As seen in retrospect?

ANNA KARENINA: VRONSKY’S STORY

Russia, 2017, 138 minutes, Colour.
Elizaveta Boyaskaya, Max Meetvev, Kiril Grabenshchikov, Viatliy Kishchenko.
Directed by Karen Shakhnazarov.

Devotees of Leo Tolstoy’s great novel, Anna Karenina, will probably have a high opinion of her, seeing her as a tragic figure. Her husband, Karenin, seems a gloomy and oppressive figure. And, readers will probably blame the career soldier, Vronsky, for all that happened to Anna.

There have been many films over the decades of Tolstoy’s novel. Those who have portrayed her include Greta Garbo in the 1930s, Vivien Leigh, especially, in the 1940s, Jacqueline Bissett in the 1980s, Sophie Marceau in the 1990s and, more latterly, Keira Knightley. This reviewer saw Vivien Leigh in 1948, probably too young to view the film but it made a lasting impression, no sequence more vivid in cinema than Vivien Leigh on the train line and the bearing down of the train at the end of that film.

So, Vronsky’s story?

The events in this film take place 30 years after Vronsky’s affair with Anna. He has continued as a soldier. He is now in Manchuria with the Russian troops advancing on China but being repelled by the Japanese. Vronsky is wounded while playing cards and is in the caravan with the nurses and doctors and the wounded. They have set up a post – and there is a wonderful long continuous unedited sequence as the doctor moves through all the aspects of the post, a cumulative effect as if the audience was walking round and surveying everything with him.

And the doctor is Sergei Karenin, Anna’s son. We are told something of his life, his hatred for his mother, brought up by his father, university studies, marriage, failed, and now a surgeon with the troops. In recognising Vronsky whom he had known as a little boy, he is curious about Vronsky’s perspective and memories.

So, while the film is quite spectacular in setting up the sequences in Manchuria, the detail of the medical post, the final attack of the Japanese on the fleeing Russian troops, it also has quite a number of flashbacks meaning that we see the well-known story once again. But, from the title, it is Vronsky’s perspective and he doesn’t seem such a bad man. It is Anna, manipulative yet subservient with her husband, but will fall, ambitious and, finally, obsessive and mentally disturbed. This is not a reinforcement of favourable attitudes towards Anna.

While we see a lot of the familiar sequences, Vronsky seem something of a ladies’ man but becomes infatuated with Anna, beginning the affair, her telling her husband, her dilemma of leaving her husband and her son, her being despised by St Petersburg society (her display of emotion when Vronsky falls in an elaborate steeplechase race as well as her standing defiant to society disapproval of the theatre).

The film has the couple go on a tour of Europe for a year, their return, and her desire to see her son, the encounters with her husband, but her growing edginess, suspicions of Vronsky, which have no foundation.

Interestingly, the suicide scene is left to our imagination or memories – although, earlier, Vronsky had gone to the railway station to identify Anna’s body.

On the one hand the film is quite spectacular, in the 1904 Manchurian sequences as well as the steeplechase, the theatre and a magnificent ball. On the other hand, there are a great many close-ups, intense close-ups of the characters.

This film adds to the repertoire of Anna Karenina films – and there will be undoubtedly more.

1. The impact of Tolstoy’s classic novel? The many versions, American, British, Russian? The place of this film in the tradition? An alternate to the tradition?

2. The title, the focus on Anna, on Vronsky? The perspectives? New perspective on Anna, critical? The perspective on Vronsky, sympathetic? The perspective on Karenina?

3. Spectacular treatment along with an intimate drama? The Russian cast? The huge number of extras? The lavish presentation of the ball and the dancing, the races, the battle sequences? The contrast with the domestic close-ups? The musical score?

4. 1904, the framework, Vronsky after 30 years? And at her death, the consequences, his military career, in Manchuria, the experience of war, his being wounded? Surrogate as a little boy, 30 years later, his past, with his father, hatred of his mother, his studies, medicine, separation from his wife, his questions about his mother?

5. The questions and answers, Vronsky and his recounting the story, the insertion of the flashbacks?

6. Manchuria, the Russians, moving towards China, the clashes with the Japanese? The fight of the wounded, the hospital base, the personnel, the military, the nurses and doctors, the wagons of the injured? The Chinese girl? The long sequence of the opening with the camera following surrogate throughout the whole camp, his observations and
encounters? The harshness of the experience, pain and death?

7. Vronsky, the situation, playing cards, his being wounded? Meeting surrogate? His recuperation, surrogate talking, asking questions, the effect on each of them? The power of Anna on each of them even after 30 years? The closeness of the Japanese, their having to go, Vronsky playing cards, searching for the Chinese girl, the bombardment? Leaving?

8. The familiar story of Anna? The portrait of her and the perspective, her age, with her son, with her husband, his harsh treatment of her, public opinion and the opinion of society? Comfortable life? Yet the edge between husband and wife?

9. Vronsky of the station, the train imagery throughout the film, seeing the dead and? Her travelling with Vronsky’s mother, the discussions, meeting Vronsky?

10. Vronsky, an attractive military man, at the station with his mother, visiting the house and encountering Karenina, leaving? Is motivation? The ball, the Princess and the past relationship with her? His relationship with women? Inviting and at the dance? The film communicating the relationship through and dancing sequence?

11. The meetings, going out, the affair? The effect on each of them? And a telling her husband the truth? His concern about public opinion? Contemplating the divorce?

12. Vronsky, his career, travel, meeting Karenina, talking with his son?

13. The race sequence, Vronsky and the horses, and is watching, anxiety, his fall, hurrying to him? Karenina considering this unseemly?

14. Anna leaving her husband, her dilemma about her son? The effect on Anna, the psychological change, anger, self-image? Her being humiliated at the theatre, Vronsky not supporting her?

15. Anna pregnant, the birth, her daughter, distance from her daughter?

16. Leaving with Vronsky, travelling for the year, returning, her joy, going to visit her son, with her daughter? Returning again to ordinary life? Her son against her? Her care for the English girl?

17. Anna becoming more erratic, possessive, the messages, Vronsky and his confusion, his going to his mother, her wanting to leave, then wanting to stay, the issue of money and documents? Her maid, getting advice, her bewilderment with the messages, messages missed? Building up to the despair? And the audience not seeing the train sequence and her death?

18. Vronsky, 30 years later, her son 30 years later? Her hold over them both after so many years?

KOBLIC

Argentina, 2016, 92 minutes, Colour.
Ricardo Darin, Oscar Martinez, Inma Cuesta.
Directed by Sébastian Borensztein.

This is a brief Argentinian film going back into dread aspects of later 20th century Argentinian history, the era of the dictatorship of the generals.

An initial piece of information is given, reminding audiences about the practice of taking political prisoners up in planes and then pushing them, alive, out of the planes into the sea.

Top Argentinian actor, Ricardo Darin, portrays a former pilot who feels the need to get out of Buenos Airies, leave his wife, go to work for a friend in the country, crop dusting.

While the politics and the suspense is in the background, the film is also one of those close looks at a small country town, the Mayor who gives Koblic a lift when he has to land his plane on the highway, the owner of the local store and his assistant, Nancy, the young man who also works at the airfield.

In the background is political intrigue, an oppressive marriage relationship, an affair, deaths.

The military catch up with Koblic but the end is left open as to what will happen to him personally as well as his situation and his participation, however unwillingly or willingly, in the deaths of political prisoners.

1. The introduction and the explanation of the period of the generals, dictatorship, the many victims, and the flinging of victims from the planes into the sea?

2. The flashbacks to these episodes? The impact on Thomas?

3. When desire is, homes, streets and busses? The countryside, the small town, the hanger and Alberto’s life and work? The garage, the shop? The aerial flights, crop., the joyride with Nancy? The musical score?

4. The title, the focus on Thomas? The mystery of his leaving? His wife, the plan? His disappearance?

5. Thomas and his memories, being a pilot, his role in the victims in the planes?

6. Alberto, the friendship, offering him a haven, Tom is flying the plane? The second flight, the engine failing, landing on the highway? The encounter with the Mayor, the lift back to town?

7. Thomas finding an alternate life, Alberto in it out, supporting him? The young man working at the hanger, his mental limitations?

8. Thomas going into town, the cylinders, at the shops? The encounter with Nancy? The bond, the sexual attraction, her riding the horse, the rendezvous with Thomas, the clash the sexual liaison?

9. Nancy, her story, personality? Her relationship with Omar, the uncle, alleged husband and wife? The sexual encounter, her being a victim? Omar coming back, suspecting her, talking to the media? His spine, the confrontation with Thomas? His death, the burial?

10. The bear, contact with the military, trying to find out about Thomas, talking with Omar? His interviewing the young man? The confrontation with Alberto, his shooting him? Thomas killing in?

11. The plan, the young man and his help, driving the vehicle, the playing?

12. Thomas, contact with the military, coming in, in his uniform after the discussion with the military man and what was required of him?

13. A drama for an Argentinian audience, memories of the dictatorship and the brutality, something of an examination of conscience?

THE KILLING OF A SACRED DEER

US, 2017, 121 minutes, Colour.
Colin Farrell, Nicole Kidman, Barry Keoghan, Alicia Silverstone, Raffey Cassidy, Sunny Suljic, Bill Camp.
Directed by Yorgos Lanthimos.


Greek director, Yorgos Lanthimos, has become something of a celebrity in recent years. He made Dogtooth, 2010, and Lobster, 2015. Critics were impressed by his rather offbeat approach to storytelling, touches of the bizarre, and rather different perspectives on human nature. With this present film, made in the United States and in Ireland, he won the screenplay award at Cannes, 2017.

As with dogs and lobsters, he has animal connotations in his title. Thoughtful publicists and reviewers have let audiences know that the references to Greek mythology. King Agamemnon, on his way to fight the Trojans, suffered failing wins. Rather vengeful gods, it would seem, demanded that he sacrifice Iphigeneia. Just as he was supposed to kill her, she was transformed into a sacred deer. The ritual went ahead.

Sacred deer: victim, sacrificial, a motive for revenge?

Lanthimos tells his story in linear narrative but, what happens along the way means that there are dramatic gaps in the narrative, unexpected twists and turns, keeping the audience on its mental toes, so to speak.

In Cincinnati, Colin Farrell, who appeared in Lobster, is a surgeon, Steven Murphy (and with his own Irish accent), the opening image being of open cut surgery, the camera gazing, as we do, at intestines. Steven has a good reputation although some have died during surgery he performed – including the father of a rather enigmatic teenager, Martin (Barry Keegan) who keeps appearing at Steven’s office, or in a diner, or in walks, with Steven giving him the gift of a watch. So, we are immediately on the alert and questioning the relationship between Steven and Martin.

At home, Steven’s wife, Anna (Nicole Kidman) is strong-minded but often a touch of the lenient with her two children, teenage Kim (Raffey Cassidy) and younger son, Bobby (Sunny Suljic).

Then it becomes rather mysterious, perhaps psychosomatic, perhaps psychological, with Bobby unable to stand, going to the hospital, having tests, Steven sitting in on group analysis of what is wrong with his son. Kim, who has something of a relationship with Martin, riding on his motorbike, at one stage being sexually provocative, suddenly collapses and cannot stand.

So begins a period of greater anxiety for father and mother, for the children disabled in hospital, for their returning home. There are further complications with Steven’s anaesthetist, Matthew, also a family friend (Bill Camp) and Anna trying to get information from files and paying up sexually.

Ultimately, the film turns to touches of horror and violence, the pressure on Steven, his bizarre Agamemnon moments and the question of sacrificing a member of his family, which means that Martin is something of a vengeful God (although Steven has brutal moments with him as well). In the Iliad, Agamemnon is able to sail to Troy and for the Greeks ultimately to defeat the Trojans. No such triumphant outcomes here… just some survival.

Strange, even alienating, to watch – but it offers so much to reflect on.


1. The title? The reference to Greek mythology? Agamemnon going to Troy, needing favourable winds, the demands of the gods, Iphigeneia, turning into a deer, the sacrifice?

2. The director, his offbeat perspective in his films? Greece and his heritage? The American setting? The awards?

3. The film considered as realism? The film considered as a psychological drama? With horror touches? The audience adjusting to the different moods of the film?

4. The visuals, the city, the views, homes, hospital, hospital corridors? The use of close-ups, extreme close-ups to capture the characters faces?

5. The musical score, classical music, chorale, discordant music and sounds? Atmospheric?

6. The opening, the focus on surgery? Audience response to open surgery? The role of surgeons, anaesthetists? Success, failures, deaths? Issues of blame, issues of responsibility?

7. Colin Farrell and Steven? His age, accent, and America? His appearance, his beard? At work, surgery, the scenes at the hospital, the corridors? His relationship with Anna? The scenes at home, with the children, decisions, discipline, the meals? The sexual relationship with Anna and her lying provocatively on the bed?

8. Anna, Nicole Kidman, direct in her communication, blunt, her relationship with Steven, sexual? The years? Her attitude towards the children, allowing them freedom, yet her demands? The house, the meals, ordinary life?

9. Kim, her age, going to school, music, the friendship with Martin, riding the bike, alone in the room, the sexual approach? Bobby, his age, the touch of the sullen?

10. Steven and Martin, the meetings, audience suspicions about the relationship between the two? The discussions, the diner? Discussions about the watch with the anaesthetist? The gift of the watch, the metal band, Martin and changing it? His turning up at the hospital without notice? Steven warning him? The walks, the talk? The emerging information about the death of Martin’s father? The visit to his mother, her approach, the comment about beautiful hands? Martin leaving? Martin telling Anna about this episode?

11. Martin, his age, his mother, the death of his father? How affected? His memories, blame? His continual presence? Talking with Steven, the gifts, the watch, eating? Inviting Steven home? Martin’s mother? His hold over Steven, the threats?

12. Bobby, in bed, not able to get up? Physical, psychosomatic, psychological? Steven’s reaction, Anna more supportive? Believing Bobby or not? Going to the hospital, the range of tests, his staying, the meetings of the doctors and their discussions? Kim, her walking, sudden collapse, the camera overview of her collapse? In hospital? The children together in the board? Steven’s visits? Anna staying? Trying to get him to eat, inability? Kim and her standing and going to the window, looking at Martin? Anna not seeing him?
The two and the deterioration? The decision to take them home? Kim, defying her mother, the issue of the mobile phone?

13. The audience puzzling as to what is happening to the children? A curse? Martin’s effect? Some sacrifice, revenge, atonement?

14. The anaesthetist, his role in the hospital, friendship with Steven, the couple going home to the house, the meal? Anna talking with him, persuading him to get the information – and the cost, the masturbation sequence?

15. Steven, imprisoning Martin, tying him up, the brutality and the hitting? Anna’s reaction? The gun and threats? Anna letting Martin go?

16. Bobby, the blood coming from his eyes, the deterioration? The effect on Steven? Waking Anna? Tying her up, tying the children up? The pillow slips over their heads? His own balaclava? His twirling himself around with the rifle, random shooting? The several attempts? Killing Bobby?

17. The transition to the diner, the parents and Kim present? The meal? Martin and his healing, coming into the diner, watching? Kim watching him? The family leaving, the close-up on Martin?

18. The overall impact of the film on the audience? Emotional? Intellectual? Psychological and mythological perspectives?