GODDESS OF LOVE


US/Canada, 2015, 93 minutes, Colour.
Alexis Kendra, Woody Naismith.
Directed by Jon Knautz.


This is a psychological drama, growing ever more intense.

The initial focus is on Venus, alone, behaving oddly, the audience wondering what is going on in her mind. She is an exotic dancer at a strip club and gets advice from a fellow dancer, especially how to fascinate men. This she does as she dances, focusing particularly on an expatriate Australian photographer, Brian, who explains that his wife is dead, later he explains that she killed herself. They have a meal together, talk, go to his place and begin an affair.

Venus seems to be more normal as the affair progresses. Brian continues his work as a photographer, sometimes taking photos of Venus. She also sees a photo for his exhibition, of a friend who lives in the city, Clare. When he is busy at work, Venus texts him continuously, then decides to follow him, seeing him have a meal with Claire.

Her hallucinations become more intense, Claire visiting her to return clothes and Venus spitting on her face. Brian breaks off the relationship. She fantasises more and more, erotically, savagely.

She returns to her dancing, gets advice from the fellow dancers, but becomes more and more suspicious of Claire and Brian, feeling that Claire has followed her on the way out into the desert, Venus stopping and attacking her. She also fantasises that Brian has come back to her.

Ultimately, we see Venus, looking particularly ordinary after all the make-up and glamour, talking with a psychiatrist with Claire present who claims she has never met her. Gradually, Venus comes to realise that most things have been happening in her hallucinations, even a sexual relationship with Brian.

However, there is a flashback where she has savagely killed Brian.

The film is a portrait, psychiatric, of a needy woman, caught up in a secular world, not trusting her emotions, letting them get the better of her, feeling some kind of security until she feels betrayed and then, in her imagination and in fact she lashes out.

The screenplay was cowritten by the star, Alexis Kendra, with the director, Jon Knautz. Woody Naismith is the grandson of the distinguished English actor, Lawrence Naismith.

GOOD TIME

US, 2017, 101 minutes, Colour.

Robert Pattinson, Benny Safdi, Talia Webster, Jennifer Jason Leigh, Barkhad Abdi, Peter Verby, Rose Gregorio, Eric Paykert.
Directed by Benny Safdi, Josh Safdi.

The title of the film is Good Time, it might be described as Hard Going.

This is the New York streets and many commentators have remembered Martin Scorsese’s 1974 film Mean Streets, the characters who lived there, young characters, difficult pasts, uncertain futures.

The film opens by the audience introducing us to one of two brothers, Nick (played by the co-director, Benny Safdie). He is rather slow-witted, is in a session with a sympathetic therapist who is showing him cards, making him do word association games but with comparatively little success except the revelation that he had thrown a pan at his grandmother. Before anything further can happen, his brother, Connie (a very effective and different Robert Pattinson) intrudes into the office, making demands on the therapist, taking his brother to exclamations of “shame� from the therapist.

Connie is desperate to help his brother. But why he would choose to get guns and masks and the both of them go into a bank for robbery, handing over a note, writing directions and then writing back, demanding even more money and making their escape but seemingly unaware that there would be a dye in the money bag that would cause the car to crash and their being covered with red paint. Connie has to hide the money, get rid of the paint but his plan is thwarted when police come after them and Nick runs away, only to be arrested, taken to a police station, put in a cell.

What is Connie to do? Disguise himself and his hair? Certainly. Recover some of the money? Go to a bail bondsman and make very impatient demands on him to try to organise Nick’s immediate release. He also goes to his girlfriend, Corey (Jennifer Jason Leigh) and wants to use her credit card to get the extra $10,000 for the bail. Her mother has shrewdly stopped the car and.

Connie then attempts to recover Nick but ends up, mistakenly, with a drug dealer, Ray. This leads to a dramatic flashback on Ray’s part, falling foul a taxi driver and leaping from the car, injuring himself. Then a connection with the drug dealer and a young girl, Connie then trying to hide what remains of the money in a theme park.

Again, in these mean streets, with characters so very limited in mental ability, things go badly again, he and the dealer bashing the security guard, disguising themselves in his coat and, taking his car, going to his apartment to arrange for the sale of some drugs.

These characters are ill-fated. Police chases, falls from buildings, inept attempts at rescue…
A final close-up of Connie. What future? But some hope with Nick as the therapist introduces him to group work, some men and women who are introduced to a psychological game, asking, if they identify with the theme presented to them, they cross the floor. This activates their minds, even Nick’s so that…

1. Acclaim for the film? A 21st-century Mean Streets?

2. The New York settings, the streets, the initial therapy, the bank, the interiors, the police precincts, jail, hospitals, taxis, Adventureland? The final therapy session? The many overhead views of New York City at night, the traffic?

3. The visual style, night and day, lighting, exteriors, interiors? The use of close-ups? The musical score?

4. Nick, slow-witted, with the therapist, the therapist and the tests, the questions, his hesitations, Nick and the answers, the tone? The revelation about throwing the pan and his grandmother? Connie entering, his rough behaviour to the therapist, the therapist telling him “shame�?

5. Connie and Nick, the relationship, the grandmother? The need for money? Going to the bank, the masks, the teller, the initial money, wanting more, communicating by writing notes, their escape, running? Pulling off the masks? In the car, the getaway man? The explosion in the bag, the red paint? Going to the store, the toilet, hiding the money, washing off the red? Connie later returning and recovering the money? Their walking the street, the police, Nick running, apprehended? His going through the glass door?

6. Connie, his relationship with Corey, visiting her, the promise of the holiday together, the dependence on her mother? The issue of the money, to pay the bail? Going to the bondsman, his office, Connie putting on the pressure, argumentative? The issue of the card, its being denied? Corey ringing her mother, her mother cancelling the card?

7. Connie recovering the money from the store, wanting to pay the bondsman? Not having enough money, is plans?

8. Nick, with the police, jail, in the cell, the clash? Connie going to rescue him? Picking up Ray instead, the mistake? The escape? The taxi, Ray and his story in the taxi, the driver, jumping out? The dealer, the girl, going to Adventureland? To store the money? The bottle with the drugs?

9. The drugs, in the bottle, getting over the fence, Ray and his disabilities, his face? The security guard, the confrontation, bashing him? Search of Adventureland, taking the uniforms, disguised as security, the police, the ambulance, taking the security guard away? The girl and the police?

10. The security guard’s apartment, very pleasant, Ray and his drinking, Connie and his harsh stands, the dog and the threats, the phone call to the dealer, waiting for him to arrive? The police?

11. Connie, leaving, being chased by the police, running and arrested?

12. Ray, going on the ledge, falling to his death?

13. The close-up of Connie, his future? The

14. Nick, in therapy, with the group, the device of the individuals making decisions and crossing the room? Nick and his participation?

15. How much sympathy for the characters? How ineffectual the characters?

THE TEACHER

Slovakia/Czech Republic, 2016, 103 minutes, Colour.
Zuzana Maurery.
Directed by Jan Hrebejk.

The Teacher might be called something of a sly film. It begins nicely enough but then begins to steer us in different directions, then in rather drastic directions and finishes up with an ironic ending. A film from Slovakia taking us back to the Communist era in the then Czechoslovakia.

This is the 1980s. The Communist Party is very strong in the local village and the new teacher is the president of the local party. 23 comes to the school, meets the children, meets the parents – all much as we might expect. The only trouble is, she has quite different expectations, not only of the children but, even especially, of the parents.

Zuzana Maurery is a strong presence as the teacher, able to turn on extraordinary front and charm, able to turn on extraordinary bullying in the classroom, able to turn on some seductive persuasiveness with the male parents.

While she might publicly subscribe to Communist principles, they certainly do not influence her personal life. She is as materialistic as you could imagine, not satisfied with the ordinary things that a Communist should be satisfied with.

At first, what she asks of different parents might seem reasonable enough, something of the equivalent of an apple for the teacher. The trouble is, she has no limits. She wants everything. And she wants everything done for her.

And, she has that knack of a controversial public figure of being able to divide people’s opinions. There is a growing number of parents who are against her, especially as they realise how she is treating their children, favouring some, harsh on others, manipulating the child so that the parents will do all the favours for her.

There is something of a rebellion as parents meet to discuss the teacher but, again, she is able to divide opinion, exerting charm and sometimes a little sexual seductiveness. Meanwhile there are plots behind her back.

Which means then that the themes of the film are fairly serious, the portrait of the teacher in herself, in her role as president of the Communist party, as a manipulator…

Then the Berlin Wall comes down, the Soviet empire collapses and, without revealing too much of the ending, it is fair to say that the teacher is able to find her feet again, adapting to the new ideological situations.

The film received an award from SIGNIS (World Catholic Association for Communication) at the 2017 Hong Kong International Film Festival.

1. The title, expectations? Good and bad teachers? The effect on students?

2. 1983, Slovakia, the country town, the school, gymnasium, homes? The atmosphere in the period? Slovakia as part of the Soviet Union? The contrast with the end in 1993?

3. Slovakia, part of Czechoslovakia, the later separation from the Czech Republic? The Communist atmosphere, over many decades? Communes, associations, chairmen and officials? Suspicions, reports, phone taps, patriotism, traitors?

4. The arrival of the new teacher, Maria, her appearance, buoyant, standing in front of the class, getting each student to stand, explain what their parents did, the notebook? Responses?

5. The background staff, the head teacher and her secretary?

6. The opening, the children arriving, the atmosphere of the beginning of the school term? Intercutting the parents, arriving in the evening, their coats in the locker room, going to
the meeting?

7. The meeting, the complaint against Maria, the audience not knowing what she did, some of the parents unaware? The headteacher managing the meeting, the motivations behind the meeting, the touch of secrecy, Maria being an official of the party in the town? The associate and taking the minutes? The parents asking what she had done? The range of parents and the children having given their background, their work? Judge, doctor, taxi driver, airport accountant, invalided man, the mothers, the man mending the lamp, the range of citizens in the town?

8. Maria, talking about her husband, dead, the war hero? It emerging that she was using people? The man fixing her lamp – and ineffectual? Her sister in Moscow, wanting the
accountant to organise taking a cake to her plane even though it was against the regulations? The invalid man lining up to do the shopping? The mothers and the variety of gifts? The parent hoping for the betterment of the children – and Maria confiding to agreeable parents information about revision and tests?

9. The treatment of the children in the classroom, the issue of grades, giving information to the parents, the results?

10. The key children and their parents? Danka, her age, her skill at gymnastics, working hard, Maria failing her? Wanting her father to take the cake, the scene of his trying to approach pilots and flight attendants and failing, eating the cake? The consequences for his daughter? The upset mother? Danka’s, failing, her reactions, collapse, putting her head in the oven, in hospital?

11. Filip, his father as the wrestling expert, the father’s expectations of his son, his son skills, but not going to the practices, his father beating him severely, the mother and her anxiety, the revelation of the truth?

12. Danka’s parents and Filip’s parents at the meeting?

13. The professor, his talented wife and her being out of the country, his exile, bringing his son, cleaning windows? Maria and her attraction, wanting an affair? The conversations? The son, his drawings, mocking Maria, shooting into the telephone and Maria’s reaction as well as the phone tappers? Friendship with Filip and Danka?

14. The meeting, the atmosphere of 12 Angry Men and the various points of view? The judge and his supporting Maria, the doctor and his wanting to leave (and supplying her with medications)? The old man against her but a grandfather? The parent who supported Maria taking the professor to the toilet, urging him not to sign? The professor leaving, waiting after missing the bus, returning to sign?

15. The invalid man, his wife cooking for Maria, his going early to the shops to stand in line for her? Wanting to buy the best for her?

16. The two women gossiping, critical of the parents who complained? Their going to gossip with Maria, her self-justification, their feeding this? The irony of their not knowing

the parents had returned to sign the complaint?

17. The teachers, their plan, justifying themselves, having the drink – and then the range of parents coming back to sign?

18. Maria, going to the professor’s house, verbally attacking him?

19. The transition to the early 1990s, Czech Republic and Slovakia, not under Communist rule? The irony of Maria, coming into the class, repeating her procedure – but her
changes of subjects, including the teaching of religion?

20. The aftermath, the information about the success of Danka, Filip and the son of the professor? Survival after the Communist regime?

DOWN PERISCOPE

US, 1996, 92 minutes, Colour.
Kelsey Grammer, Lauren Holly, Rob Schneider, Harry Dean Stanton, Bruce Dern, William H. Macy, Rip Torn, Duayne Martin, Harry Dean Stanton.
Directed by David S.Ward.

Down Periscope is a variation on Mc Hale’s Navy. It is also something of an American version of the British Carry On… comedy.

The film is very cheerful but also enjoying itself as undermining pompous authority. Kelsey Grammer plays the commander of a submarine who has had an accident in the past and ruined his chance of further command. Bruce Dern is the admiral out to get more stripes but to bring down Grammer. Rip Torn is the overseeing admiral. Also in the cast is Lauren Holly as the first female on the submarine and Rob Schneider as a very noxious second-in-command who gets something of a comeuppance. William H. Macy is a serious submarine commander.

Grammer is put in charge of a rust bucket but spruces it up and is challenged to wargames, entering into Norfolk Harbour eluding superior supervision – and, with various devices, extending the rules, relying on his rather non-descript crew rise to the occasion, often comically, one-upping Bruce Dern. Some comic situations, some innuendo, some pratfalls, and, at the end, the Village People themselves, along with the cast, singing their hit In the Navy!

The film was directed by David S. Ward whose credits are various and include Cannery Row as well as Major League.

1. An entertaining comedy? The background of films like Mc Hale’s Navy? An American Carry On…?

2. The submarine settings, the naval bases and offices, the docks? The interiors of the submarines? The musical score?

3. The title – and the touch of humour, the opposite of Up Periscope?

4. The introduction to Dodge, on the submarine, setting sights, the golf? His reputation?

5. Admiral Graham, his personality, the staff meeting, his denunciation Dodge? Winslow and his defence? The issue of promotion? The setting up of the war games?

6. The summoning of Dodge, discussions with Winslow, his being put in charge of the Stingray? Its dilapidated state? Introduced to the straggly crew? Losers and loners, sports players and gamblers, Winslows son, Sonar and his hearing abilities, the radio operator and connecting wires through his body… The large cook, Harry Dean Stanton in the boiler room? Emily and the men’s reaction to a woman on-board? The audience expecting pratfalls and comic humour – as well as expecting how well they will react in crises?

7. Dodge, his reputation, his disgrace in the past, the story about his tattoo? His taking command, his sense of irony, summing up people, getting them to do their best? His reaction to Marty, irritated, and Marty’s final insurrection? His reaction to Emily, testing her?

8. Captain Knox, his abilities, not liking George? Graham putting him in charge of the war games? The loyal sailor, and his dislike of Graham and his orders? The details of his work with his crew, conscientious, sonar, strategies?

9. The war games, evading the Orlando, having to get into Norfolk Harbour? Dodge and his ideas, risky, extending the boundaries of orders?

10. Marty, small, serious, irritating, his defying Dodge, calling for his standing down, the tables turned and his being charged with mutiny? Blindfold, condemned, making Marty walk the plank – and into the fishing nets?

11. The dive, Emily and her experience, landing on the ocean floor, everybody silent, the Orlando misinterpreting the silence? Sneaking through? Graham and his exasperation, making the wargames more difficult, stricter rules and areas of containment?

12. The action of the various men, Sonar and his ability to pinpoint everyone, and his ability with whales sounds and the use? Winslow’s son and his surliness yet loyalty? The football player, the gambler, their discussions about his techniques and the bets? The radio officer and his connecting the wires through himself? Howard and his role in the boiler room? Fixing the leaks, putting the whiskey in the fuel?

13. The decision to squeeze through the vehicles, Emily withdrawing, yet her shrewdness, the tension of getting them through, Dodge wanting to test her?

14. The torpedoes, their being fired? Contact with Graham, too late?

15. Winslow, Graham not getting his stars? The new nuclear submarine and Dodge in charge, his demanding from Winslow to have the same crew? The revelation of Winslow’s son?

16. And the humour of having the Village People sing In the Navy, and all the crew joining in and a recap of all the humorous events?

CHILD 44

UK/Czech Republic, 2015, 137 minutes, Colour.
Tom Hardy, Gary Oldman, Noomi Rapace, Joel Kinnaman, Paddy Considine, Fares Fares, Jason Clarke, Vincent Cassel, Charles Dance, Tara Fitzgerald.
Directed by Daniel Espinosa.

Child 44 is a very serious drama. It is based on novels by Tom Rob Smith. It has been directed by Swedish Daniel Espinosa (Easy Money and, internationally, Safe House and the science fiction, Life).

The film opens with the famine in Ukraine in 1932, focusing on a young boy who is an orphan who then is seen triumphing in the Russian army at the downfall of Berlin. The scene moves to 1953, the end of the Stalinist era. The young man is now an official, a detective. He is also involved with a teacher, Noomi Rapace.

One of the slogans of the Stalinist era is that in Paradise there are no murders. When some young children are abused and killed, this is classified as an accident. This happens to one of the young man’s closest friends, Fares Fares, and in the investigations, headed by Vincent Cassel and assisted by a rather vengeful Joel Kinnaman, the young man is demoted to a country town, under the command of Gary Oldman.

There are more child murders and the audience is then shown the perpetrator, played by Paddy Considine, a prisoner of war in Nazi Germany and affected by their medical experiments.

The film has the young man take a stand, his wife having to make decisions to support him, the buildup to a confrontation with the killer as well as with the vengeful military associate.

Sombre material – and an unexpected venture into the Stalinist and post-Stalinist Russia.

1. Soviet and Russian history? Based on novels? Transferring to the screen, the scope? Politics, crime? Personal stories?

2. Ukraine in the 1930s, the visualising of the famine, the information about its extent, the statistics? The children, the orphans? Leo, starving, his name, the background?

3. Berlin, 1945, the fierce battle? The Soviet flag, being raised, the man with all the watches, Leo and Alexei and their presence? Reputation?

4. 1953, the Stalinist regime, Stalin’s death? Harshness, poverty, drab living? “No murder in Paradise�? The Politburo, spies and the control, exercise of violence, traitors and denunciations, tortures and confessions? Executions?

5. Tom Hardy as Leo, his life, reputation, work as an official? Detection? His personality, his meeting with Raisa, the meal, the discussions, the bonding, her story, her telling him the wrong name? The relationship, marriage? The parents, the meal, the discussions, the possibilities for denunciation?

6. The Brodsky episode, the interrogation in the village, the interviews, Vasili shooting the parents, leaving the children, the clash with Leo? Leo chasing Brodsky, the fight, the knife? Brodsky and his arrest, going to prison, wanting to die, not naming names, the truth serum, naming names, in the courtyard, his being shot?

7. Raisa, teaching, Brodsky giving her name? The fact that school? The relationship with Leo?

8. The city, working with Leo, ambitious, relentless? His relationship with Major Kuzman? Their exercise of power, Brodsky, denunciations, confessions, their plans for Leo? Kuzman, his control, discussions with Leo, Brodsky and the denunciation of Raisa? His having to announce to Alexei the death of his son? The visit? Compassion?

9. The visualising of the boy, playing near the railway, his dead body, the wounds, the autopsy? The opinion of the doctors? The fact that there were no murders? Designation as accidents? Alexei and his family accepting this? Sadness? The further deaths?

10. Leo, his decisions, Raisa and the tension, the school, the attack, the official, his being bashed over the head with the book – the later consulting him, finding the book with the bloodstains? The fight with Leo and his death?

11. Leo, the need to move, with Raisa and her decision? Travelling by train to Volstok? Getting out of Moscow, his role, demotion? The poor accommodation? The ugly school and rooms? Leo and his interview with Nesteroff? Sitting down conditions? Local authority in Vostok?

12. Nesteroff, strong, control, his wife, children, fears? Participating in the investigation? Growing trust for Leo?

13. The introduction of the killer, his approaching the boys, their discussions, talk, promises, killing them? The number of children? The statistics? His clubfoot, his personality, working in the factory?

14. The corpses, the examination, the opinions of the doctors? Leo and his discussions with the general? The effect on Leo? Working out the centring on Rostov?

15. The reputation of the killer, surgical precision and background?

16. Leo, Raisa, the clashes, her pregnancy and then her not being pregnant? The tensions and arguments? Her wanting to leave? His promises, wanting her to be free, his love for her? The going to Moscow, continuing the investigation?

17. Leo going to visit Alexei, the continued denial about the boy? Alexei going to visit Vasili, the information, the discussion, Vasili shooting him?

18. Leo and Raisa returning to Rostov? Nesteroff and Leo? His wife’s fears? The factory, the files, identifying the killer?

19. The chase into the forest, the killer, his knowledge of Leo, sharing the Ukrainian background, his story, the Nazis and the treatment of him during the war, surgery training in the field, whether he was a German spy or not? The fight, his death?

20. Vasili, pursuing Leo, the death of the killer? Raisa and Leo, the fight with Vasili? Their being wounded, his death?

21. Leo, the recovery, the interview with the general, the discussions about the motivation of the killer, the theories, German spy? Language and twists? Political discussions and speech? Leo and his future? A glimpse of Soviet history?

THE MOUNTAIN BETWEEN US

US, 2017, 112 minutes, Colour.
Idris Elba, Kate Winslet, Beau Bridges, Dermot Mulroney, Linda Sorenson.
Directed by Hany Abu- Assad.

For a great deal of this film, Kate Winslet, as Alex a photojournalist, has a brace on her leg and limps, finding it difficult to walk, moving very slowly. Idris Elba as Ben, a surgeon, suddenly find his leg caught in an animal trap in the woods. This could be taken as rather symbolic of the whole film and its dynamic, much of the movement by plodding, the effect of lameness.

The intentions of the film are very worthy and it is directed by celebrated Palestinian director, Hany Abu- Assad whose films, Paradise Now, Omar and The Idol have been quite striking. The lead actors have a strong screen presence and work well together, even when they are clashing. It is interesting to see Idris Elba in such a sympathetic role, not an action star.

The film opens at an airport in Idaho during January, all flights being cancelled because of an oncoming storm. Ben has to get to New York to conduct surgery, Alex to go to her wedding. On an impulse, she hires the pilot of a small plane (Beau Bridges) and they set out, initially calm, she taking photographs, the pilot telling stories about his action in Vietnam, and his big Labrador on the plane as company.

They crash, confined at first to the shell of the plane, which, of course, confines the action a great deal, slowing it down. The question is raised whether they should stay at the crash site to be found or to move on, Ben first going to survey from a height what the landscape is like, high snowy mountains (filmed in British Columbia standing in for the American Rockies), deep valleys. Fortunately, Ben being a doctor is able to attend to Alex as well as to the dog, especially after a cougar attacks but is shot with a flare (providing food for some days, snow always being available for water).

Alex is very strong minded and can’t stay in the one spot. Ben eventually follows, with their wisely trying to descend and reach the tree line. As has been said, they have to plod, as does the dynamic of the film, even though they are moving towards safety. There are caves, and firewood available for warmth, the dog hunting, the danger of ice pools.

While initially the two fight, each of them mellows in terms of dependence and of being able to survive. Ultimately, this raises a situation not just of dependence but of sexual dependence and emotion.

While the film does show the relationship rather romantically, despite difficulties, it does spend some time more soberly in the aftermath of the journey, reflecting on how both Alex and Ben have been affected by the situation, wondering whether the relationship was just something unreal on the mountain or whether there was something more.

To that extent, the latter part of the film is rather romanticised and some of the dialogue leads to a touch of cynicism about romance. But, the film’s heart (and there are discussions about whether the heart is the source of emotion or just a muscle) is in the right place.

1. A film about endurance and love? The title? The physical mountains? The barriers between Ben and Alex?

2. The airport setting, the crowds, the delays, the small plane, the flight, the mountains, the crash, the beauty and isolation, the danger, peaks and valleys, the treeline, the waterfalls, the house, the logging town? The aftermath, London and New York? The musical score?

3. The situation, January, the weather, snow and storms, Idaho? Ben wanting to get to Colorado for his surgery? Alex for her wedding? The queues, the enquiries? The small plane, Walter, the journey, Alex and photography, their talk, the presence of the dog, Walter and his stories about flights in Vietnam? The radio contact, the stroke, his death, the crash?

4. Ben, the survival, his wounds, the dog? Alex unconscious, the injuries to her leg? His making the splint? The situation, the SOS, the flare, the planes flying over, later finding the tail, the alarm smashed? No contact for the phone? Food, water and snow, warmth?

5. The two personalities, age and experience? The doctor, reticent about his wife, Alex listening to his phone? The later revelation about her death and farewell? Alex and her photography, the different missions, journalism, strong and determined? The plan to marry Mark? The phone call from the airport?

6. Ben, being urged by Alex to survey the area, climbing, sliding down, not falling over the cliff? Alex, the attack of the cougar, shooting it with the flare? The dog wounded? But enough meat for 10 days?

7. The decision whether to stay or to go? Alex and her determination, arguing with Ben? Strong-willed? Her going, trudging through the snow with the dog? Ben following, finding the tail, catching up?

8. Going down, the hard walk, slow, the snow, the dog, chasing the rabbit but not catching it? Shelter in the cave? Going down to the treeline? The reflection of the sun in the window? The huge waterfall, having to go round it? Ben and his finding the hut, Alex falling into the water, Ben smashing the ice, rescuing her? His medical attention, the risks with the syringe, her coming round?

9. The shelter, warmth, the cans of soup? Emotions, dependence, each having enabled the other to survive, love, the sexual encounter, the consequences? And Alex taking
the photos – after refusing to take Ben’s photo and telling the story of the little girl in Africa who died after the photo?

10. Seeing the town, Ben and his leg caught in the trap? Alex, going to the town, hailing down the truck? Hospital, injuries, Mark present, the recovery? Ben and the injuries to his hands?

11. Ben, in London, with the dog, walking in the rain, hospital and consultations, not able to do surgery, ignoring Alex’s phone calls? His home, with the dog, receiving the photos?

12. Alex, the social, the publisher wanting her pictures, Mark as understanding, realising the situation? Ben contacting her?

13. Going to New York, the meeting, the restaurant, talk, discussions, the reality on the mountain, what was real, survival and their mutual dependence, issues of heart, the heart as just a muscle, going the separate ways, the realisation, turning around, the embrace and the sudden cut to the ending?

TOM OF FINLAND

Finland, 2017, 110 minutes, Colour.
Pekka Strang, Lauri Tilkanen, Seumas F. Sargent, Jakob Oftebro, Jessica Grabowsky, Taiso Oksanen.
Directed by Dome Karukoski.

And who is Tom of Finland? Probably best to ask this question and to do a bit of homework before deciding to see this portrait of an artist. It is also the Finish nomination for Oscar consideration.

There are three approaches to viewing this film.

First, it is the portrait of a significant Finish artist, Touko Laaksonen (1920-1991). We first see him in action during World War II, the Finnish army supporting the Russians. After the war, he has a job as a commercial artist in an advertising company. He begins to do more personal sketches and, later sends them to the United States where they are accepted and he becomes famous and something of a celebrity.

Secondly, the film can be seen as a social study of homosexuality during the 20th century. Tom of Finland was a gay man, in the closet in a very strict Finland, living part of his life in a gay underground, finally finding some freedom of movement and expression in the United States.

Thirdly, the film can be seen as the controversial work of a gay artist, his drawings, their content, style, popularity in the gay community, there becoming icons. The film also raises the issue of the art, its expressions and influence and the emergence of AIDS in the 1980s.

Touko Laaksonen played by Pekka Strang, first seen as a soldier in his 20s, then moving through the decades and, with effective make up, the same actor portraying the artist in his 50s and 60s. He is not a man who is easy to warm to, personally. He has suffered trauma during the war, even to the killing of a Russian parachutist which had quite an effect on him and is shown in the film. He has bad experiences from the police during a visit to Berlin. He also experiences police raids on homosexuals in parks and in bars and in private homes. There is a certain coldness and detachment about his personality.

He lives with his sister, also a commercial artist, and when she takes in a boarder, he is infatuated but keeps undercover, not wanting to live separately with the boarder who is a professional dancer.

As regards the criminalisation of homosexuality and homosexual behaviour, the film shows much of social homophobia, expressions of hate, the sometimes vicious police raids and interrogations. It can be seen how the decriminalisation of homosexuality had a more positive effect in society and for individuals. (There is an amusing sequence when Tom of Finland goes to California and is present in the gay community when the police suddenly rush in – not to arrest the men as he presumes but searching for a thief who robbed a bank down the street!)

Many of us may have seen Tom of Finland sketches as illustrations but not recognised them as the work of a single artist what their original intent was. While he could not publish them in Finland, American magazines on Physical Culture put them on the cover and then they were adopted by the gay community. He sketched over 3000 drawings. They are of men, caricature sketches in the sense that they are huge chested, thin waisted, large buttocked, with prominent sexual organs and sexual behaviour. Tom had a penchant for uniforms, military (even the Nazi uniforms, but not Nazism), police, leather and bikie. They were widely circulated from the 1970s and used in all kinds of illustration, in advertising.

The question is raised for Tom when AIDS emerges and his sketches are criticised, singled out as promoting sexual permissiveness which leads to AIDS. He acknowledged this but then turned his attention to the sketches campaigning against behaviour which led to AIDS.

The film offers quite a deal to think about, the portrait of the artist, the social context in which lived, his work and the issues of pornography, but it does provide a look at transitions in the 20th century, which have had social consequences for greater freedoms in the 21st century.

1. Nominee for the Academy Awards for Best Foreign Language Film? A story from Finland? A film about Western society in the 20th century? Sexual orientation issues?

2. The action taking place from the 1940s to the 1980s? World War II, Finland with the Russians? Postwar Finland? Work and advertising agencies? Homes and apartments? The background of the 1952 Olympics in preparation?

3. The introduction of gay themes, the personalities, the sideways looks, the military naked beach frolics, going into the park, activity, the police, the military in secrecy? The home groups? The police raids? Arrests? Institutions and processes for cures? Tom and the beginning of his sketches? Secrecy in Finland? Sending them to the US – and the Americans adopting the sketches? And the AIDS epidemic and the consequences?

4. The portrait of Tom, in the war, the battle sequences, cruising in the park, the encounter with the Captain, the discussion, the gift of the cigarette case? The war veterans’ pension? His moods? The memory of his killing the Russian parachutist? Sudden, silent, his sadness at looking at the face of the dead man? His sister, her comment on his loneliness? Going to the bar, the sketch and the man in the toilet, his being bashed? In the park, the encounter with Nipa, the police raid? His skill at his work, advertising, photograph compositions, slogans, promotions? Parties with the boss? His continued sketches? The discussions with Nipa? Sending them to the US, on the cover of the magazines, success, his continued drawings? At home, Nipa becoming the boarder? The relationship, the outings, their going to see him dance? The bond, the relationship, wanting an apartment together – with yellow curtains, despite their being for sissies?

5. The range of the men, sexual orientation? The captain in the park, the discussion with Tom during the war? The Berlin experience, Tom, guards, inspection of his cases, the hidden cabin for his drawings, going to the club, the men interested in the sketches, taking them, disappearing, the police raid, the interrogation? The captain and his being in the diplomatic corps, his helping Tom to get home? His marriage, the tolerance and understanding of his wife and her warning about the police, the house party, the range of men, the raid? Giving himself up? In the institution, wanting the cure, grateful to Tom?

6. Nipa, his life, dancing, in the park, the boarder, Tom’s sister and the attraction, with Tom, the apartment, encouraging him, his sickness, Tom returning from America, his death and funeral?

7. Tom of Finland and his sketches, his own name, the decision about Tom, the American looking at the envelope and adding of Finland? Masculine images, the counterbalance to the insult of faggots, uniforms, macho, bodies, organs, sexual activity? The exaggerations, yet the distinctive visual style?

8. The decision to go to America, the response, the covers of the magazines, the reception in America?

9. Doug, secretly looking at the pictures, the magazines, bodybuilding, encountering Jack, time passing, their sponsoring Tom, welcoming him, the group in Los Angeles, the community, the police raid looking for the thief, photographing the uniforms, the contrast with the police and Finland? Going to New York? The German publisher, going to visit him and challenging him, the money, the drinks, the publication of the book?

10. Tom’s sister, her devotion to him, the attraction to Nipa, her work, her art, Tom encouraging her? Cleaning house for him? Her reaction to seeing the room and the wall full of pictures, her disgust?

11. Tom, his achievement, acclaim?

12. The film as a chapter of social history, homosexuality, long traditions, biblical quotations, criminalisation, police raids, hate and homophobia, the gay community, affirmation by the sketches, the move to decriminalisation?

13. AIDS, Tom being blamed for sketches encouraging activity? His backing down? The posters for confronting aids, condoms…?

14. Tom and incessant smoking and information that he died from emphysema?

15. A personal biography, a social study, perceptions on homosexuality, men, relationships? Criminality and decriminalising and the changing in 21st-century perceptions?

ME TWO/ LA PERSONNE AUX DEUX PERSONNES

France, 2008, 84 minutes, Colour.
Daniel Auteuil, Alain Chabat, Marina Fois.
Directed by Nicolas Charlet, Bruno Lavaine.

This is a very slight comedy, surprising to find Daniel Auteuil as the star, but he brings his acting skills to this offbeat role. Alain Chabat is a famous writer and director.

While the French title is explanatory, the English language is able to be much more succinct and very witty in its title.

We are introduced to Gilles, who had a successful singing career in the past and who hears his song on the radio in his car – which leads to his crashing into Jean- Christian. And so we begin a film of double identity, Gilles going into Jean- Christian, first of all going to the hospital where Gilles sees his wife, and regrets that the television news does not give much attention to his death. On the other hand, Jean- Christian goes to his office, caught up in dialogue with his new inner self, or caught up in confusion with the members of the company.

So, there is a lot of comedy in the dialogue between the two persons as well as the rather carefree singer finding himself trapped and wanting to help the rather buttoned up office worker. Also in the picture is another buttoned up work with the office, Muriel, Marina Fois.

While Gilles is trying to revive his singing career through Jean- Christian, even composing new songs, he actually transforms Jean- Christian, changing his clothes style, his hairstyle, his manner with people. This culminates in a presentation for the company executives, done in a musical style which gets everyone excited, clapping, dancing, and Jean- Christian getting a job in the company, directing its functions and enabling him to relate to Muriel.

There is a tongue in cheek postscript to the film, several accidents, and an increasing number of personalities inside!

1. A soufflé of a French comedy?

2. The theme of one person occupying another, a dead person in a live person, the dialogue between the two, two different lives?

3. The French settings, the city, the streets, car accidents, hospitals, offices and boardrooms, the music industry? The musical score – and the popular songs?

4. Introduction to Gilles Gabriel? Driving, singing, his own song, his past career, the girls at the red lights, phoning his wife? The policeman, giving him the finger, hurrying off, not seeing Jean- Christian? The crash, Jean- Christian surviving, Gilles dead, but living inside Jean- Christian?

5. The different voices – and the different scripts for each voice in the subtitles?

6. Jean Christian, his work in the company, company loyalty, the archives, going to the meeting, speaking out, his inner confusion, encounters with Muriel? In the office, the members of the staff? Muriel and her displeasure, to excite him to Bucharest?

7. Gilles, dead, his inner voice? Jean- Christian looking in a mirror? The dialogue between the two? Trying to get into the hospital, being rejected, talking to Gilles’ wife and her reaction?

8. Going to Jean- Christian’s home? Quiet, the meal, going to bed early, dreams? Gilles unable to sleep?

9. The plan, Gilles wanting to compose songs, instructing Jean- Christian, the notes, writing them down, the lyrics? Jean- Christian singing them? Gilles offering to help Jean- Christian in his work, finding girls, in his relationship with Muriel?

10. The ups and downs of daily life, Jean- Christian and his nightmare where the two of them went machine-gunning everyone in the company?

11. Jean- Christian, the change of clothes, the shops, his hairdo, people’s reaction?

12. The buildup to his presentation, the pop style, his singing, the rhythms, the lyrics, everybody becoming enthusiastic, clapping, dancing, his enthusiasm for the company? Muriel and her being taken aback?

13. Jean- Christian getting a new job, being in charge of company celebrations, praise of his enthusiasm and commitment?

14. Jean Christian, the phone message to Muriel, her turning up, looking more glamorous, the kiss? His awkwardness? Her being fired? Going home, the sexual encounter? His conversation with Gilles? Gilles and the explanation about his wife? And Jean- Christian visiting the house?

15. The next accident and the next person inside?

16. The months passing, the birth of the child, more and more accidents? And who was inside whom? The dialogue, and the time for the many personalities for keeping silent? A future?

YOUTH OF THE BEAST/ Yaju no seishun

Japan, 1963, 92 minutes, Colour and black-and-white.
Jo Shishido.
Directed by Seijun Suzuki.

During the 1960s, director Sujein Suzuki made a great number of films, many of them pot boiling dramas and melodramas, touches of the pornographic as permitted by the times, but acquiring a strong reputation which has lasted many decades, some of his films being continually revived. This film is considered one of his best – as is Tokyo Drifter, also with his regular actor, Jo Shishida.

This is a complex film and its plot, twists and betrayals, but also difficult for the audience to keep track of who is who.

Initially, there is the death of a policeman and a singer, with scenes of the singer later, but the meaning of the deaths becomes clear at the end. Jo Shishida portrays a young man who makes an impact in a club, comes to the attention of the crime bosses, echoes of the Yakuza, and they want to employ him. As he goes about his work, he begins to play one group against the other, insinuating himself into confidence, in violent and action circumstances.

At the end, there are confrontations – as well as many shootouts along the way. It emerges at the end of the film that he is avenging the death of the policeman and the woman seen at the beginning of the film.

Of interest for those studying the history of Japanese cinema, especially the pop art films of the 1960s and of this particular director. Some parallel might be made with the films from the American company, American International, small budget, action films from the 1960s and 1970s.

HAPPY DEATH DAY

US, 2017, 94 minutes, Colour.
Jessica Rothe, Israel Broussard, Ruby Modine, Rachel Matthews, Charles Aitken.
Directed by Christopher Landon.

How many times can the director kill off the leading lady? There was hullaballoo in 1960 when Janet Leigh was killed off so early in Hitchcock’s Psycho. In Happy Death Day, I think the heroine mentions she has been killed 16 times. 16 times you may ask – but, fairly soon into the film movie buffs will be thinking Groundhog Day. Hence the at-least 16 times.

In fairness to the writer and the director and their “borrowing� the main idea behind Groundhog Day, they do make amusing references to it at the end, the noble boyfriend telling the many-times surviving heroine about the original film. She has never heard of it. He tries Bill Murray. Never heard of him. He tries Ghostbusters. Never heard of it. Shame on her!!!

For the first 10 minutes or more, many audiences hearts will sink. Those who are very fond of fraternity and sorority raucous comedies will feel they are on familiar ground, so why not another one! And our heroine, Tree (short for Teresa), Jessica Rothe, is one of those presumptuously arrogant, knock-everyone-out-of-the-way-types, immediately dislikeable. How are we going to survive the film? Well, mainly by her not surviving her particular Groundhog Day murders but her waking up every morning, her birthday in fact, her death day in greater fact!

Actually, the film does improve as it goes on. And the filmmakers do employ some ingenuity in highlighting what happens to Tree, waking up in a strange fraternity room with Carter (an agreeable Israel Broussard), his friend arriving with a lewd comment, her fears, racing away, literally knocking people out of her way, encountering a would-be boyfriend, and then the comments by the other women at the sorority. And a cupcake with one candle on it from her roommate, Lori, which first time round she throws into the garbage. Tree is that kind of person.

The whole point of Groundhog Day is the fact that the person re-living the day and has the opportunity to learn, to alter (at least for the rest of the day), and for Tree to work out who might be killing her. Actually, it is somebody in a mask – but, unlike the mask in Halloween and in the Scream movies, this is a cheerful mask, for supporters of a football team, chubby, bucktoothed. But, by the end of the film, it is sinister nonetheless.

On one of the days, Carter does his best and, unbeknownst to himself, Tree takes quite a shine to him. On some of her days, her injuries take her to hospital where she discovers that a maniac killer is present under police guard.

There are some twists as the scenario goes on, Tree testing out potential suspects, the encounter with the killer, and, just when you thought it was all over, the real killer appears!

Interestingly, the screenwriter gives Tree quite a lengthy speech, spoken to Carter, about realising how selfish she is, not supporting her father because of her grief for her dead mother, rude to everyone about her, as she says: not a nice person. So, there you have a horror film with a highly explicit moral which you can’t disagree with!



1. The title, Tree and her birthday, her recurring death day? The tone? Humorous, macabre?

2. The Louisiana settings, the University campus, the dormitories, lecture rooms, offices? The grounds, the paths, the underpasses? The hospital, corridors, rooms? Carter’s room and the recurring waking up? The musical score?

3. Indebtedness to Groundhog Day – and the humour in the final attribution, Tree not knowing the film, nor Bill Murray, nor Ghostbusters!

4. Audience response to the Groundhog Day experience? Tree and her waking up, the encounter with Carter, with Ryan at the door, clothes, getting out, the eerie passer-by, the girl with the petition, the sprinkler, the horns, the team and the man collapsing, Tim and his missing her texts, going into the sorority, Lori and observations, Diane and her criticisms? The birthday cake and the candle? Hurrying to class?

5. The film establishing Tree’s character, in Carter’s room, no memories, getting wasted and drinking? The attitudes towards Lori, towards Diane? The lunchtime meeting and their treatment of Becky and her food? Her going to visit Gregory, the class, the sexual approach, his response, locking the door, the wife arriving? Her self-centredness? Arrogance?

6. Her father, grieving her mother’s death, not meeting him, late for the party, the underpass, the happy birthday playing, the man with the mask, Tim and looking in his window and the gay films? The attack and her death?

7. The recurring waking up, knowing Carter’s name, Ryan at the door and his vulgarity? The skill in the screenplay in keeping the recurring waking but eliminating various details, changing the reactions, the effect on Tree?

8. The day when she discussed things with Tree, his friendship, the explanations, the list of suspects, writing them down? Her imagining the various candidates and eliminating them?

9. The break with Gregory, the locked door, opening it, his wife? Gregory’s reaction?

10. Diane and her haughtiness, the party, their argument? The first party and her going into the room with the boy, the approach, Diane’s jealousy, the murder?

11. Her going to hospital, the nurses, getting out? Hearing the news about the murderer, the police guard, his being in the hospital? His being the candidate for the murders?

12. The background of the mask, 21, bucktoothed, the contrast with Scream and Halloween? Yet becoming a sinister mask?

13. Tree and her trying to control things, the policeman being killed, her confrontation with the murderer? His killing her?

14. Attempting to confront the murderer again, sending off the policeman, the axe, the fight, the viciousness of the murderer, Carter coming to her rescue?

15. Waking up, the next day? And the irony of the film continuing, confronting Lori, suspecting Lori, the poisoned cake, Lori’s jealousy about Gregory, Tree forcing her to eat the cake, and her going out the window?

16. Tree, the sequence of explaining herself to Carter and how she was a horrible person how she could be better? Reuniting with her father and the memories of her mother? With Carter and a future?

17. The night, Tree, the passer-by, signing the petition, warning about the sprinkler, catching the man collapsing, pleasant to Tim…?

18. The screenplay and its conventional beginning with the behaviour at the fraternity and sorority? Introducing the Groundhog Day themes? The masked killer? The variations – and screenplay improving as the action went on? The twists?