ADOLESCENCE

UK, 2025, 4x55 minutes, Colour.

Owen Cooper, Stephen Graham, Ashley Walters, Faye Marsay, Christine Tremarco, Amelie Pease, Erin Doherty, Joe Hartley.

Directed by Philip Barantini.

A television series that received immediate worldwide acclaim. It is particularly well cast in the major roles and in so many of the supporting roles, including the children at school. The screenplay has been written by veteran writer, Jack Thorne (Wonder, Radioactive, the Enola Holmes films) who was working on a new version of Golding’s Lord of the Flies at this time. He worked with Stephen Graham who brought the idea to him. The direction is by former actor, Philip Barantini, who worked with Stephen Graham in the striking film, Boiling Point, as well as the television series based on the film.

A striking aspect of the series is that each of the episodes, four, was filmed in a single take. Which gives each episode in extraordinary sense of continuity.

The idea for the series came from actor Stephen Graham, concerned about crimes committed by the young, a serious attempt to probe families, children, school and pressures, situations that lead to anger and violent crime. Each chapter provides a different perspective.

The film opens with the police, strong performance from Ashley Walters as the investigator, the police arriving, bashing their way into a house, alarming the family, arresting a 13-year-old, Jamie Miller. There has been universal acclaim for the performance, first time on screen, by Owen Cooper (who then went on to be young Heathcliff in Emerald Fennell’s version of Wuthering Heights). There is general alarm, the boy protesting that he has done nothing wrong, the upset of the family, Stephen Graham is the father, tensions, Jamie being taken to the police station, the details of classifying him, the cell, the arrival of the sympathetic legal adviser, the decision that his father would be the responsible adult to be present in all interrogations and situations. There is the fingerprinting, the taking of blood, the offer of a meal. Then there is the interrogation by the two police officers, Jamie and some questions but, on the advice of the solicitor, offering “No Comment” about the episode. The hour-long narrative is filmed in real time, the gradual revelation of the case, the death of a fellow student by stabbing in a car park at night, the protest of Jamie, the support of his father, the audience ready to take a step further.

The second episode takes place three days later, the opportunity for the police to go to the school to question various students. There are various rumours at the school, students upset. In fact, the episode shows the difficulties in contemporary schools, some students wanting to learn, other students providing all kinds of upsets and answering back to the teachers, some of the teachers effective, others exasperated by their experiences in the classroom. And, in the middle of the interrogations, the fire alarm goes off, the scene of everybody going out to the open area, the murdered girl’s best friend having a tantrum and attacking one of Jamie’s friends, her having to be counselled by one of the teachers but her angry reaction. The police interrogate Ryan, one of Jamie’s friends, the boy was attacked by the girl in the yard. Later, when he is interrogated again, he makes for a run for it, the police pursuing him and catching him, and admitting that the knife in the killing was his. The officers son is also at the school, tension between them but his explaining to his father various aspects of  Instagram and online bullying, especially for teenagers and issues of celibacy, herself bullying Jamie. These discussions and the effect of photos and texting may be unfamiliar to many of the parent audiences watching the series.

The third episode takes place in real time, a psychologist coming for a second visit or talked with Jamie. It is seven months later. Erin Dougherty gives a very effective performance as the visiting psychologist and Owen Cooper shows even better his abilities as an actor, the verbal interaction between the two, the issues raised, especially about masculinity, sexuality, teenage understandings and lack of understanding, and an opportunity to see Jamie and an eruption of anger. This is a valuable hour in the understanding of a contemporary 13-year-old boy.

There is explicit reference to Andrew Tate and his large social media following, the “manosphere” and the implications of “toxic masculinity”, its being taken up by so many boys and young men, feeling oppressed, finding ways of asserting themselves, even brutally.

The last episode takes place 13 months after the crime. Surprisingly for the audience, the focus is once again on the Miller family whom the audience saw in the first episode. It is the father’s birthday, his wife preparing breakfast, the daughter alarming them with the news that the father’s van, he is a plumber, has been spray-painted with an insult. This changes the dynamic of the day which had meant to be happy, breakfast, going to the pictures, a Chinese meal. The point of this episode is to show the father’s anger, Jamie having mentioned to the counsellor an example of his father erupting. So much of the early part of the episode has the three in the van going to buy paint to respray over the insult, there is a huge revelation of the family dynamic. Some of those who work at the store recognise the father and gossip. He also sees the two young men who spray-painted and angrily attacks them, throwing paint over the side of his van, in a rage. On the return home, there is a wonderfully intimate scene between husband and wife, especially when Jamie rings and announces that he is changing his plea to guilty. Audiences will appreciate the father’s awareness of the cruelty of his own father towards him, his decision to be the opposite, but his own rage influencing his son who has put his father on a pedestal. The guilt of the father in trying to make his son into the stereotype, sports, tough, while his abilities were in art and drawing.

The series does not go back to the police or to the prison. It stays with the father and mother, acknowledging the past, having to live with it, and to build on it.

The crime might be one of an adolescent. But, the adolescent has grown up in a family.

SNOW WHITE

US, 2025, 109 minutes, Colour.

Rachel Ziegler, Gal Gadot, Andrew Burnham.

Directed by Marc Webb.

In 1937 and over the decades, Snow White and the Seven Dwarfs has been seen by millions of people, a part of cinema history, important for the heritage of Walt Disney and the Disney studios.

In recent times, Disney has been remaking its animated films as live-action, Aladdin, The Lion King, The Little Mermaid… And, now, Snow White.

Audiences have generally enjoyed the live-action remakes. Critics have not been so kind. Snow White has come with the burden of controversies, a Latina actress cast as Snow White, the reimagining of the Seven Dwarfs and disability without the word dwarf being mentioned. Criticisms of old ideas of the woman in peril rescued by the charming hero…

With all this pre-release burden, Snow White Was not successful at the box office on release. And, it became the victim of some vicious trolls, raising the question of why these trolls actually went to see the film, venting their spleen with sarcasms and blunt attacks.

Which is a prelude to saying that this reviewer actually enjoyed it! It certainly is colourful, reminding us of the original film and its derivation from the story by the Brothers Grimm, presented as a musical, quite a lot of catchy popular songs, and, happily, incorporating two of the most catchy classic songs from the original film, Hi-Ho, Hi-Ho, it’s off to work we go as well as Whistle While you Work. (With the storyline, the songs old and new, a great deal of vigorous  choreography and dancing, it would seem that the film is already ready to be transferred to theatre as a Broadway musical.)

Rachel Zegler (Maria in Spielberg West Side Story) has a strong singing voice, reminds us of the original Snow White, though sometimes a little more forceful. Gal Gadot, in quite a change from Wonder Woman, relishes her evil character, often narcissistically interrogating the mirror on the wall as to who is the fairest of them all.

Some complaints about the Seven Dwarfs, and not referring to them as dwarfs, and the realism question of their going off to work, whistling, in the mines – to what purpose? But, that seems ab unreasonable questioning of what it is a fairytale.

The CGI for the  seven, is quite effective, their faces resembling the actors who voice them, entertaining voices, Grizzly imposing himself all the time, And Doc with overtones of academia, and Dopey, Snow White teaching him to whistle, and his eventually speaking.

Andrew Burnham is Jonathan, the head of the rebels against the malevolent Queen, living in the forest like Robin Hood, wary in his initial encounter with Snow White, not recognising her as the Princess, but, becoming the romantic hero.

Yes, there are the controversies, the questioning of Disney’s live-action remakes – but, for those able to make a suspension of disbelief, an enjoyable entertainment.

1. The popularity of the original film, the Brothers Grimm fairytale, the elements of fairy tale, the equivalent Princess and Prince, the evil queen, the happy kingdom, the oppressed kingdom, the vanity of the Queen, rivalry, expelling Snow White, the poisoned apple and the disguise as the crone, the happy ending?
2. Disney live-action remakes, audience responses, critics’ responses? (And the controversies for this film about the casting of Rachel Zegler, the presentation of the Seven Dwarfs…?)
3. The remake of the original for the 21^st-century audience, places of women, men, relationships, romances and love stories?
4. The screenplay, songs and their places, the range of choreography, the dialogue, humour, potential tragedy, the defeat of the Queen? Already ready for transfer as a stage musical?
5. The opening, the King and the Queen, their daughter, the happiness in the kingdom, population, the songs and dances? The King, the death of his wife, the encounter with the beguiling woman, marrying her, her becoming Queen, his disappearance and death, Snow White and her working with domestic chores, the years passing, her forgetting her role as a Princess?
6. The Queen, her presence, black clothing, the mirror, the voice, her wanting the flattery? Her rule of the kingdom, oppression?
7. Jonathan, leading the rebels, the rowdy mixed-race group? His stealing the potatoes, caught by Snow White, his reactions, his being caught, in prison, Snow White’s visit, freeing him?
8. The guards, the leader of the guards, the revelation that they were farmers in the past, the final confrontation and mellowing, their wives and family happy? Including the leader of the guards?
9. The mirror, Snow White as fairest, the reaction of the Queen, getting the Huntsman, going out into the forest, his inability to kill Snow White, her escape?
10. In the forest, the arrival of the seven, audience memories of the Seven Dwarfs, their names, characteristics, the CGI, their faces, their voices, the interactions? Doc and his intellectual talk, the complaints from Grizzly, Happy being happy, Sleepy dozing, the encounter with Dopey, not talking, Snow White teaching him how to whistle? And the reprising of their popular songs?
11. The Queen, her vengeance, the apple, the poison, her transformation, going into the forest, the meeting with Snow White, her false story, friendship, persuading Snow White to eat the apple?
12. Jonathan, his band, the encounters with Snow White, the attraction, the happy sequences together? The dangers and adventures in the forest? The pursuit of the guards?
13. Snow White, collapse, seemingly dead, Jonathan escaping with the Huntsman, coming, the grief of the Seven, all thinking Snow White was dead, the Queen’s potion including a kiss from someone with true love, the kiss and Snow White’s revival?
14. Snow White, the solution, the return to the city, with the people, the confrontation with the Queen, the guards relenting, the confrontation with the Queen?
15. The finale of the Queen, the mirror, her being consumed by the Black, by the mirror?
16. Everything restored, the happy population, Snow White and Jonathan…

Congratulations, Graduation, Bachelor of Theology, YTU, Trieu Nguyen MSC, Hoa Tran MSC

Graduation at St Patrick’s Cathedral

Trieu

Hoa

Students

The Vietnamese group

MSC Community, Blackburn

THE RULE OF JENNY PEN

New Zealand, 2024, 104 minutes, Colour.

Geoffrey Rush, John Lithgow, George Henare.

Directed by James Ashcroft.

We might ask if Jenny Pen is a ruler and what is her kingdom. But we don’t find out until some way into this drama.

With Geoffrey Rush and John Lithgow as the stars, it is something of a surprise to find that this is a New Zealand film with a New Zealand supporting cast led by veteran George Henare. But, we soon realise that this is a story that could have been situated anywhere.

While most of the film actually takes place in an Aged Care Residence, it opens quite strikingly in a courtroom, Geoffrey Rush as the judge presiding, quite sharp tongued, severe towards the accused, upbraiding the mother of victims because of her carelessness, but showing uneasy signs and slips, his eventually collapsing with a stroke. Geoffrey Rush has not been on screen for some years and his performance, speaking style, body language and expression makes us regret this absence.

And, then we are in the Aged Care Residence, the judge rather sullen, complaining, wanting a single room, disdain of the former footballer sharing his room, reading his book in a superior fashion, giving the impression that he is above everyone else and all of this.

Enter a manic resident, Dave Crearly, played in unexpected fashion by John Lithgow. And, at the end of one of his arms, a puppet whom he calls Jenny Pen. He is dominant and the residents are wary. He is a paying guest, and seems to be able to get away with every whim, criticising people, shovelling away his food, an ability for mockery. And, all the time waving around Jenny Penn, and extolling her dominance.

There are number of popular songs in the background but one comes to the foreground with Creeley and Jenny Pen in the increasingly frantic version of Knees up, Mother Brown.

Then the film moves into something of horror mode, Crearly coming into the rooms and tormenting the residents, getting away with his malice, enticing a poor old woman who thinks her family is coming to visit her, out into the grounds where she dies. Physical torment. Verbal mockery. Presumption of his rule and of Jenny pen is.

To enjoy the horror aspects, the filmmakers make a huge demand on audience willing suspension of disbelief, especially for the absence of the nursing staff sometimes during the day but especially during the night when Crealey is on the rampage, and, indeed, the lack of security surveillance in corridors and rooms. Which allows him to get away with everything and always have the favour of the authorities.

Will there be a revolt against the rule of Jenny pen? Indeed, the judge and the former footballer, in collaboration, despite disabilities, resort to some violence and reprisals…

If one accepts the situation and appreciates the performances, Crealey and Jenny Pen have their intriguing moments. And Geoffrey Rush is always worth watching.

1. Title and expectations? Jenny Pen as a puppet? Memories of the sinister puppet films but (Dead of Night, Magic, Chucky…)?
2. The New Zealand setting, the aged care Residence, interiors, the surrounding countryside, fences, the creek? The musical score, the range of popular songs, Knees up, Mother Brown…?
3. Setting the tone, the judge in court, the accused, the severity of the judge’s opinion, his criticism of the mother and her negligence, indications of something wrong, the stroke and his collapse?
4. The judge, his personality, Geoffrey Rush and his performance, verbal, body language, facial expressions, communication of interior feelings? In care, the effect of the stroke, going to the residence? His personality, demanding, wanting the single room, the reaction of the director, her putting him off? His interactions with Tony Garfield, impatient, critical of his career, mocking him? His sense of superiority, reading, quoting poetry, correcting Garfield and his quotation? The initial encounters with Dave Crearly, with Jenny Penn?
5. The aged care home, the staff, presence and absence, treatment, doctors and interviews, the director, audience suspension of disbelief about the lack of security, staff absences?
6. The introduction to Dave Crearly, his mysterious background, presence, paying guest, the puppet on his hand, his manic appearance, behaviour, greedy eating, mocking people, singing and dancing, the threats to Tony Garfield and his reputation, the old lady thinking her family were coming to visit, his taking her out, her death (and the irony of his having the wrong card, his return)? The mockery of other characters?
7. His attack on the judge, verbal, the assaults in the room at the night, the judge’s complaints, their being disregarded, the judge and the reality of the attacks, and the nightmares? The cumulative effect, the judge and his collapse, Crearly taunting him, making him lick his arm? The humiliation also for Tony Garfield?
8. The judge, his collapse, in seclusion? The judge and his making peace with Tony Garfield?
9. Crearly, his taunting people, Garfield, the judge hitting him with his cane? His collapse? Later revival, targeting the judge, Garfield standing up to Crealy, luring him to the room, the judge present, the attack, Tony holding him down, the judge smothering him?
10. The film as a drama, aspects of horror? Vengeance? And the final of the burning of the doll? And the long take of the burning at the end of the credits?

BLACK BAG

US, 2025, 93 minutes, Colour.

Michael Fassbender, Cate Blanchett, Tom Burke, Marisa Abela, Rege-Jean Paege, Naomi Harris, Pierce Brosnan, Gustaf Skarsgaard.

Directed by Steven Soderberg.

Black Bag is a film from Steven Soderberg, now a veteran director, early on the scene at a young age, winning at Cannes, 1989, with Sex, Lies and Videotape. He won an Oscar for Best Director in 2004 Traffic. Now, 35 years later, that title does describe key elements in this 21^st-century story of bureaucratic spies, agents, secrets, lies, 21^st-century surveillance technology.

Soderberg is a very hands-on filmmaker and with most of his films, as here, he uses the pseudonym, Peter Andrews, for his role as cinematographer and Mary Ann Bernard (his mother’s actual name) for his role as editor.

The writer of this film is also a veteran, David Koepp, with a range of films from Jurassic Park to Spiderman and, for Soderberg in recent years, Kimi and the ghost story, Presence.

In many ways, this film could be described as intellectual. The setting is London, the key characters generally behind the scenes in their agency. The setting is London, the screenplay takes place over a week, each day indicated. There is very little on screen action (a drone exploding a car on a Polish road), with more talk, discussion, testing, polygraph sequences, cant-and-mouse games and an eruption of truth at the end.

At the centre is top intelligence agent, George, played precisely by Michael Fassbender, meticulous in manner and order (sometimes looking like OCD touches), informed that there is a traitor, the disappearance of information which could trigger explosive results, his quest to find the traitor. And, his link indicates that that could include his wife, Katherine a surface-assured agent, Cate Blanchett. He invites for over collaborators to a dinner, playing a game to try to determine who with a traitor could be. And the game is rather intelligence intriguing, each guest voicing a resolution for the future for the person sitting to their right. Of course, quite a number of secrets and lies, and a dramatic plunging of a knife into the hand of one of the guests.

As the week goes on, we are introduced to the top administrator, played by a silver haired Pierce Brosnan. We get to know the other dinner guests will, bread, a bluff agent played by Tom Burke (Cormorant Strike from the Robert K Galbraith stories and television series), Clarissa, his partner, by Marisa Abela (TVs industry in a striking performance as Amy Winehouse in Back to Black), Bridgeton’s Rege-Jean Page as James, a Colonel and Naomie Harris, veteran of many films from Moonlighting to being Miss Moneypenny and the Daniel Craig bond films) as Zoe, the in-house psychologist.

And so the week continues, Katherine going to Zürich for a contact, George using Clarissa for deep surveillance on her meeting. There are also counselling sessions with Zoe for Katherine and Steve, more secrets and lies.

Then George tests the dinner guests with the polygraph and then organises another dinner, more games and revelations, placing a gun on the table – and, with the pressures of the discussion, the decision that whoever lunges for the game is the traitor. Yes.

So, an espionage story but an exploration of motives and actions rather than non-stop activity – no, there is quite an unexpected shootout!

1. The world of security, agents, spies? The code of secrecy, lies, cover-ups, the symbol of the black bag?
2. A story of spies rather than a thriller? Secrets, plans, betrayals, testing, unmasking? Not an action spy thriller?
3. The London setting, interiors, the home and the dinner, the official officers, meeting rooms? Zürich, the airport, the square, the road through Poland, the fishing? The atmospheric score?
4. The work of Steven Soderberg, for 35 years, the title of sex, lies and video tapes, and the reprisal of equivalent themes in the 21^st-century? His photography, his editing?
5. The introduction to George, serious, meticulous, the camera following him in the street, the club, the contact, the issue of a traitor, his commission to find the truth? His relationship with Katherine, with her on the list? At home, no lying, each prepared to life of the other, kill for the other? His cooking, detailed, the stain on the shirt, changing his clothes, the touch of OCD?
6. The arrival of the guests, the spiking of the drinks, ready and Clarissa, the initial impressions, James and Sally, the relationship? Their meeting at the cafe, Freddie late, bringing the drinks, suspects? The conversation during the meal, George playing the game, each making the resolution for the other, truth and denials, Clarissa and her anger, Freddie and his affairs and denials, the knife in his hand, the relationship between Zoe and James? The end of the dinner?
7. The structure of the film, the indication of day by day?
8. The character of Freddy, passed over, the lies about his relationships, meetings with Zoe? Yet the relationship with Clarissa? Her background, family, their skills in espionage?
9. The character of James, the relationship with Zoe, her breaking it, his anger, Zoe and her psychology role, the meeting with Katherine, their exchanges, their attitudes towards each other?
10. George, going fishing, the meal? At home with Katherine, her going to Zürich? George and the office, Clarissa and the technology to home in on Katherine, her meeting, the issues, sales, the Russian? The supervisor glancing at the screen? Katherine and her return?
11. Suspicions of James, George taking him fishing, the gun, the conversation?
12. Stiglitz, in charge, the issue of Cerberus, disappearance, sale, money? The capabilities of each character? Suspicions on Stiglitz? His manner?
13. The lie detector, the questionnaire each of the suspects, truth and lies, covers?
14. Katherine, the connection with the CIA and information?
15. The murder of Philip Meacham, Georges contact, his death, suspicions?
16. The meeting for the final game, revelations, the gun on the table, the exposes, Clarissa not lying, James grabbing the gun, his being identified as the traitor, the story of the money, the deals, the CIA and the killing of the Russian and his contact? Katherine shooting him? The disposal of the body?
17. George and Catherine, working together, Katherine and her confrontation with Stiglitz and challenging him?
18. In espionage film of words rather than action?

SKINCARE

US, 2024, 96 minutes, Colour.

Elizabeth Banks, Lewis Pullman, Luis Gerardo Mendez, Michaela J (M.J.) Rodriguez, Nathan Fillion, Eric Palladino, John Billingsly.

Directed by Austin Peters.

The title is very straightforward and for audiences who follow the beauty industry, the developments for skincare, the range of products, the applications, endorsements by celebrities, there is much to enjoy. However, this is a tongue-in-cheek focus on an ambitious businesswoman, 20 years working, Hollywood and LA clientele, about to launch her own beauty line.

Non-skincare fans may well cross off this film for their viewing list. But, a hesitation. Some have called it a thriller. There is some violent action, a death, police investigation, twists and betrayals. But, it may be better to avoid the word thriller with its expectations these days of continued fast action, and see Skincare as something of a dark comedy with satiric touches.

The audience is certainly taking into the world of skincare, beauty centres, rivalries, marketing, finance and difficulties, promos on popular television shows. And, at the centre, making up her face in the mirror in close-up during the opening credits, is Elizabeth Banks as Hope Goodman. All seems to be going well (except for her landlord demanding the rent which she doesn’t quite have), anticipating the launch, and having her moments being interviewed on a television chat show.

In fact, for most of the running time, the plan goes to pieces. First of all, Latino charmer, Angel, with slick expertise sets up Shimmer Beauty only 20 paces away from Hope Goodman’s Salon. And she loses a lot of her clientele because of his publicity. As expected. And he gets the television slot instead of her.

Then things go quite skewiff. Enter a young man, (Lewis Pullman) martial arts training, setting himself up as a life counsellor, charming Hope, ready to intervene. Especially as a horrifying online campaign against her spreads like social media wildfire, false texting, manufactured photos, and even the advertising of sex programs at the salon. She needs Jordan’s help. And after her tires slashed, she needs the help of her friend, Amin, where her new stock is stored.

Most of us in the audience will pick up what is happening before Hope does. Which is a pity, because she tangles issues, her calls for help, attacks on Angel, some disillusionment for her – and the police arriving.

If this sounds interesting and/or entertaining, that is certainly what we are offered. And, her TV interview finally being played but with excerpts edited in a twist against her. Entertaining if not memorable.

1. Based on a true story, Hollywood, the beauty industry, rivalries, tactics, violence, consequences?
2. The title, the opening and Hopes face, the range of cosmetics, preparing herself, the arrival of the police? The action going back two weeks?
3. The Los Angeles setting, Hollywood atmosphere, affluence, business, the beauty industry, realistic aspects, satirical aspects? Implied criticisms?
4. Elizabeth Banks as Hope Goodman, her age, career, devoting herself to beauty, her clients, facials and massages, her own line, made in Italy, the preparation for the launch? Marina working with her, loyal assistant? At the television station, the popular compere is, the filming, her confident talking (and this later being used against her)?
5. Hope and her relationship with our clients, the list, the visits? The business opposite her, her going over, the encounter with Angel, Shimmer as his title, beauty, his premises, his clients?
6. Hope and her reaction, going to the landlord, business is business, the threats about the rent, her plea? Lyons visit and her bringing Jordan, young, his age, the discussions, her attraction?
7. Jordan, initial information, in jail, photographer, his photographing Hope and his charm, flattery? His being a life counsellor? Hope and the conversations about Angel, the various clients and meeting with Hope, that changing and going to Angel, her challenging them?
8. Use of the Internet, messages in texting, for some messages, photos, sex programs listed? The effect on Hope, with Marina, desperate, tires slashed going to her friend, Men, and his holding the boxes of her cosmetics before the launch? The effect on Hope her becoming more and more desperate? The slashing of her tires? The big men approaching her, violent, sex, Jordan arriving and fighting them?
9. Hope, the police and complaints, listening and not listening?
10. Television, Angel and his appearance and talk, the host, Hope contacting Brett, his sexual proposal, her reaction, recording him? His desperation, her saying she deleted the recording? Holding it over him, the phone calls, putting her segment to air? The mysterious man watching her in the diner, following her in the street – and the final revelation that he was hired by Brett and said that the tape was deleted?
11. Hope, following Angel, at home, his karaoke singing?
12. Hope, the phone calls, demanding on Jordan, his coming, waiting, and the audience knowing who really was, the men in his martial arts and life course, hiring them for a further attack on Hope? His becoming more and more desperate, phoning the police anonymously about Hope?
13. Hope, finding the truth about Jordan, his slashing the tires? Her wanting to set him up?
14. Yet her continued animosity towards Angel, going to Amin, his going to the house, assaulting Angel, his own wound, driving, his crash?
15. Marina, a relationship with Jordan, giving up hope the address, her going to confront him, the baseball bat?
16. The police, the assault on Angel, suspicions?
17. Angel in his recovery, the effect on Hope, the suspicions because of the men and Jordan, the police coming to get her, her moment in the limelight, photographed?
18. Brett and the host, playing the interview with Hope, her own words implying that she had gone into action against her arrival?

M*A*S*H: THE COMEDY THAT CHANGED TELEVISION

US, 2024, 89 minutes, Colour.

Alan Alda, Mike Farrell, Wayne Rogers, William Christopher, Gary Burghoff, Loretta Swit, Jamie Farr, Harry Morgan, Maclean Stevenson, David Ogden Stiers, Burt Metcalfe, Larry Gelbart, Gene Reynolds.

Directed by John Scheinfeld.

In 1970, the satiric film about medics during the Korean War, M*A*S*H, was a box office success as well as an awakening of conscience and consciousness about war, and released during America’s involvement in the Vietnam war.

This documentary opens with the film, the idea of making a television series based on the film and its tone. Celebrated writer, Larry Gelbart, was commissioned to write a pilot. He was supported by director, Gene Reynolds, and producer Burt Metcalfe. While it had a quiet first year, especially due to its timeslot, it won awards and the studio decided to give it a better slot. The series was to be on American television screens, seen worldwide, for 11 years. This is a record for a television show and the feature film length finale they broke all records for American television audiences and numbers.

This documentary is an opportunity to appreciate the series, learn about television watching during the 1970s and early 1980s, explore the development of the series in its satiric and comic style, experimentation with styles for episodes, blend the comic with the serious. And, the great advantage is the wide range of clips to remind audiences of how the series made an impact or to open up the series to younger audiences.

The further advantage is the inclusion of the talking heads. At the compilation of this film in 2024, many of the participants had died but there was sufficient material to include substantial sections of interviews with so many of them. But, Alan Alda was the star of the film for the 11 years and features substantially commenting during this documentary. Other actors who contributed to this film included Jamie Farr, Loretta Swit, Gary Burghoff.

For those many who have seen the series or episodes, this is an interesting, entertaining and arresting memoir. Those who have not will be taken back into television in America in the 1970s.

UNSUNG HERO

US, 2024, 113 minutes, Colour.

Daisy Betts, Joel David Smallbone, Jonathan Jackson, Lucas Black, Candace Cameron Bure, Terry O'Quinn.

Directed by Joel David Smallbone.

This film, about a family from Sydney who moved to the United States in the 1990s, would be a surprise to Australian audiences. But, not to American audiences who follow Christian music. They will be aware of the duo, Joel and Luke Smallbone, For KING & Caps country and the singer, Rebecca St James.

The film opens with David Smallbone an agent, singers like Amy Grant, working in Australia but falling foul of the recession of 1991, Moody, disappointed, deciding to try out possibilities in the United States, bringing his wife and large family with him. While there are some connections, they don’t eventuate and David Smallbone and his family find that they have to take on menial jobs to make ends meet.

With this aspect, the film is about interactions in family, the moods and hopes of the father, the particular talents and behaviour of the children, but the very strong anchor in the family, the mother, played with some charm and conviction by Daisy Betts.

There are suspicions of the Australians, but there is a gradually settling and staying in the United States. In fact, two of the boys are successful with King and Country and there is drama about auditions for Rebecca, her talents, her not being the right voice at times, but her ultimate success. She and the group have won Grammys.

A number of the family have participated in the making of this film, particularly Joel David Smallbone, singer, co-director, and particularly striking in playing his father on screen.

1. Based on a true story, actual characters? The writer-director writing about his family, especially his parents, and his portraying his father? Family, the religious background, in Australia, in the US, struggles, success, agency, singers? Careers?
2. The target audience, a faith audience, the story told in a style for this audience, its expectations? The religious dimensions, religion and its role in the family and its life? Backer and her singing, for Joel and Luke and For King and Country and their career?
3. The Australian background, life in Australia, the 1990s, talk of the recession, the Torah Amy Grant, the collapse of the tour, financial difficulties? The effect on David small and, his career, collapse, relationship with his family, moods? Relationship with his father and mother, the encouragement of his father?
4. Prospects in the United States, the decision to go, for six months, the imposition on his wife, but her courage, determination, the young children, the older children, support? David and his fragility at this time? The arrival of the United States, visas, suspicions of the authorities, the blessing that the mother had written that the state would be six months? Their being allowed in?
5. Setting up, the local church, the Albright’s and their help? Kindness? The effect on the family, the house, no furniture, meals, difficulties with money, the shopping, no car…? The managing, faith and cheerfulness?
6. The strength of Helen, her personality, the support of her husband, mothering the children, strong determination, making good of every situation? Her feelings of exasperation, difficulties with David and his moods? His decisions?
7. The business prospects in the United States, hope for signing the artist, signing with another company? The cleaning of the house of Eddy, his tour Australia, his awareness of David?
8. The various jobs, hardships, the church, making do, special events, the gift of the car, the building up confidence, school, settling into the US? But the pressure of her mother urging Helen to come home? David in contact with his father, his father’s continued encouragement? The news of his father’s death, the grief by being in America?
9. Rebecca, her ability and singing, her father encouraging her, but critical, thinking it too early? Her taking a stand, planning, writing, singing, the audition, not accepted?
10. David, some moodiness, despair, turning against the Albright and not wanting charity? However support, his coming through this?
11. Rebecca, her success, Eddy supporting, the style of music and singing, her career?
12. The younger children, their support, the bonds within the family, the characters of the younger children, love and friendship? Joel and Luke, music – in view of their later successful careers?
13. Final success, achievement? And the role of faith and commitment?

LET GO/ Släpp taget

Sweden, 2024, 110 minutes, Colour

Josephine Bornebusch, Pal Sverre Hagan, Sigrid Johnson, Ollie Tikakoski, Leon Mentori, Tone Danielson.

Directed by Josephine Bornebusch.

An unexpectedly involving and moving family drama, the story from Sweden but with universal overtones.

Credit must be given to Josephine Bournebusch, veteran actress, but writer of the screenplay here taking the leading role of the mother, and directing the film as well. She achieves each task so very well. Her presence is complemented by Pal Sverre Hagan as her husband, initially alienating the audience but going through quite a dramatic arc in the development of his character.

In fact, the husband is seen as a family counsellor at the opening of the film, listening and gently advising, and then returning home to chaos in the house, his exasperated wife, the teenage daughter having tantrums and intending to compete in a pole dancing competition, the young son with various food allergies and consequent irritated and irritating behaviour. He is in a relationship and announces that he wants a divorce.

His wife refuses to discuss this until a lot of the family matters are settled, their all going to the competition, the sympathetic help of the husband’s mother, the daughter being held by the son of the organiser of the pageant, the tensions in the travel, the father losing his daughter’s costume during travels and trying to compensate, her perpetual angers, and continued troubles for the son. And the background of the woman with whom the husband’s relationship, her feelings and angers.

We, the audience, are very much involved, sympathy for the over harassed mother, no sympathy for the husband, exasperation with the behaviour of the children.

After the competition, a certain amount of reconciliation, and then a plot development which was also unexpected and makes demands on everyone, a catalyst for some kind of healing.

1. A film of family life? Realistic? Swedish? Universal?
2. The Swedish setting, the home, schools, therapy office, the Swedish countryside, the club, the competition? The musical score? The songs and lyrics throughout the film?
3. The opening, the focus on Stella, her age, with her two children, the absent husband, her anxieties, angers, controlling, the relationship with her son, five years old, the contrast with her relationship with Anna, teenager? The film illustrating the tensions with the extended scenes, Anna and her assertions, anger, her mother dominating, wanting her own life…? The boy, playful, determined, demanding, his coeliac condition?
4. The credits and Gustav, close-ups, his speech, his therapeutic advice? To the couple? Emphasising the irony of his inability to listen and give advice, failing in his own home? The revelation of his affair with his partner, talking with her, her commonsense at his family, her therapy listening?
5. Anna, the situation, the pole dancing, her parents’ reaction? Wanting to go to the competition? Her appearance, blue hair, teenage, rebellious?
6. Stella and the confrontation with Gustav, her intense talking, his listening, but inability to listen properly, his own personal anxieties? Wanting the divorce? Stella, her reaction, in the bathroom, breaking down, but her strong face to the world? Her determination that they all go to the competition? The demands?
7. The travelling, the suitcases, her doing everything, Gustav standing by, phoning his lover, and his eventually forgetting Anna’s case? The arrival, his mother, his attitude towards his mother, her attitude towards him, his mother’s love for the rest of the family, this staying the night, Gustav to light the fire, his failure, the cold night, moving to the hotel, at the service station, the little boy playing up, wandering away, Anna and the magazines, to the hotel, settling in?
8. The long sequence of the confrontation between Stella and Gustav at the service station, the issues, articulated by Stella, Gustav and his reaction, how much truth on the part of each? How much failure on the part of each? The children observing?
9. The competition, the host and her exuberance, Gabriel and his work? The rehearsals? Anna and her desperation and anger, her father forgetting the case with address, the poll? His taking her to the shop, the angry interactions? His promises? The new dress, the gold spray paint?

• Anna and her talking with Gabriel, mocking his mother, not realising, apology? The bonding, discussions? His work in getting the beer? But his also competing? Her performance, inviting him on stage, the dance, the response? But not winning?
• The grandmother coming, shouting, the placard, confronting her son?
• Stella and Gustav, sitting together, the applause? The effect of their talking, each giving way? Stella and her dancing by herself and the aftermath? The son, eating the pizza, the reaction, hospital, his father tending to him? Gustav and discovering what it was like to be with his children?
• The reconciliation, tentative, each missing the other, admitting the truth? Gustav prepared to take responsibility?
• The revelation of Stella’s cancer, its affecting the way she lived, treated the children, wanting security for them when she died?
• The therapy session, Stella bald, the talk, Gustav with her, the other couples at the session? A resolution to the film and themes? The farewell to her children? And the aftermath for them, life without her, Gustav and his break with his lover, finding fulfilment in his family?

MSC Melbourne Gathering

We don’t often have a confrere’s 89^th birthday cake and candles – Michael Sims.

14^th March saw our first community gathering at Cuskelly House, Blackburn.

If you look closely you can pick us out – Community Leader, Dominic Gleeson, and with his pre-novitiate student, Samuel Joshua; Khoi and his novice, Long; at Cuskelly House, Trieu and Hoa and Mark Hanns; Brian Gallagher, Michael Sims, Peter Hendriks, and from Kew, Paul Castley, Philip Malone, Peter Malone. But we welcomed from Kensington Malcolm Fyfe who is there in the photos. Absent this time, Frank Andersen, Daniel Magadia, Alo Lamere, Chris McPhee. Ted McCormack at Monivae and Bartha (who visited during the week) at Moonah.

Officially announced, dates for Long’s first vows, May 30^th, Hoa’s final vows, May 31^st. And moving to Kensington, Philip Malone and Paul Castley. When renovations are completed on the Blackburn presbytery, Alo and Christ will move back there from Cuskelly House.

Photos: thanks to Trieu and Hoa, and Peter Hendriks for Michael and the cake.