WYATT EARP


US, 1994, 191 minutes, Colour.
Kevin Costner, Dennis Quaid, Gene Hackman, David Andrews, Linden Ashby, Jeff Fahey, Joanna Going, Mark Harmon, Michael Madsen, Catherine O 'Hara, Bill Pullman, Isabella Rossellini, Tom Sizemore, Jo Beth Williams, Mare Winningham, Adam Baldwin, Annabeth Gish, Lewis Smith, Betty Buckley, Alison Elliott, Mackenzie Astin, Jim Caviezel, Tea Leoni, Martin Kove.
Directed by Lawrence Kasdan.


When it was first released in 1994, this rather epic telling of the story of Wyatt Earp was not popular nor reviewed favourably. It was compared, to its disadvantage with the release of Tombstone with Kurt Russell and Val Kilmer.

Wyatt Earp died in 1929 and was an advisor to the silent movie makers (perhaps contributing to his own legend and that of the OK Corral). He has certainly made many appearances on screen in the form of Henry Fonda, Burt Lancaster, James Garner, Hugh O’ Brien on television. Now Kevin Costner makes him seem – well, Kevin Costner.

This is a three-hour version, trying to detail his life and career (including his tragic marriage and hardening into a lawman). There is action, including the gunfight. However, the film has the tone of the romance, of an elegy – which makes it seem very ponderous at times, with Costner often stolid.

There is much to interest, a very fine cast, and much to enjoy, always the question of law and order, of the gun and of violence. An interpretation of an icon of American history and legend.


1. The film as a classic telling of Wyatt Earp’s story? Not so well received in its day? Comparisons with Tombstone at the same time?

2. The strong credits, the director, the extensive cast?

3. The locations, for Wyatt’s early life, the West, Arkansas, Kansas, Arizona? The railways? The open plains of the buffalo? The towns, life in the towns, the saloons? Law and Order? Alaska? The musical score?

4. The early life, home, Wyatt as a teenager, the Civil War and his brothers going, returning? His father’s strong presence? His wanting to enlist, his father bringing him home? The end of the war, the brothers, the family moving to California, Wyatt and his reaction, the violence, being sick?

5. The West, the wagons, the fights, the bullies, trophies?

6. Wyatt and Urilla, courting her, the memories of the past, the romantic atmosphere? The families, the wedding, the house? Wyatt and his studies? Joining the police, upholding the law? Urilla, pregnant, her illness, the death? Wyatt and his depression, burning down the house, indulging in self-pity, drinking, drifting, the scene of his begging, stealing the horse, in prison, his father coming to get him, bailing him out, having to leave Arkansas?

7. Working with the buffalo, the skins, on the open plains, Bat and Ed Masterson, meeting them, the discussions, the comment on names, the going to work with him, the passing of time, the hides, bringing them to town?

8. Wyatt, becoming deputy in Wichita, his work, upholding the law? Life in the town? The move to Dodge City, salary, the cash from bounties? His strong reputation, his getting tougher? The shootouts, Josie witnessing this? His encounter with Maddie, her work in the town, the saloon? Her attachment to Wyatt? His not committing himself to her? The town, unrest, the Mastersons as deputies? Wyatt considering Ed too affable, Ed and his work, confrontation, his death? Wyatt going to the railway companies, searching outlaws?

9. His meeting Doc Holiday? The report? Doc Holiday coming to Dodge city, settling? Big-nose Kate, love and antagonism? The brothers and their views?

10. The argument with the wives about going to Tombstone, the mining? The Cowboy gang? Josie and her relationship to the sheriff? Her being drawn to Wyatt, Maddie, her being upset, tantrums? The portrait of the brothers, the bonding between the more, their wives? The criticism about moving?

11. John Beehan, as sheriff, contact with the Cowboys? Josie with him, her moving to Wyatt, the consequences?

12. The Cowboys, killing the Marshall, virtual and his stands, characters? Clanton and his leadership? Trouble in the town, the buildup to the OK Corral, the drama of the confrontation, the details of the shootout, the consequences? Beehan and his arrests?

13. The vendetta, Virgil injured, Morgan’s death, the response of the wives? The Earps and vengeance with enemies’ deaths over the years.

14. Doc Holiday, dentist, drinking, support of Wyatt, at the OK Corral? Subsequently? His wanting to go to the sanatorium, Wyatt taking him?

15. Alaska, the boat, the boy in admiration of Wyatt, asking him questions, the Legends?

16. The final information, Wyatt and Josie, settling in Los Angeles, Hollywood? Wyatt’s death in 1929, his life spanning the decades in the late 19th century and the early decades of the 20th?

BELOW THE DEADLINE

US, 1936, 64 minutes, Black and white.
Cecilia Parker, Russell Hopton, Theodore von Eltz, Thomas E. Jackson.
Directed by Charles Lamont.

The deadline of the title is the area below Wall Street in New York City, a diamond area.

This is quite an interesting film, with a great deal of material in its brief running time. The focus is on a young woman who is an assistant in a diamond company and the Irish- American policeman who is courting her.

There is a diamond robbery, the perpetrator insinuating himself into the company, getting the signature of the young woman for future forgeries, rather attracted to the young woman, deciding to set up the policeman as the patsy – sending a note, getting a henchmen to abduct the policeman, let slip his name so that the victims are able to tell that to the police. And the policeman is arrested, escapes, is involved in a train crash, takes the identity of one of the dead passengers, has surgery on his nose – and decides to return to clear his name. He pretends to be his twin brother but the young woman sees through him and they used by the insurance inspector to try to trap the criminal.

All of which happens, quite interestingly and entertainingly.

Director Charles Lamont was to go on to direct a lot of comedies at Universal Studios in the 1940s and 50s, including films with Abbot and Costello.

1. The title, the visuals of New York City, the area below Wall Street, Diamond district?

2. Brief thriller of the 1930s, the complexity of the plot, the characters, action within a short time?

3. The city, the officers, the clubs, the streets? The police? The train, the crash? Hospitals? The boxing gym? Authentic feel?

4. The complexity the plot, pace and editing, omission of details – and the credibility tested because of the speed of action?

5. The focus on Molly, her work with Abrams, her reliability, working back? Diamonds? Her relationship with Terry Mulvaney? Going out with him? The visit of Ackroyd? Information about the office, seeing Molly, attracted, getting the receipt from her, her signature and using it for the forgery, meeting Terry, using him as a target?

6. Molly, personally, her work, living with her aunt, Terry’s visits and her aunt’s criticisms?

7. The special delivery, the information, Ackroyd and his sending the note in Terry’s name, arriving at the office, masked, Ackroyd disguised himself as Terry, the red hair and the accent? The success of the robbery? The driver and his hitting Terry, finding him, then letting him go, his whistling and the later revelation about him?

8. The use of Terry during the robbery, the police apprehending Terry, his denials, their not believing him, his escape in the car, driving, the garage and getting the handcuffs off, getting on the train, the guards identifying him, the crash, his escape, the dead man and his identity? In hospital, the surgeon and reconstructing the nose? Leaving, going back to the city, to clear his name, pretending to be his brother, the encounters with Molly and her recognising him? The insurance investigator, collaborating with Terry, concealing his identity?

9. Molly, supported by her aunt, no jobs, leaving town, Ackroyd and his approach, offering her the job at the club?

10. Ackroyd, the members of the gang, his shrewdness in waiting, the case blowing over, the plan to release the diamonds gradually? And to make a play for Molly?

11. Terry coming to the club, the discussions with Molly, Ackroyd seeing him? His boxing identity and his boxing training, the encounter with Ackroyd’s thugs?

12. Molly and the insurance investigator, knowing the truth? Revealing it to Terry, in the taxi, the driver giving the information to Ackroyd? Terry and the taxi driver and his whistling?

13. The insurance investigator, contacts, the police, the capture of the gang?

PAROLE INC

US, 1948, 71 minutes, Black and white.
Michael O' Shea, Turhan Bey, Evelyn Ankers, Virginia Lee.
Directed by Alfred Zeizler.

Parole Inc is an interesting variation on a thriller. Michael O’ Shea portrays a government agent who agrees to go undercover to expose those involved in the prison and parole racket, bribing members of the parole board to free criminals.

The film opens with him in hospital, injured in bed, dictating his report, so that the audience knows that he has been injured but that he survives. The rest of the story is told in flashbacks – his going undercover, creating a character, with prison connections and robberies, finding villains in the club run by Evelyn Ankers, and backed up by her lawyer boyfriend, Turhan Bey. When one of the prisoners is released, the undercover agent strikes up a friendship with him as well is his girlfriend, a sympathetic Virginia Lee. The former prisoner decides to go it alone, is unmasked by the bosses and killed.

In connection with the governor and the head of police, another prisoner is paroled at the behest of the group but there is a complication and he is not arrested as had been expected as he leaves the prison. Which leaves the agent rather stranded, but he covers himself with a series of phone calls to unmask the corrupt members of the parole board, and everybody converging on a farm where he is bashed but, ultimately freed and the group arrested.

1. Interesting crime drama from the late 1940s, the United States and the attack on crime, undercover agents, the work of officials?

2. American cities, government, police agencies? Clubs? Prisons and parole boards? Crime syndicates? The outdoor spaces and farm? The musical score?

3. The structure of the film, Richard Hendricks and his injuries, dictating the story, the audience knowing that he survived but with injuries? His dictating his story? The pacing, the language he used?

4. His work as an agent, his being recruited from Washington, the governor and the police Commissioner? The exploitation of parole boards? His decision to go undercover, his identity, the setup? His going to the city, visiting the bar, the conversation with Glenda, Newton and the other men in the bar, playing cards, winning? Ingratiating himself? Most believing him, the suspicions?

5. Seeing the parole board in action, the president, Mr Jones, the society lady and her wanting to give people a chance, the official and his hostility, condemning the exploitation? The Reverend and his justice? The hearings, the decisions, the casting vote of the president?

6. Palmer, his presentation to the board, his being released, his relationship with Glenda and her devotion to him, working in the club? His being well-received? His role as a collector? Jo Jo and her payment for him, collaboration with Rodescu?

7. Hendricks, his false identity, the men going through his room, finding the evidence that he was a robber? His being accepted, his plans for a further robbery, their joining in? His discussions with Palmer, offering him the money, information about the parole board? Going to the building, the fifth floor, with Jo Jo, getting the name Barney?

8. Jo Jo, her personality, running the club, her connections, Barney Rodesscu as the suave lawyer, ruthless? Her occupying Hendricks while his apartment was being searched?

9. The plan for the release of Cooper, the payments, the connections? His being released, the plan for him to be arrested, the papers coming through too late? The criminals picking him up?

10. Hendricks, going to the farm, meeting the former owner, the welcome? Jo Jo and Barney and their arrival? Hendricks and the phone call, getting Glenda to send out the telegrams to the board, in Barney’s secretary’s name? The two arriving, suspicions? Hendricks following? Putting the tape recorder in the room? Going in, identifying them for the tape? Cooper’s arrival, denouncing Hendricks? The attack?

11. The police, the discussion, going to see Glenda, rescuing her from Newton and his violent attack? Phoning the police, the going to the farm? Finding the hidden room, the group bashing Hendricks? The final arrests? Mission accomplished?

TOMMY’S HONOUR

UK, 2016, 112 minutes, Colour.
Peter Mullan, Jack Lowdon, Ophelia Lovibond, Sam Neill, Peter Fernando.
Directed by Jason Connery.

And who is Tommy? Actually, there are two Tom Morrises in this film, the old and the junior. And anyone who knows the history of golf will be able to identify them immediately.

This is very much a golfing film, a film for enthusiasts for the sport and with a knowledge of its history. Non--golf-fans may well feel on the outer as they watch the film, allowing for the fact that there will be details of tournaments, strokes and difficulties, achievements. But they will acknowledge that this film offers significant golf history.

The setting is 19th century Scotland and information is given at the end about the careers of the Morrises as well as a number of photos of the actual characters, a reminder that Tommy Morris Jr is considered the greatest golfer of the 19th century. And his father who lived to the age of 85, was the designer of over 70 golf courses.

So, who were the Morrises and where did they live? Actually at St Andrews – so not far to go for play. The film opens in the 1860s and moves into the 1870s with Tommy Morris national champion at the age of 17 and winning four successive championships before he was 21.

The important theme for the film is that of class in British society in the 19th century. The Morris family were servant class. Old Tom Morris was seen as a servant, working as groundskeeper and caddy for the Lord of the manor. And this was the world into which his children were born. And it is very clear that they were to keep their place, that they were often told that they were not gentlemen, that they could never become members of the golf club at St Andrews, that they were paid to play by the aristocracy who bet on their success.

Tommy Morris Jr was something of a rebel, sometimes defying his father, who was always very proud of him and his achievement, challenging the local aristocrat, demanding more professional payment, but always treated humiliatingly as a person.

There is a Scots humane story underlying Tommy’s Honour, the dour Scots family life with its churchgoing and Bible reading, a very stern mother, young Tommy attracted by a local servant girl, six years his senior, defending her reputation, marrying her, her pregnancy.

Veteran Scots actor, Peter Mullan, is the older Thomas. Jack Lowdon, young and brash, brings Tommy Morris Jr to vivid life. Ophelia Lovibond is Meg, his wife, also humiliated as a servant but also powerfully defying Tommy’s rather puritanical mother. Sam Neill is the local aristocrat.

It is a film for sports lovers and golfers will personally be interested in the history, in the influence of the Morrises and the development of the contemporary sport. For others, watching the film might be a bit like being a member of the crowds who tag along, moving from hole to hole.

(A bit of Scots history. The film was directed by Jason Connery, actor and director with an Australian mother, Diane Cilento, and a Scots father, Sean Connery.)

1. A golf film? Scots film? The history of golf? Golf in the 19th century? The development of the current game?

2. The re-creation of the period? Costumes and decor? Locations, the towns, the mansions of the gentry, the districts of the poor, the golf courses? Scotland in that period? The musical score?

3. St Andrews, its history, the course, the caddies, the players, the gentleman in control of the clubs? Berwick and other courses?

4. Tommy Morris, young, his culture, his family, class issues, relationship with his father, his father’s influence on his game, the response of the public, his performance, contests and patronage?

5. Old Tom and his story, his age, experience, the family, greenkeeper, designer of courses, as a professional caddy? Relationship with his wife and children? With Young Tom, his games?

6. The Morris family, the role of the Father, his patriarchal presence, the strength of Nancy, her strict background, church, Bible reading? The children? Jackie and his disability, Tommy carrying him? The scenes at home?

7. Tom, Katie, greenkeeper, his skills, making the clubs, the golf balls, teaching his son, watching his son, making decisions? Working with Alexander Boothby? Considered a servant?

8. The younger Tommy, teenager, exuberant, his talent, his place in the family, relationship to his siblings, especially Jackie? Parents, churchgoing, Bible reading? His skill at the games? Boothby and the bets, the gentleman of the club, his being the champion for four years, under 21? His opponents, the details of the games?

9. Meg, Tommy seen her, meeting, talking, courting, buying the cake, buying the expensive dress? Travelling together? Her jobs, as a servant, being slapped for a ribbon in her hair? The proposal? The ceremony, the commitment, Tom’s mother absent, Meg confronting her, the mother coming to the dinner? Meg and her pregnancy, the difficulty of the birth, Nancy helping her, the message to Tommy? The death of the death of the baby?

10. Tommy, partnership with David, the games, the other golfers, rivalries, the crowds following?

11. Tommy and is challenged to Boothby, about money, payments, standing his ground, membership of the clubs, Boothby and the snobbery of the gentleman, condemning the Morris family always to the status of servants?

12. Tommy, the important game, his father not giving him the telegram, completing the game, the boat ride, his arriving late, Meg of the baby dead, his broken heart?

13. The further challenge, thinking of Meg, his decision to play, in the snow? His collapse, sitting at home, his father, his death at such a young age?

14. The final information, his still being considered the greatest of 19th-century players?

THE STRANGE CASE OF DR MANNING

UK, 1957, 78 minutes, Black and white.
Greta Gynt, Ron Randall, Garard Green, Bruce Seton, Virginia Keily.
Directed by Arthur Crabtree.

This is a brief British supporting feature of the 1950s. It is more of an investigation case rather than a murder mystery. The doctor receives a phone call in the middle of the night to go out on a case – and then he disappears, later found murdered. His wife (Greta Gynt) gets the help of her lawyer who ask an American investigator (Ron Randall) to help with the investigation.

The film shows the work of the police, assembling clues, following them. It also shows the role of the media and the pressures. It also indicates, rather vividly, some of the cranks who respond, especially a vicious woman deserted by her husband, as well is a prostitute who claims she can identify the killer in order to get headlines and a photo in the paper.

The solution is somewhat downbeat, a revenge killing because the doctor had been involved in a death in a car accident some years earlier.

The film was directed by cinematographer Arthur Crabtree who moved into.

1. A kidnapping story? Police investigation? Direction in the 1940s and 50s

2. The 1950s, London, streets, parks, authentic city atmosphere? Musical score?

3. The introduction to the story, the doctor at home, the phone call, his wife, going on the call, not turning up at the hospital, his wife’s concern, the lawyer?

4. Contacting the American investigator, at the airport, his return? Collaborating with the police?

5. The notes, the delivery? The role of the media? The range of crank calls, the religious man visiting, the deserted wife and her vicious phone call? Vera, wanting some publicity? The effect on Anette?

6. The police, the strategies? Looking for clues? Information on various leads?

7. Anette, the effect, her contact with the kidnapper, not seeing him? The money, the delivery? The list of notes and their identification? Anette, wanting to go it alone, the support of her lawyer, the American?

8. Sightings, the man at the shop, receiving the letter, reading it to everyone? The kidnapper returning and the proprietor letting the police know? The kidnapper using the little boy against the police?

9. The fishermen, finding the dead body?

10. Tracking down the kidnapper, the clues with his job, his apartment, the money hidden, going to the site, his fleeing, the pursuit, his fall to his death?

11. The discovery of the motivation, the doctor and his involvement in the accident, the kidnapper getting revenge for the death of his sister?

12. An interesting case study, the motivation being more ordinary rather than sensational, the effect on the family, the role of the police investigation?

THE GLASS CASTLE

US, 2017, 127 minutes, Colour.
Woody Harrelson, Brie Larson, Naomi Watts, Ella Anderson, Chandler Head, Max Greenfield, Josh Caras, Iain Armitage, Sarah Snook, Brigette Lundy- Paine, Robin Bartlett.
Directed by Destin Daniel Cretton.

Once again the story of a dysfunctional family. But this family did not live in a big American city, pressures of urban life, personality clashes and abuse. Rather, this is the story of a family with a West Virginia, hillbilly background, moving from place to place, a great deal of love in the family but the parents having dreams rather than being anchored in reality - and the consequences for their children.

It is based on a true story, the 2005 memoir of writer, Jeannette Walls. After the harrowing experience of watching her story, her childhood and that of her sisters and brother, and of her adult experiences, there are photos of the actual characters before the final credits as well as some video excerpts of the parents in 1989.

If you want to see admirable performances, then The Glass Castle should be high on your list. The film is not exactly an entertainment. But it is a challenging look at its characters, their behaviours, their mindsets, and the effect that each has on the other.

Rex Walls comes from tough family living in the hills. Several times he takes his wife and children to visit his family, especially his dominatingly stern mother (with the touch of the sinister which gradually emerges). Rex is played by Woody Harrelson, one of his best performances, award-worthy, and building on several decades of his quality acting. Rex is a dreamer, knowledgeable, former air force. Strong skills in engineering, imagining building a house, and always drawing plans, which is environmentally friendly, made of glass. But, the fact is, he is a dreamer rather than an achiever.

While he has four children, the most significant in his life is Jeanette. The film introduces us to her as an adult, remarkably poised, well-dressed, going to an important business dinner with her fiance, the audience learning that she is a columnist, has written stories and gossip columns.

The structure of the film means that the adult Jeanette and her story is the framework for the narrative but the most dramatic part of the action is in the flashbacks. The audience knows some of this and the results of the childhood experiences. Interest is not where it is going but rather how it is going to get to this adult destination. What has Jeanette experienced, her relationship with her father, with her mother, with her siblings?

As regards the acting, Oscar-winner Brie Larson is very strong as the older Jeanette. The two young actresses who portray her as a child, especially Ella Anderson, are worth noting. While her mother, Rose Mary, an artist, is often taken for granted, sometimes in the background, she is nevertheless a very interesting character and unglamorously played by Naomi Watts.

While Rex is a dreamer, moving his family from place to place, a gambler, a drinker, unreliable, he still has great love for his children and there is intensity in his relationship with his wife. His life is an “if only…�. Particularly powerful is the episode where he goes off drink and suffers cold turkey anguish.

In fact, the children fare particularly well given all the disadvantages. But they do have a devotion to their parents, do have a sense of reliability, especially the young Jeanette, and they develop ways in which they can survive and do.

Audiences will not find this an exhilarating experience but, as they live with the characters, discover secrets. They will be encouraged by human resilience. They will realise that this kind of story, if it is to have any meaning, has to be a healing of memories.

1. A memoir? Bestseller? To film? A piece of Americana? World audiences?

2. The action in 1989? The insertion of the flashbacks? The double development of the narratives? In 1989? And 1989 in the light of the flashbacks of growing up? The effect of knowing where it was going but the question of how it was to get there?

3. Jeannette Walls, her writing, her career, her sophistication? The contrast with the childhood and its effect? The development?

4. The photos of the actual characters at the end, the video excerpts and interviews? Looking at the characters in the light of what we had seen?

5. The impression of Jeannette, her age, 1989, clothes, hair, make-up? Her relationship with David? The dinner, making a good impression, David and the account? Her liking David, their life together, the engagement? The taxi and seeing her parents in the rubbish dump, scavenging? The apartment?

6. The character of Rex, and Woody Harrelson’s performance? His appearance, age and ageing, his home, Welch, West Virginia? The later glimpses of his parents, his severe mother? The secrets, his writings and feeling he was drowning, the revelation of the abuse? The influence? Going to the air force? Marrying Rose Mary? Her art? The children? His way of life, his principles, freedom, social criticisms? On the move, gambling, drinking, confidence tricks, his dream of the Glass Castle and his drawing plans, knowledge of engineering?

7. Rose Mary, as a character, her art, her parents, her family, with Jeannette, the episode of the cooking and the fire, the paintings, the special tree? The love for her children, the bond? Her lifestyle?

8. The children, Rose Mary pregnant, the years passing, three girls and a boy? Continually on the move? The tense, living out, living in shacks, temporary? Often hungry, no money? Developing attitudes towards life?

9. Jeannette, the favourite, the different actresses portraying Jeannette, young, the episode of the burning, the talks with Rex, her responses, the episode of the swimming pool and thinking she was dying, Rex and his demands on her, to be self-sufficient? Rex’s family and living with them, the grandmother and Brian? The reading her father’s text? The later visit? Rex and his drinking, his jobs, spending Rose Mary’s money, the promise not to drink, the episode of the DTs? His falling again? His ideas and the influence on Jeannette, his knowledge, quotations, the plan of the Glass Castle?

10. The children crying, Jeannette and the decision to go to school, her leadership with the siblings? Lori and her decision to leave, Jeanette helping her with the money, getting the taxi, escaping her father?

11. Jeannette. older, at school, writing, with the local newspaper? Her father in the snooker game, the con, the man and his soliciting her, her showing him the burns, his reaction? Her father offering the share of the money? The revelation that he had taken her savings money?

12. Jeannette and her decision to leave, to go to New York, the effect on Rex?

13. The family following her to New York, living in the squat, the neighbours, their way of life, rose painting, Maureen living with them, Brian and his becoming policeman? Jeannette’s visits?

14. Rose Mary, having the meal with Jeannette, the discussion of the inheritance, wanting to borrow the million dollars?

15. The meal, David and his being wary about meeting Rex, the arguments, being forced to drink?

16. Maureen and the decision to go to California?

17. The engagement party, Rex and Rose Mary arriving, their behaviour, confronting David, Jeannette and her reaction, the confrontation with her father, telling the truth?

18. The dinner with David and the clients, the lies about her father, going to the washroom, taking stock of herself, coming back and telling the truth?

19. Rose Mary, the information that Rex was ill, his dying?

20. Thanksgiving dinner, the siblings together, Maureen coming from California, Lori, Brian and his wife? The memories?

21. An unusual upbringing – yet developing strong characters?

AMERICAN ASSASSIN

US, 2017, 111 minutes, Colour.
Dylan O' Brien, Michael Keaton, Sanaa Lathan, Taylor Kitsch, David Suchet.
Directed by Michael Cuesta.
Vince Flynn is a popular writer, novels of espionage and undercover agents – even beyond Jack Reacher at times.

While this novel comes late in the series, it does provide a background story of the young agent, Mitch Rapp, and the reasons for his involvement with the CIA. This is very much a CIA story.

The film is not to be mistaken for the similarly titled American Made, with Tom Cruise as the rather happy-go-lucky rug-here. There is nothing happy-go-lucky about Mitch Rapp at all – at all.

There are some moments right at the beginning, a happy Mitch and his girlfriend at the beach, his proposal and her delighted response, his going to get a drink for them both and a sudden invasion of terrorists, machine-gunning, a massacre. It is no wonder that Mitch devotes all his energies to revenge.

While the book was written in 2010, the screenplay gives more attention to Islamist jihadists and the CIA infiltrating their cells, even to Libya.

CIA chief, Irene Kennedy (Sanaa Lathan) has great faith in Mitch, wanting to capitalise on his single-mindedness, sending him to the expert trainer, Hurley (Michael Keaton in a very tough role). We get a glimpse of intense physical and psychological training, including virtual reality tests.

However, the main focus of this particular story is a rogue student of Hurley’s, Ronnie, nicknamed Ghost (Taylor Kitsch moving from hero roles to villain). Capitalising on all the tough skills that he learned from the expert, he becomes involved in smuggling and trading, especially plutonium from the former Soviet Union, with agents of such countries as Iran wanting the plutonium, wanting a bomb. It is up to Hurley and Mitch to thwart the bomb plans.

Actually, the action does move from country to country, making it enjoyable for people who have visited these places: Warsaw, Istanbul, Romania, Rome, Dubai. The Rome scenes are particularly vivid, an underground venue for assembling the bomb and shootouts, and a threat as well as exact timing for a detonation with a serious American target.

Dylan O’ Brien could continue this franchise (after appearing in the Maze Runner series), ultra-serious, unrelenting and deadly (even in the tongue-in-cheek final moments of the film). And there is David Suchet turning up at times as a CIA consultant.

In 2017 this could be Kim Jung Un’s favourite film, nuclear weapons, attacks on the US and its interests – and the potential of how easy it is for a single individual to have a bomb and detonate it rather than lots of test flights!

1. A topical action thriller? Terrorists? Jihadists and massacres? Revenge?

2. The US perspective, the role of the CIA in contemporary politics and terrorism? CIA training, assassins, undercover agents? The nuclear realities? The post-Soviet era and plutonium? Career terrorists? The bomb, the visualising of the consequences of an explosion?

3. The introduction to Mitch and his fiancee, happy, the proposal, the beach, getting the drink, the arrival of the terrorists, the panic and people running, Mitch trying to help his girlfriend, her being shot?

4. 18 months later, Mitch, his age, his character, the effect of the tragedy? His intensity? By himself, the computer, the questions in Arabic, the interrogation about the Koran, his declaration of commitment, going to Libya, his being accepted, the blindfold, further questions about the Koran, his wanting vengeance on the interrogator? The attack, his stabbing the interrogator, over and over?c

5. Irene Kennedy, the role of the CIA, her position? The meetings in London with Commissioner Stanfield? Intelligence, information about bombs, smuggling of plutonium? The visuals of Poland and the plutonium, the exchange, the agents, the shootout? Ghost and his stealing?

6. Mitch, interviews with Irene, her belief in him? His skills, motivations? Intensity of character? Being sent to train with Hurley? Michael Keaton as Hurley, tough, the details of the training, harsh, physical combat, not making it personal? The experience of the virtual attacks and tests? The issue of Mitch and not obeying orders?

7. The scene in Istanbul, the pursuit, the mission, the contacts, escape?

8. The Iranians, those for the treaty with the US, those against? The politicians, the military? Deals? The nuclear plans? Against Israel?

9. In Rome, the character of Ghost, seeing him in Poland, seeing the navy photo, his being Hurley’s star student? The underground centre, the assembling of the bomb, the various representatives, the demonstrations, the need for getting a scientist? The shootings?

10. The scientist, his being identified, the group following him to the hotel, the girl, her being an agent, with Mitch? The camera, watching the scientist? Hurley waiting? The terrorists, the shooting, Mitch and his suspicions of the girl, the interrogation, the potential drowning in the bath?

11. Hurley, the attack, his being taken? Mitch and the girl escaping? In the car, together, finding the underground? Hurley, the discussions with Ronnie, his being tortured, the fingernails, the electrodes? Ronnie attacking him for creating monsters? Hurley and is suffering, defines?

12. The explosions, the confrontation with the kill and her dying, Mitch driving the car, freeing Hurley? Pursuing Ghost, onto the boat, the bomb?

13. Irene, the associates, watching the screens? The fleet and exercises as the target? The messages, the commanders of the fleet? The visualising of the boats in the water? The time?

14. Mitch on the boat, the fight with Ronnie, stabbing him as advised by Hurley? From the bomb into the sea? The helicopter, the rescue of Mitch?

15. The undersea explosion? The waves, huge, radiation, the buffeting, the destruction of the ships? Yet the saving of lives because of the explosion under the sea?

16. Mitch, in Dubai, relaxing? The information about the Iranians, the general and his plans? And the irony of the closing scene with Mitch in the elevator with him?

BAD BLOOD

Australia, 2016, 90 minutes, Colour.
Xavier Samuel, Morgan Griffin, Tess Fowler, Rob Macpherson, Elena Carapetis, Patrick Frost.
Directed by David Pulbrook.

Most of us enjoy a thriller now and then. Something a bit like the airport novels that keep us occupied and entertained.

One of the difficulties with this kind of film and for reviewers is that it is often too easy to give away serious aspects of the plot. And that would be fatal as regards Bad Blood. Best not to know anything about it before you see it.

But, it does begin with the murder, an accused murderer, his being acquitted, his coming from the United States to Adelaide, his publishing a book, his being in love – and this all within the first few minutes. But, by the 30 minute mark, there have been quite a number of clues, sinister indications, more than a touch of mystery.

One of things to say is that Adelaide photographs very nicely. The last part of the film takes place in the South Australian countryside, also photographing well.

Of course, one of the challenges of this kind of mystery is to formulate at least one theory, if not more, to be ready for the solution. This reviewer was perhaps being too smart with two possible theories, and opting for the one that was not correct!

The film is a starring vehicle for Xavier Samuel, becoming more well known for international films from the Twilight series to Anonymous to Love and Friendship, as well as being a substantial presence in homegrown films in Australia. The screenplay gives him quite a lot of scope for performance. Morgan Griffin is the veterinary expert with whom he is in love.

It can be said that there is quite a tradition of Australian films, with touches of horror, that take place in the bush, pleasant places being turned into sinister areas of fright in minutes. And the same here.

The title might be rather an obvious one but worth reflecting on. Whodunnit? Or did hedunnit it – so to speak?

1. An Australian thriller? Mystery? Twists?

2. The Adelaide settings, the city, homes and offices, bookshops? The South Australian countryside, the roads, the bush, the house? Interiors? The musical score?

3. The title, the levels of meaning, invents, with his twin brother?

4. A film about twins, good and evil, the introduction of the theme, the revelation, plausibility, Gilroy and his past story, the mother going to America, taking Vincent? Vincent growing up in America, his marriage, the murder of his wife, the acquittal, the CCTV footage – and the role of Gilroy? Gilroy approaching Vincent, in the car, the phone calls, the murder of the young woman, the rejection of the money?

5. Xavier Samuel and his performances each of the twins? Differentiating them in character and performance? Vincent story, his grief, writing the book, working with Rose, the promotion of the book, the signing, the ominous suggestions, his relationship with Carrie, the meal, proposing – and the disturbance in the restaurant? Together with Carrie, the plans?

6. Vincent, the taxi, going into the hall, the stage, his brother the revelation, the murder of the young woman? Vincent’s reaction?

7. The decision to go to the country, Carrie and Vincent together, Kate as her roommate and the Communications? In the country, Gilroy taking over? The audience knowing and not knowing? Carrie, the sexual encounter, the meal, his manner of eating, drinking wine when Vincent didn’t?

8. Carrie, the communication with Kate, the issue of phones, possible connections, the failure of phones? Carrie and her leaving?

9. The confrontation, the sense of menace in the bush, the chase, Carrie hiding, the keys of the car, Gilroy waiting for her, the crash, her fleeing? The rifle?

10. The discovery of the death of Rose? Peter and his visit, the gift of the tomatoes, his being murdered? Mitchell, with the police in Adelaide, from America, travelling, the confrontation, investigation, his being shot?

11. Carrie finding Vincent, chained, preparing a strategy, her going back to the house, hiding? The confrontation in the shed, the knife? The stabbings, the survivor – Vincent on not? Carrie uncertain? Vincent finally coming and killing his brother?

12. Popular ingredients for this kind of thriller entertainment?

 

 

 

 

 

BONHOEFFER

US, 2003, 90 minutes, Colour.
Voice: Klaus Maria Brandauer.
Directed by Martin Dobelmeier.

Synopsis/ Review and questions by Sister Rose Pacatte FSP. Scriptural Reflection by Peter Malone

Dietrich Bonhoeffer and his twin sister Sabine were born on February 6, 1906 in Breslau, Germany (now in Poland). He was the sixth child of eight and the youngest son. The family was well-educated and Lutheran but they only went to church occasionally. In 1912 the family moved to Berlin. When Germany went to war in 1914 to fight the perceived enemies encircling Germany and the country's culture, Dietrich's older brother, Walter signed up and was killed two weeks later. This, as well as the national disillusionment with Germany's churches because they had sided with the choice to make war, had a profound effect on Dietrich. He realized how wrong it was to make pre-emptive war. When it came time to begin university he decided to study theology and pacifism as the ways to solve the problems in society. He attended college at Tubingen and received his doctorate in theology from the University of Berlin and was ordained a Lutheran pastor.

In 1930, Bonhoeffer went to New York for a year to teach theology at the Union Theological Seminary. There he sometimes worshipped at the Abyssinian Baptist Church in Harlem. He would listen to Adam Clayton Powell, Sr. preach about the political and social engagement of the church in order that human and civil rights would be a reality especially for American blacks. Bonhoeffer wrote home, The black Christ is preached with rapturous passion and vision as compared to the didactic sermons of his own country. The Protestant cultural theologian Reinhold Niebuhr also influenced him.

During this time Bonhoeffer came to understand Jesus' Sermon on the Mount (the Beatitudes in Matthew 5 and 6 and Luke 6) as a call to discipleship characterized by a person's ongoing free response to Christ and social responsibility.

In 1931, Bonhoeffer returned to Germany and took up teaching and writing, became involved in the international ecumenical movement, and helped found the Confessing Church seminary that trained pastors in a new kind of monasticism or lived Christianity that was accessible to all. In 1933 he was ordained. He was one of the first members of any church to speak out publicly against the Third Reich. Two days after Hitler was installed as Chancellor of Germany, Bonhoeffer delivered a radio address attacking Hitler and was cut off.

The Jewish question or the final solution, that is the Nazi plan to exterminate the Jewish people, came to weigh heavily upon him. Although Bonhoeffer never preached or taught resistance explicitly, ethical questions about how a Christian ought to act when governments like the Nazis had changed all the rules were with him always. He lived in continual discernment and when he decided to act, he made his first contacts with members of the Hitler resistance. It was 1938. Because he could travel abroad, he worked as a double agent, especially by passing information.

In 1939 Bonhoeffer became part of the group that planned to assassinate Hitler and was able to work as a double agent because he could travel abroad. Through his church contacts he endeavored to spur the British and other foreign governments to take action against Hitler to no avail. That same year his twin sister, her Jewish husband and their two daughters escaped to England. In 1943 Bonhoeffer was arrested and jailed for eighteen months for conspiracy when money he was passing to the Hitler resistance was traced to him. On April 5, 1943, the day after the failure of the second attempt to assassinate the Fuehrer in which Bonhoeffer was involved, he was arrested along with other family members who were also part of the conspiracy. He led an exemplary life in prison and with his brother Klaus and his brothers-in-law Hans von Dohnanyi and Rudiger Schleicher was executed by hanging on April 9, 1945, barely a month before the end of the war.

More than sixty years after his death, the life and theology of Dietrich Bonhoeffer continues to fascinate people who hear about him or read his gentle yet challenging book The Cost of Discipleship.

Bonhoeffer was about five years in the making. It was released in 2003 and at least the fourth film to appear recently in English made about the man whom many think of us a martyr and saint of the Lutheran Church(in German, Evangelische Kirch Deutschland or EKD )and the Anglican Church. A drama, Bonhoeffer: Agent of Grace was released in 2000. It was directed and co-written by Eric Till who also directed the excellent film Luther in 2003 starring Ralph Fiennes. A one-person play by Al Skaggs was released in 1994, A View from the Underside: The Legacy of Dietrich Bonhoeffer and a documentary Hanged from a Twisted Cross, directed by T.N. Mohan, in 1996.

Bonhoeffer is a well-crafted and thought-provoking documentary that tells an inspiring story for all seasons. In addition, it is an authentic contribution to the study of Christian holiness, history and ecumenism. Filmmaker Martin Doblmeier has taken great care to include historical photographs obtained from the EKD, family members and other historical archives in Germany. Only about thirty seconds of actual footage of Bonhoeffer exists and it is in the film. Two of Bonhoeffer nieces and some of his students provide an authentic voice to the narration. Also featured is Bonhoeffer's close friend, Eberhard Bethge (1909 - 2002) who among other works, pieced together Bonhoeffer's writings to publish his Ethics in 1949. Klaus Maria Brandauer (Out of Africa) is the voice of Bonhoeffer.

The film merges Bonhoeffer's biography with his moral and faith development with the historical moment in which he lived. The film also makes abundantly clear how the religious temperature and the social situations of Bonhoeffer's times provided a context for the German people, the churches and the nation to identify religion with patriotism - to devastating effect.

It is not difficult to initiate a dialogue between Bonhoeffer and the scriptures. The scriptures governed and gave meaning to his life. He was an apostle of the Sermon on the Mount and he measured the success or failure of his life by the Beatitudes.

As preparation for a consideration of the Beatitudes, we can look at the book of Isaiah, the prophet of the holiness of God, the prophet of the sacred In Chapter 6 of Isaiah we read of his call in the Temple that tells of his sense of sinfulness but also his willingness to be God's messenger. Isaiah describes the gifts of the Spirit that will be poured out on the true Son of David: wisdom, understanding, counsel, strength, knowledge, and fear of the Lord. Bonhoeffer was to learn that this gift of fear was not one of fearfulness; rather it was a gift of awe. He said that he began to realize that while the Sermon on the Mount made us aware of how sinful we are he understood that Jesus intended us to live the precepts of the Sermon. The community of disciples who lived the Sermon would image the hopes of Isaiah about the time when true justice and peace would reign, when “all the world will be filled with the knowledge of the Lord.

St. Paul was a disciple of the Sermon on the Mount and the Beatitudes. One of his most impassioned pieces of writing on this theme is his quasi-diatribe against the Galatians for their failure to follow through in practice what he had preached to them. He is eloquent about the sinful consequences of this infidelity which could lead to a community tearing itself to pieces. He then moves on to a language of the Spirit and of the fruits of the Spirit that include love, joy, peace, patience, kindness generosity, faithfulness, gentleness and self-control. It can rightfully be said that Bonhoeffer embraced the teachings of Isaiah and Paul as a summary of the Beatitudes.

The other discovery that Bonhoeffer made that has important implications for our spiritual lives is what he called costly grace, that is, God's help that enables us to live up to Jesus' teaching. The ability to live a life, even a virtuous life, without the cross and the incarnate Jesus or to live virtuously for self but not for one's neighbor was, for him, grace but merely cheap grace.

Taking up the cross, in both joys and sorrows in a way that showed love for God and neighbour, was true discipleship that demanded costly grace.

When this spirituality was applied to the Christian church, especially the EKD, as a whole, he realised that the church exists only when it is exists for others. This became increasingly evident to him when he experienced first hand the arrogant principles of the Third Reich and its persecution of the Jews. In order for Christian churches, including the Catholic Church, to stay open for worship, the Third Reich demanded that they not protest or interfere with the government. To keep the Catholic churches open and safe, Pope Pius XI signed the 1933 Concordat agreeing to not interfere with the Nazi government thus effectively silencing the Catholic voice. To control the Protestant churches, Hitler appointed Ludwig Muller as a bishop to head the first ever national church of Germany. According to Bonhoeffer, the issue facing the Christian churches under Hitler was not that they have freedom to preach the Gospel or keep their doors open but that the Church stand by the victims of the Reich through action.

The movie takes us through Bonhoeffer's life and his spiritual growth. We see him discover the Beatitudes. We hear quotations from his lectures and writings that show the profound affect the Gospels made on him. The Beatitudes led him to pacifism but, in an extraordinary paradox, they taught him that justice was not passive. This led him to the plot against Hitler and his imprisonment and hanging.

When Bonhoeffer wrote his Ethics (published in English in 1955), he knew that he was not exploring abstract concepts or elaborating rules on conduct. He was exploring the Sermon on the Mount as it related to life-situations to discover how the will of God would be revealed among the possibilities of action open to us.

1. Bonhoeffer early life with his family, his education, the First World War, the influence of his brother's death, and decision to study theology?

2. Bonhoeffer's decision to study in New York; the influence of the African American Christian church on Bonhoeffer's theology and spirituality; his return to Germany and the rise of Nazism; his grace concern over theJewish question and his speech on the radio criticizing Hitler that is cut off?

3. His decision to join in the resistance against Hitler; his travels to other countries and pleas for help that end in failure; his decision to join in the attempt to assassinate Hitler; his failure, capture, time in prison, and execution?

4. Bonhoeffer's doctoral dissertation was about the church as community and he titled it Sanctorum Comunio, the communion of saints. Bonhoeffer wrote, “Christ is really only present in the community. The church is the presence of Christ just as Christ is the presence of God. He expressed his faith and understanding about Christ in what we would call today a œtheology of communio or incarnation because he held that “God expects us to be in relationship to others if we are to be fully human.To Bonhoeffer, a new community meant a new humanity and within this community is the church. Bonhoeffer soon came to the conclusion that social consciousness and the Christianity of real, everyday life had to be integrated in order to be œchurch in the modern world. Do you agree with Bonhoeffer's conclusion? Why or why not?

5. The Sermon on the Mount, according to Bonhoeffer, had become an excuse for his co-believers not to act. Why? Because the practice of the Beatitudes equalled perfection and perfection was impossible to attain so there was no reason to bother trying. Bonhoeffer saw that this attitude created, in practice, a dichotomy between the religious life of the people and political life. To counter this growing rift between faith and life, he consistently taught and lived a radical Christian life that sounded like an oxymoron but which in reality integrated faith and life: “for the sake of real people the church must be thoroughly worldly…. Real secularity consists in the church being able to renounce all privileges and all property but never Christ's Word and the forgiveness of sins. With Christ and the forgiveness of sins to fall back on, the church is free to give up everything else. What does Christian perfection mean to you? Does it mean to love without limit or to follow all that Jesus taught to the letter? Is it possible to strive for perfection? Is it worth the effort? Why? What do the Beatitudes mean to you? What examples do we have in the lives of holy people in contemporary church history that support Bonhoeffer's approach to living the Beatitudes?

6. Bonhoeffer used to say, it is not only my task to look after the victims of madmen who drive a motorcar down a crowded street, but to do all in my power to stop their driving at all. The believer, therefore, is called to live the Beatitudes in action and in relation to others in order to be blessed. There was no beatitude for a Christian without action in the world. This was the source of his ethics and his morality: to promote human dignity and social justice in solidarity with all people in the name of Christ. However, many people debate how he shifted from pacifism to becoming part of the attempt to assassinate Hitler. Research the Church's position on pacifism, pre-emptive war, violence, love for our brothers and sisters whoever they may be. Bonhoeffer's decision must not have been reached easily. Talk about what you would have done if you had been a Christian in Germany from the rise of Hitler through the end of World War II and knew that people, your neighbors, were being systematically exterminated.

 

 

GOODBYE, CHARLIE BRIGHT

UK, 2001, 87 minutes, Colour.
Paul Nicholls, Roland Manookian, Phil Daniels, Jamie Foreman, Danny Dyer, Dani Behr, Richard Driscoll, David Thewliss, Sid Mitchell, Alexis Rodney, Nicholas Stapleton.
Directed by Nick Love.


'Bright' is an evocative word for this film. Set in a hot London summer, the colour is particularly bright. The set design emphasises this with bright pastels as does the costume design. This is not a dingy London. The central character is Charlie Bright (Paul Nichols) who up till now in his life has not shown himself to be bright at all. It is the opposite. He hangs out with his friends who are the types who most likely burgled your house or smashed your car. They do it for fun and the buzz as well as the money. But Charlie has something of a code. He is loyal to his friends, especially Justin (Roland Monookian in a very self-confident and cheeky performance) who seems to be without any moral purpose or anchor. He mocks his friends, is a robbery daredevil and shows no sensitivity to other people except his best friend (the lads nickname him 'the wife'), Charlie.

Things change. One robbery too far that they unexpectedly escape from unscathed. One lad intending to get married as he is going to be a father. Another off to National Service. And Charlie, tired of being bored and of coming to Justin's rescue all the time, is attracted to a local girl. When things come to a violent head with Justin (who still emerges grinning and triumphant), Charlie literally runs towards his future.

There have been plenty of stories like this. This one has verve and pace, good acting and some hope even for these young thugs.

1. The title? The focus on Charlie? His name of Bright – bright or not? The emphasis on goodbye, change and its possibilities? Hopes?

2. South London, the atmosphere of the estate, the flats and the buildings, the streets, parks, officers? The musical score?

3. The summer, the brightness of the colours and photography? The mood?

4. The initial run throughout the estate, boys naked, the reaction of the neighbours? A lark, joke? Intimations of homoerotic aspects?

5. The impact of the film for Londoners, younger audiences, for Britons? Beyond? The look, clothes, football support, accents, behaviour?

6. Friends, the group growing up in the 1990s, male bonding? Escapades? The testing of the bonds, friends growing away from each other? Aspects of law, morality?

7. The range of the young men: Tommy and his going into the Army, Francis and his girlfriend, moving away from the group, Eddie and his taking up with France’s girlfriend, knives, violent, older, running over Francis? Damien and Tony?

8. Charlie, bright, lively, his personality, the focus of the story, his relationship with the others?

9. His relationship with Justin? Justin and his life, no family, relying on Charlie, joke about his being Charlie’s “wife�? Sharing the experiences? With the other young men? Spoiling Charlie’s opportunities with the estate agent? A time coming for testing, for independence?

10. Charlie, his true friendship with Justin, but having to move away, the gun, the test, the motivations? Whether Justin realised this or not?

11. A film of the stage of life, trapped – or not? Change, goodbye, hope?