VICTORIA & ABDUL

UK, 2017, 112 minutes, Colour.
Judi Dench, Ali Fazal, Tim Piggott- Smith, Olivia Williams, Michael Gambon, Simon Callow, Eddie Izzard, Fenella Woolgar, Adeel Akhtar, Julian Wadham.
Directed by Stephen Frears.

Lest anyone think or suspect that this picture of Queen Victoria is a throwback to 19th century ra-ra Empire days and glorification of the Victorian era, there is quite a lot of Britons satirising themselves and their past in the early part of this film.

Yes, it is a picture of Queen Victoria. One might say that it is something of a warts and all picture, highlighting how crusty she could be but also how lonely she could be in her record-breaking long reign. And, since she is played once again by Judi Dench, the impact on the audience is particularly strong. In searching for a word to describe Judi Dench’s performance, this reviewer would decide on the word “perfect�.

The title is something of a surprise except for those who are experts on the reign of Queen Victoria. The opening of the film says that it is based on real events and then adds “mostly�. A look at the rather long Wikipedia entry about Abdul Karim shows that the events in the film and the characterisation seem to be quite strongly true to life.

We know who Queen Victoria is from the many films about her reign. In 1997 we even saw Judi Dench, in an Oscar-nominated performance, as Queen Victoria in Mrs Brown and her strong friendship with the Scotsman, John Brown. In this film, John Brown has been dead for some time and there is an emotional hole in the heart of Queen Victoria. She has little satisfaction from her children, considering her rather profligate oldest son, Bertie (to be Edward VII) as an embarrassment. She has affection for some of the servants but the official members of her household seem to be career servants.

So, who is Abdul (very empathetic Indian actor, Ali Fazal)? He is a rather genial Moslem from Agra, a clerk in a prison, filing names and dates. He has given some opinions about a carpet sent to England for Queen Victoria’s Jubilee. He also has the advantage of being tall and so is chosen by British officials to go to London to present a special caulling to the Queen. He was to have the tall companion but this man had an accident with an elephant and so a rather shorter man goes, Mohammed (a very good comic role for Adeel Akhtar) who finds it very difficult going to England, being there, finding the food and manners barbaric, longing for home, but able to criticise England in a British terms, a bloody terrible place.

At this time, Victoria is nearing 70, describing herself as a crusty, greedy old lady, fat but an inordinate love for power. She has servants galore, to dress her, to wait at table for ambassadorial functions (and the banquet scene with all the servants and livery, the cooks in the kitchen, the little boy running up the corridor with announcements, is enough to stir aggressively socialist attitudes in the audience). And there are rituals, especially for the presentation of the medal with strict instructions not to look at the Queen.

Abdul does.

The Queen is interested in him, attracted to him, favours him, having him as an advisor, teaching her Urdo, appointing him her Munshie, religious mentor. And the friendship becomes closer over the years, allowing him to go back to India to bring his wife and mother-in-law, wearing burkhas, allowing him more access to her presence than many of her staff, taking him to Scotland and Balmoral and picnics in the Highlands, for a visit to Florence (and a meeting with Simon Callow as Puccini, truly hamming it up).

The film becomes more and more serious as it progresses, especially with the Royal household becoming more and more antipathetic to Abdul, insulting and racist in their comments and behaviour, conspiring to dishonour him in the Queen’s eyes, invoking Bertie (Eddie Izzard) who certainly does not approve of his mother and her seeming insanity.

This makes the drama all the more interesting, offering insights into the work of the Queen as head of state, her state duties and responsibilities, her decisions, the influence of the Prime Minister (Michael Gambon), the head of the household, Sir Henry Ponsonby (Tim Piggott- Smith).

The film moves to the death of Queen Victoria in 2001, the reaction of Edward VII to Abdul, Abdul and his return to India and his complete loyalty and devotion to the monarch who favoured him.

Given the Muslim ascendancy in today’s world as well as fears of and antagonism towards Muslim asylum seekers and refugees, this is a timely entertainment to alert audiences, especially Western audiences, to prejudices and intolerant behaviour.

The film was written by Lee Hall, who also wrote Billy Elliot, and directed by Stephen Frears who directed The Queen and directed Judi Dench as Philomena. It is quite sumptuous to look at. It is often very funny at the expense of upper-class 19th century aristocrats. It is serious in its reflections on the role of the British Empire, especially its presence in India, it is exploitation of Indians and the move towards independence.

In all aspects, it is very interesting and enjoyable.

1. The appeal of the film? Queen Victoria? The British Empire and later Commonwealth? India? Portrait and critique?

2. The cast, the writer, the director?

3. 1887-1901, the end of an era, the death of the Queen? The place of empire? Yet the movement towards India and independence?

4. Audience knowledge about Victoria, Albert, Mr Brown, the Prime Ministers, her children, Bertie to become Edward VII, the descendants, the Kaiser and other royalty in Europe? The introduction sequence of these children to Abdul?

5. Queen Victoria, Judi Dench’s performance, appearance, costumes, in the privacy of her room, sleeping and getting up and dressing, in public, the meals, diplomacy? The visit of the prime minister? The box, her household and the detail? Her being on the move, going to Scotland and Balmoral, the Isle of Wight, her manner? Her memories, her loneliness, her self-description of her faults, but not insane? A powerful woman – with a strong will?

6. 1887, the Queen’s Jubilee, the gift of the carpet from India, the presentation of the calling? Being the Empress of India, and not going there for fear of assassination? Abdul and his setting, a clerk, the names of the prisoners, his advice on the carpet, his being tall, chosen to go to England? The background in Agra? The trip, the cold, the food – and the character of Mohammed? His not wanting to be in England, short, not getting the cushion, on the outside, seeing the British as barbarians, their food, the arrival at the harbour and the beggars? His sardonic remarks, swearing about the English? Illness, supporting Abdul, his death, Abdul’s grief and being sorry?

7. India, the British occupation, calling people idiots, their business interests, the background of the mutiny? Hindus and Hindi, Muslims and Urdu? Muslim history and culture and beauty, the Taj Mahal? The role of women, the wife and mother-in-law, and wearing the burqa?

8. The ceremonial, Victoria dressing, the meal and her boredom, the vast number of servants, the kitchen and the preparation of the meals, the rehearsals, the rituals, the men in livery, the boy running with messages along the corridor? The ritual of the presentation of the gift? The injunction not to look at the Queen?

9. The household, the master of the household and the rehearsals? Fussiness and precision? Sir Henry Ponsonby, his character, his role? Dr Reid and his concern, the Queen and her health, her motions? The Queen’s concern about Abdul’s wife and fertility? The maid and the variety of women dressing the Queen? Mrs Churchill and her snobbery? Miss Phipps, her enjoying things, yet her being chosen to speak directly to the Queen, her humiliation? The detail of life reality, dress, formality and presence? The sequence of the tableau? The arrogance of the staff and their insults? Racism?

10. Abdul and the Queen, her interest in him, her enquiries, their talking, the discussions about the mango – and it finally arriving and being off? Abdul and the privacy of the Queen’s room, with her box of documents, ousting others, his becoming her confidante? In Scotland, the meal, the scratchy clothes? The rowing and the water? Her explaining herself to him? Her loneliness? The discussions about Urdu, her lessons, her delight in the language? The imagery of the beauty and the carpet? His explanation of the Munshi, and his not being a servant but a mentor? The visit to Florence and the art? Puccini's singing? Victoria singing Gilbert and Sullivan?

11. Getting his wife, the mother-in-law, the burqa, the doctor, his only seeing the tongue? The doctor examining Abdul and discovering gonorrhoea? To be used as an argument against him? And the Queen saying the doctor should heal him?

12. Bertie, his age, heir to the throne, waiting for his mother to be ill and die, spending time at Monte Carlo, his life, expectations of him, profligate, an embarrassment to his mother, his agreement with the household, his death dislike of Abdul, trying to get rid of him?

13. Victoria, power, her willpower? The speech of Miss Phipps? Victoria defying the household, challenging them?

14. The visit of the prime minister, his advice to the queen, his bewilderment about what was happening with the household, with Abdul, wanting the Queen to get rid of him?

15. The Queen and the knighthood, the revolt, her stating that he would be made a Commander?

16. Abdul as companion, confidante, kissing her foot, absolute devotion, her illness, standing at the door, the household finally letting him in, the final talk and the eternal banquet?

17. Victoria dying, her achievements?

18. Bertie, becoming king, burning Abdul’s possessions, sending him back to India? Abdul in India, in Agra, his reverence for the Queen’s statue, his death?

19. Characters and interactions, profiles of characters, glimpses of history, insight recreation of the period?

THE SUSPICIONS OF MR WHICHER: MURDER IN ANGEL LANE

UK, 2014, 90 minutes, Colour.
Paddy Considine, Olivia Coleman, William Beck, Sean Dingwall, Justin Edwards, Justine Mitchell, Mark Bazeley, Alastair Petrie.
Directed by Christopher Menaul.

The first television film in this series of four, based on books by Kate Summerscale, was an authentic crime in London in the 1860s. The further films in the series took the central character, the detective John Whicher, his failing in his first mission in the true story but then his becoming a private investigator.

Paddy Considine is Mr Whicher – a character more to be admired and warmed to.

This is the story of a woman stabbed to death in a seedy part of London. Her aunt, played by Olivia Coleman, is searching for her and her newborn baby. The father of the child is accused of the murder.

The plot is rather complex with Mr Whicher investigating, assisted by a policeman, George Locke (Sean Dingwall) without the knowledge of the officials.

There are quite a number of leads, a locket stolen from the dead girl, contact with the fence, leading to a criminal who had stolen it but was not guilty of the crime but giving more detail about the story. There are various other criminals, complicated interactions, leading to stories from the past, the death of the father of the aunt, murdered, the death of his assailant, the accused being his son, and the assailant’s brother inheriting the farm, selling it, becoming a prosperous businessman in London.

There is an unexpected twist at the end involving the policeman. There are also secrets and lies, family codes, illegitimate children, family fortunes and, finally, admission of the truth and the possibilities for some kind of happy future.

1. Mr Whicher? The series? The 19th century, crime in London, the police, detection? Private detectives? The novel is – and the origin in actual cases?

2. The atmosphere, the recreation of the period, the London streets, dingy? Angel Lane, the inns, the hovels? Police officers? The countryside, the property, the mansion? The funeral? Authentic atmosphere? The musical score?

3. Themes, secrets and lies, families and codes, acquisition of money, illegitimate children, deaths? Issues of corruption, conscience?

4. Paddy Considine as Mr Whicher, his age, the previous experience, his failure? Dismissed from the police force? Living plainly, his niece? The encounter, Susan Spencer, in the inn, her enquiries, Mr Whicher saving her? The connection? The story, the missing niece? Whicher and his connections, the call on him during the night, finding the body, the murder? Interrogations? Susan going and identifying her unwillingly? The police?

5. Susan Spencer, her story, wealth, the visits, the later discovery of the truth, not only her niece but her daughter? Her lies about being sent away from home? Her father, his wealth, his death, the accusation and the death of the alleged murderer? The two brothers, the other brother, inheriting the farm, creating the business, prospering in London? The seduction of Susan, her not telling the truth about the child? Susan and her reactions, Mary’s relationship with the nephew? Her accusing him?

6. The search for the child, the welfare homes, the nun, the priest, the safety of the child? Mr Whicher’s niece looking after the child for a time?

7. The police, the inspector, his negative attitude towards Mr Whicher? Dolly and the past friendship? George Lock, agreeing to collaborate with Mr Whicher? Not telling the authorities? His presence, the interrogations? His deception and his unmasking?

8. Information, the locket, Mr Whicher going to the fence, the lead on the criminal, his story with the dead body, his being in jail, telling the truth?

9. The nephew, his presence, the family background, his father and his death, his uncle, going to his uncle for financial support and being rejected? The accusations, his violence towards Mr Whicher? The discovery of the truth, his wanting to help Mary, the plan? The child?

10. Locke, his character, support? The other criminals, contracts and killings, Mr Whicher and his visit to the wife?

11. The interviews with Thomas, his business, story about his nephew? Mary’s funeral? The confrontation, the truth, the death of his brother, inheriting the wealth, not supporting his nephew?

12. The truth, Lock and his blackmailing, getting cash, confronting Mr Whicher, wanting Thomas to kill him? Thomas killing Lock?

13. Thomas, his regrets, prison?

14. The background of the institutions in London, the priest, on the prowl, looking for women, his reputation? The nuns and their care?

15. The explanations for Susan, her admitting the truth, having the child, reconciliation with the nephew?

CHINATOWN AT MIDNIGHT

US, 1949, 69 minutes, Black-and-white.
Hurd Hatfield, Jacqueline de Witt, Tom Powers.
Directed by Seymour Friedman.

This film is brief, like an episode in a television series in subsequent decades. Nevertheless, it is well done and quite interesting.

It is also interesting for the audience to see detailed realistic footage of San Francisco and Chinatown in the late 1940s.

The audience knows the killer right from the beginning. He is played by Hurd Hatfield, who had portrayed Dorian Gray. He robs exotic Chinese art objects for a decorator friend who relies on him. She sends him back for a white jade statue and, while the son the dealer is wrapping it, he attempts to press the security buzzer and he is shot. The killer shoots his fiancee as she rings the police and he gives the message – with a Cantonese accent.

The film is like those of the late 1940s, The Naked City, semi-documentary and the presentation of crime, detection, times and places… The film shows the detail of the police work, always wearing suits and ties and hats.

The criminal organises his cover, but in losing his coat, the detectives track down its make, sales, where his trousers were pressed and they get his identity, going to his apartment, finding his Chinese language records and the artwork.

The criminal hides away, goes to his apartment in the guise of delivering a telegram but loses his tablets and has a malaria attack, posing as is doctor on the phone to get the tablets, the information going to the detectives, his being pursued, Chase over the rooftops and the final shootout.

1. Crime thriller? Police work and detection?

2. The semi-documentary style of the films of the time? The voice-over and the explanation of the police work? Seeing the police work? Times, dates and places? The personalities of the police, the repartee between them? The demands of their work?

3. Introduction to Clifford, meeting Lisa, the stolen box? Her being a designer, to Carmel, wanting the white jade statue? Clifford and his infatuation, his immediately going to the shop, getting the jade piece, the young man wrapping it, the alarm, his being shot, his fiancee, coming in, phoning the police, her being shot? Both dying?

4. Clifford, slipping away after phoning the police, his Cantonese accent and his records and studying languages? His apartment, the landlady? His illness, the malaria tablets?

5. The role of the police, assuming the criminal was Chinese because of his message? The interrogation of the neighbours, the father and the sadness of his son’s death? Pursuing the phone calls, the telephonist and her ability to identify the voice? The times of the phone calls?

6. The newspapers, Linda, being upset, challenging Clifford, his shooting her?

7. His taking the flat, quietly occupying it, in hiding?

8. The detailed work of the police, the detectives, the hard work, tracking down the coat, the makers, sellers, pressing trousers? The identity of the killer?

9. The device of the census-takers? The female officer and discovering Clifford? Phoning the police? His escaping from the apartment?

10. Disguised as delivering the telegram, his landlady, his getting away? Dropping his tablets? His malaria attack, the need for tablets, going to the pharmacist, his disguising himself as the
doctor, going for the prescription?

11. The pursuit, his being surrounded, the chase on the roof, the shooting? His death?

12. Solution of the case?

THE MADONNA’s SECRET

US, 1946, 79 minutes, Black-and-white.
Francis Lederer, Gail Patrick, Ann Rutherford, Edward Ashley, Linda Sterling, John Litel, Leona Roberts..
Directed by William Thiele.

The film starts with the focus on a portrait – somewhat reminiscent of the classic of two years earlier, Laura. However, the subject of this painting and many others has been murdered in France. The artist, Francis Lederer, now living in the United States with his American mother, has a new model but still paints the face of the dead woman.

He now has a new beautiful model, Helen, Linda Sterling. Her boyfriend clashes with her at the very time that she is found dead. The murder sis the same as that in Paris with the death of the model there with the artist was set free because of his alibi.

Ann Rutherford portrays the dead woman’s sister who poses as a model but is soon found out – and falls in love with the artist. There is also a society woman who wants to buy his paintings but has no knowledge about art, Gail Patrick, simply presumes that she is in love. Another murder.

A journalist investigates. The detective, John Litel, investigates. It would seem that the artist is guilty – but the only other possible solution is that of the artist’s mother. And, of course, she is the killer.

A brief entertaining murder mystery.

1. The title, Madeline in the portrait, like a Madonna? The artist painting: but portraying Madeline? Her secret?

2. The New York settings, galleries, office of the drama critic, apartments? The river? The police precincts? The musical score?

3. The focus on the paintings, John Earle and his recognition, his knowledge of the murder trial in Paris? James Corbin, Earle contacting him, giving him Helen’s name? Earle and his suspicions, investigations? Helen wanting to break with the artist, her jealous boyfriend? Remaining, in love, the portrait? The date – the phone call and her disappearance?

4. James, with his mother, her care? His moods? Playing the piano? His art, the portraits? Going out, watching the girl and the knife thrower, his sketch? Memories of Madeline? Exonerated from the killing? Devotion to Helen, the future? Ella, the meeting, wanting to buy his painting, her ignorance, her presumptions, going out, her wanting to marry him? Linda, as model, his painting, not right, his working out who she was? Her infatuation with him, wanting to protect him? The confrontation between Linda and Ella? Between James and Ella? Dropping her?

5. The detective, the district attorney, arrests, interrogations? James and his concern about his loss of memory?

6. The only other possible solution, his mother? With Linda, administering the poison? Wanting to protect her son? Wanting perfection? The arrival of the police, being shot?

7. An interesting B-budget murder mystery?

ZOOM


Brazil/Canada, 2015, 96 minutes, Colour.
Gail Garcia Bernal, Alison Pill, Tyler Labine, Mariana Ximenes, Jennifer Irwin, Don Mc Kellar, Michael Eklund, Jason Priestley.
Directed by Pedro Morelli.

Zoom is an interesting and often entertaining experiment, part of it filmed in real live-action, part of it in animation. It is a Canadian- Brazil coproduction, action taking place in both countries.

The title indicates photography, filmmaking, close-ups, movement…

The screenplay has three stories in one, each flowing from the other, a circle of stories and narratives.

Alison Pill portrays Emma, a doll maker in Toronto factory, working with Bob, Tyler Labine, with whom she has a sexual relationship. But, she is conscious of her small breasts and decides to go to a surgeon to enhance them, initially happy, then feeling awkward, then going back to have the process reversed. In the meantime, she has a customer who wants a doll made according to the specifications of his former wife. There is also a drug dealing neighbour and plot complications when the dollmakers acquire the drugs and conceal them in the model for the husband. This story is told in live-action until the end.

But Emma is also drawing, a comic strip narrative about a film director who wants his art to be transcendent, falls foul of a bossy producer, his co-director urging him to more commercial approaches. At the centre of the story is Edward, Gail Garcia Bernal, voicing his character but not actually seen, the animated version resembling him. He has his problems with the film. He also has his problems with his sexuality – and, at one stage, Emma suddenly reduces his penis size which leads to further complications, his looking for enhancement, his almost being electrocuted with the enhancement, his being pressurised to make the ending of this film more commercial.

However, there is a Brazilian model, Michelle, Mariana Ximenes, who wants to be a novelist, starts writing a story, which is the story of Emma. The model has a jealous boyfriend, Jason Priestley, and she escapes to Brazil, beginning to write, involved in a relationship with a woman at the bar, and gradually incorporated into Edward’s film.

So, each story is dependent on the other – which is tantalising, circular storytelling, for the audience.

1. The title and tone? Photography, close-ups, movement?

2. The Canadian settings, the doll factory, apartments, drugs? The Brazilian setting, the countryside, the ocean, the town, the bar? The film set? Helicopters, highways, action? The musical score?

3. The use of live action for Emma’s story, for Michelle and her story, model, photography, writing the novel, her boyfriend? For Brazil, the town, the bar, the countryside, the ocean? The contrast with the animation style for the story of Edward and his film, Marisa and her interventions, the sexual content, for the climax of the movie, no action and the sudden end, the elaborate concoctions for commercial success?

4. Emma’s story, the doll factory, her role, her appearance and her concern, the sexual liaisons with Bob during work time? Her reaction to him? The visitor, the specifications for his doll, her explanations? The visual impact of the dolls? The photo of the character with large breasts? Bob’s comment about Emma, her going to the surgeon, the discussions, his agreement, the cost? The enhancement, Emma and her reaction, with Bob, uncomfortable, returning, wanting the originals restored? The cost, the surgeon refusing?

5. Emma, her drawing the cartoon book, Edward, Gail Garcia Bernal and his not appearing in live action, his voice, in the animation? Her changing the story? The producer, her haughtiness, the co-director? Penis issues?

6. The neighbour, exercise, music? The delivery of the drugs, Emma and Bob finding them, puzzling what to do, dealers, sales, stuffing the doll – and its being collected by the owner, his flirtation with it, the dancing? The return to the factory? The pulling of the guns and the shooting – and Michelle changing her mind? The dilemmas, Emma discovering she was part of a narrative, looking for Michelle to help?

7. Michelle, in Canada, her boyfriend, writing the novel, the aquarium, the publisher interested, the boyfriend jealous, her not having written anything? Her note and going back to Brazil, her life there, the proprietor of the bar, the sexual relationship? Going to the water, diving into the water? The ideas for the novel, creating Emma, the development of her story?

8. Michelle in the animation, caught up in the film, as a character, with the boyfriend, the commercial overtones of plot, the rescue, the helicopter, on the highway? The issue of her book, being urged to throw it out of the helicopter, her diving out, recovering it? Her relationship with the characters in her novel?

9. Edward, his film, wanting to be transcendent, his co-director, the non-commercial ending with Michelle diving into the water? The discussions about Hollywood, Marisa as the dominant producer, her demands, not liking the ending of the film? Edward, sexual behaviour, the girls, Emma diminishing his penis, his going to the shop to buy an enlargement, wearing it, going into the water, people admiring him, the electric shock? Marisa and her approach, his embarrassment, his being enhanced? The co-director and the consultation about the film, the going to Brazil? The scenes, his moods, the changes?

10. The circle of the narratives, each creating the other – and its affect the continuity, the audience, switches reality to animation? The tongue-in-cheek approach of the film?

COLONIA

Germany, 2015, 106 minutes, Colour.
Emma Watson, Daniel Bruel, Michael Nyqvist, Richenda Carey.
Directed by Florian Gallenberger.

While there have been quite a number of films about Salvador Allende, his being president of Chile in the 1970s, then his overthrow by General Pinochet and the assassination leading not only to civil war but huge numbers of arrests, torturing, disappearances. American audiences may well remember the Jack Lemmon- Sissy Spacek story, Missing.

While the film opens with actual footage of Allende, the film soon moves into his assassination and the roundup of his supporters with subsequent imprisonment and torture.

The Colonia of the title refers to a property south of Santiago, set up for a sect by a German, Paul Schaffer, where he is the autocratic ruler with a strict and inhumane regime, separation between men and women, the complete separation of the young children who do not know their parents – and Schaffer organising the boys into a choir and conducting them while also sexually abusing them.

At the centre of the film is the German Daniel, Daniel Bruel, who designed a poster supporting Allende and takes part in protests in support of him. His girlfriend is a flight attendant, Lena, Emma Watson, who flies in the time of the protest, also at the time of the overthrow of Allende and she and Daniel have to flee, eventually rounded up in the sports stadium, he identified by a rigid prisoner, arrested and taken to be tortured, she deciding to try to find him and disguising herself and going to Colonia where she is accepted, lives the harsh life there, finds Daniel who is recovering from the torture, pretending to be brain affected while planning an escape and recovering his camera and the photos that he took of Colonia, its torture beds and tunnels. Schaffer (played by Michael Nyqvist) had hosted torture in the chambers underneath Colonia.

The film gives some attention to the harsh way of life, its inhumanity, Schaffer and his smooth manner but autocratic behaviour, especially misogynistic, as well as his assistant for looking after the women, Gisela, Richenda Carey.

Audiences may well be surprised at this story of Colonia – photos publicised at the time but nothing happening in Chile until the overthrow of Pinochet. Final information indicates that Schaffer was tried eventually and sentence to a long prison term.

1. A glimpse into the history of Chile in the 1970s? A picture of a cult and its leader, its way of life? And the connection with the Pinochet regime?

2. The title, the colony, the sect, the layout, the touch of the concentration camp, the huts, the interiors? The fields and the farm work? The subterranean tunnels? The torture chambers?

3. The newsreel footage of 1973, the political situation, Salvador Allende and his leadership, the hostility of the United States, the support of Russia? The supporters, the rallies? The military, the takeover, the death of Allende, Pinochet in charge? The soldiers on the streets, the initial arrests, being taken to the sports stadium, identification by the hooded prisoner, the arrests, interrogations and torture?

4. Lena, her background, flight attendant, the crew, landing in Santiago, the car, the rally, her seeing Daniel, getting out, the experience of the rally, Daniel on stage, giving out the leaflets, the other protesters? Her relationship with Daniel?

5. In the streets, the protests, the news of the military takeover, Lena and Daniel at home, the decision to flee, the crowds, the roundups? Lena and Daniel being taken to the stadium?

6. Daniel, his designing the pro-Allende poster, his arrest, transport, the vivid scenes of torture, electrodes to the testicles, to the brain? The effect on him, his swollen face? Paul Schaffer arriving and speaking in comforting tones? His being in Colonia? His work?

7. Lena, her decision, hearing about Colonia, her dress, entry, the encounter with Gisela? Sternness? The possessions, the dormitory and the beds? The strict discipline? Awakening in the morning, the assemblies, work allotments? The hard work in the fields, the bucket of water and her not being allowed to spill any drop? In the dormitory? Talking with the other girls? The engaged girl? The nurse?

8. Paul Schaffer, his appearance, having founded Colonia, the contact with the German Embassy and the ambassador later helping him to isolate Daniel and Lena? Autocrat? The religious language? The children, the choir, the going to the shower room, the abuse? The children not knowing their parents? The adults, the women separate, the hard work? The men, separate? The women being brought in, humiliated, insulted, physically beaten? The young woman and her thinking she was to marry though not seeing her fiance for three years?

9. Daniel, recovery, his pretending to be injured, given the job, his searching the rooms, the camera and the photos of the animals and the torture bed? Appearing at meetings? Seeing Lena? His discovery of the underground tunnels? The meetings with Lena, her peeling the potatoes, their talking, her going underground, the close calls with the authorities? The need for the escape? Lena in front of the men, humiliated, Daniel’s attempt and the session being interrupted?

10. Gisela, harsh, yet talking in a friendly way to Lena? Supervising her work, the peeling the potatoes, sending the nurse?

11. The nurse, knowing no other life, friendly with Lena? Hastening into the tunnel, unlocking the gate, having to swim through the pool, the nurse and her fear, getting entangled? The effect on Lena, blame?

12. Getting out, the nurse and her being killed? Lena, Daniel, the lift, into the city, to the German Embassy, the promise of safeguard, the drive to the airport, into the isolated room, Daniel and Lena and their getting out, seeing the troops arriving? In the terminal? The glass, Paul Schaffer and the others on one side, the hurrying? Contact with the plane and its departure, the friendship with the pilot? Their getting on board, his being told not to take off, Lena persuading him, escaping?

13. The information about Colonia, the photos taken, critique in other countries, nothing happening in Chile until the Pinochet was ousted? The information about Schaffer and his trial,
long imprisonment?

14. A different perspective on the years and Chile in the 1970s and 80s?

CASH ON DEMAND

UK, 1961, 84 minutes, Black and white.
Peter Cushing, Andre Morrell, Richard Vernon, Norman Bird, Kevin Stoney, Barry Lowe, Edith Sharpe.
Directed by Quentin Lawrence.

Cash on Demand is a very good small British film, effectively written and performed, creating some tension.

The action takes place within a bank in the provinces. Peter Cushing excels himself as a very prim manager, polishing the plate outside, making efficiency demands on his staff, even threatening them with the sack, no personal empathy for the persons on his staff, making the running of the bank go like clockwork. A good supporting British cast plays the bank staff.

Andre Morrell appears as a colonel to inspect the running of the bank for an insurance company. However, his manner is both suave and menacing and he is to rob the bank, threatening the manager’s wife and son. The action of the film is the showing of the hold of the colonel over the manager, the parking his car in the snow and bringing in the bags which are to be filled with the cash from the safe. The process goes ahead – with some moments of apprehension.

There is a complication at the end when the colonel is arrested and returns with a strict police inspector – the colonel had put some cash in the manager’s coat pocket without his noticing and this would indicate that he is part of the plan.

The colonel, who has been arrested several times, relents and confesses – the threat to the wife and son being made by tape recording on the phone – but the manager, who has been supported by his staff, discovers some humanity.

1. An interesting and effective bank robbery story? Human drama?

2. The English provincial setting, the bank, the action taking place within the bank, central area, office, stairs, vault, safe? The atmospheric score?

3. The cast, Peter Cushing and his performances, his background in horror films? Andre Morrell as the suave robber? Character actors as the bank staff?

4. The opening, the facade of the bank, Fordyce polishing the brass plate, the interiors, the arrival of the staff? Their interactions? Camaraderie, Christmas, preparations of the party? The manager, his severity, the attitude of the staff towards him?

5. Peter Cushing as Mr Fordyce, his appearance, austere, strict, prim? Coat, hat, umbrella? The picture of his wife and son? Everything neat on the desk? The formalities with the staff? Not interested in them personally? Opening the safe, getting the cash? Everything on time? His calling in Pearson, his calling in Peter, the regularity, the initialling, his interrogation? His threats to Pearson after 11 years? Meticulous?

6. The arrival of the colonel, Fordyce allowing him in, Pearson taking him in? His being the inspector from the insurance company? His elegant manner, appearance? The car, ringing in the luggage? Everybody playing up to him? The regulations, his insistence on checking?

7. The revelation that he was robbing the bank, Fordyce and his shock? The phone call and the anguish of the wife and son? The reaction of Fordyce, his fears for his family? Protocols? His response, doing all that the colonel asked him, getting the staff to collaborate? The colonel and his plan? The attention to detail, the suave manner, yet the threats? The signals out the window? The snow, the surprise of the cleaner at the window? The contents of the cases, going down to the safe, packing them, checking all the security devices? Fordyce and his being anxious, forgetting to shut doors, turning off security lights? The colonel putting money in Fordyce’s pocket?

8. The success of the robbery, the transferring of the cases to the car, the colonel driving off? The threat of one hour, Fordyce and his fear for his family?

9. The issue of ringing to check the credentials of the colonel? The phone delay, getting cut off?

10. Pearson, realising what had happened, confronting Fordyce, having called the police? Fordyce and his pleading, the rest of the staff collaborating?

11. The police, the inspector, staying for the drink, everybody saying it was a misunderstanding? The inspector, having captured the colonel? Knowing him from previous robberies? The colonel and his suave manner, implying that Fordyce collaborated? Fordyce and his story, the phoning to the family, no threats? Fordyce mopping his brother, the money falling? The inspector and his conclusions?

12. The change of heart with the colonel, explaining the tape recording, exonerating Fordyce? His previous comments about Fordyce not understanding his staff, the colonel knowing all their backgrounds, dinners, chess championships…? 5 pounds for the Christmas party? Fordyce borrowing a pound from Pearson to repay the colonel?

13. Audience response to the situation, to the charm yet the menace of the colonel? The tidiness of the plan? Disliking Fordyce and his prim and proper manner, getting more compassion for him as he endured the robbery? The touch of humanity at the end?

THE WIZARD OF LIES

US, 2017, 134 minutes, Colour.
Robert De Niro, Michelle Pfeiffer, Alessandro Nivola, Hank Azaria, Kristen Connolly, Lily Rabe, Nathan Darrow, Michael Kostroff.
Directed by Barry Levinson.

One of the interesting aspects of HBO movies is that they focus on American politics, like the dispute with the election of George Bush over Al Gore, like the campaign of Sarah Palin. They also focus on financial situations at the Global Financial Crisis, the collapse of the banks and, in this film, the Ponzi scheme perpetrated by Bernie Madoff.

The film is directed by Barry Levinson, screenwriter who moved into film direction in the 1980s and won an Oscar for Rain Man. More recently he has made television films including the Al Pacino portrait of euthanasia advocate, Jack Kervorkian, You Don’t Know Jack.

Older audiences may be familiar with the with the Madoff case. It surfaced at the time of the financial crisis. The screenplay device here is to have a journalist coming to prison to interview Madoff, giving Robert De Niro, playing Madoff, the opportunity to show us the character after his exposure. This also gives the opportunity for extensive flashbacks, De Niro showing himself as a businessman, his clients, his work with his unsuspecting brother, his reliance on his efficient assistant, Frank, Hank Azariah, his strict treatment of his two sons, not considering them capable having businesses of their own. The film also shows him in his relationship with his wife, Michelle Pfeiffer, and her belief in him as well as the disillusionment on learning the truth.

De Niro makes Madoff a complex character, rather cavalier in his attitude towards his clients, making money from them as well is one giving them advice. There are scenes where he is too stern on his sons. This has repercussions because one of them permits suicide while the other dies of cancer. This also has repercussions on his wife, her feeling a victim because of attitudes of the public and the media towards her, her feeling rejected by her sons who have rejected their father – and her attempt to do something to swim life with charity and meals on wheels.

In many ways, the story defies belief with the extensive criminal behaviour on the part of Madoff and the seeming lack of conscience on his part.

1. Audience knowledge of Bernie Madoff? The Global Financial Crisis? The US and financing 2008-2009? The aftermath?

2. The New York story, and holidays in Florida, Long Island? The world of finance, the New York buildings, offices, homes and apartments, prison and the courts? The musical score?

3. The situation, the personality of Bernie Madoff, his fraud, the Ponzi scheme, working alone, the explanation of his compulsion, his success, unwilling to draw back? The opening and his managing finances to protect his family and other friends? His dependence on Frank? The investments, the portfolios, the profits, the false documentation? Spending the money? People asking afterwards where the money was?

4. The two investigations, leading to Madoff, the interrogations, giving himself up? The FBI panels and their questions, of Mark and Andrew? His reliance on his brother? Keeping everyone in the dark, his sons, his wife? Not telling about the money but living a lavish lifestyle? The summer gathering in Montauk, the lavish meal, forcing his son to eat oysters, his expectations of this kind of life? Reality catching up with him, the meeting at the office with his sons, going home, telling his wife and sons the truth? The sons not understanding, having their own offices, homes and business, but cutting off their father after the discovery of the truth, giving him up?

5. Diane Henriques, New York Times reporter visiting him in prison, her voice-over, more personalised answering of questions? The information, the narrative, her questions, the audience’s questions? The issue of his being a sociopath, impassive, seemingly emotionless? His being upset with the comparison with Ted Bundy, in Bundy’s callous murders and trophies? Not seeing his own destroying of people’s lives in a parallel way?

6. Madoff, his reflections about what he had done, expressing sorrow, his pleading guilty, facing the people in the court, the long sentence? The response of the judge?

7. Madoff’s sons, his bond with them, their status, their companies, not being made partners, their father keeping secrets? The flashbacks, the interrogations in meetings, the sons and their exasperation? The Montauk party? Their being cut off from their father, the imposition of the law? Their wives, their children, family life?

8. The role of the media, the influence on the public? Public opinion? The insertion of actual television commentators? The news, the interpretation, information, the attacks? The interviews with ordinary people, the man attacking Mark and his car? The ordinary people in court, the devastation, losing their livelihoods? Madoff and his comment about people’s greed, implying that they deserved the losses? Audience response and sharing the response of the media, the people who lost their livelihoods?

9. The portrait of Mark, older son, relationship with his father, his own company, his reaction to hearing the truth, his relationship with his brother? The flashbacks, the scenes with his wife? The baby? His father’s treatment of him, at Montauk, the oysters? The aftermath, public opinion, the media hounding him, assuming that the sons knew everything, their lavish lifestyle? His reading the blogs, the condemnations? The scene with his reading in the dark? His becoming more paranoid? Refusing phone calls? His suicide note, hanging himself? The father-in-law finding him? His wife on the phone call searching for him? Taking the baby out of the apartment?

10. The contrast with Andrew, his greater ability to cope, his life, his family, cutting off his father? Cutting off his mother? His cancer, his being invited to talk to the University students, the questions and his answers? His father dead to him?

11. The portrait of Ruth, her devotion to her husband, the information about their courtship when they were teenagers, his being a lifeguard? Company, marrying? More than 50 years of marriage? Her shock, seeing that she had achieved nothing in her life, feeling abandoned, visiting her husband in prison? Not understanding people’s animosity towards her? The sons cutting her off? Going to live with her sister – despite her sister and husband’s financial ruin? The news of Mark’s death and her scream? Feeling that she could not do anything? The glimpse of her serving meals on wheels?

12. Madoff, in prison, cut-off, trying to ring his wife, her changing the number, seeing the news and criticisms on television?

13. Any audience empathy for Madoff? Ruth? The sons and their families? For the people and you the fraud?

FEI FAT YI MAN/ THE ILLEGAL IMMIGRANT

China, 1985, 98 minutes, Colour.
Yung -Cho Ching, Fu -Sheng Wu.
Directed by Mabel Cheung, Wanting Zhang.

The Illegal Immigrant was popular in its time, in the middle of the 1980s, the time of Ronald Reagan as US president. As regards China, this was pre-Tiananmen Square. As regards Hong Kong, this was more than a decade before the British handover to China.

On the one hand, there are some serious tones to this story, a focus on the illegal Chinese immigrants in New York City, their hard work in the factories, the concealment of their identities, the difficulties in staying, finding accommodation, continuing in work. There is also a subplot about gangs and their pressures on the Chinese.

On the other hand, the tone of the film is rather comic, in the establishment of the central character, his arrival in the US, the payments made for his immigration, the difficulties in repaying the debt and the pressures of the gangster moneylenders. However, people come up with the bright idea of his getting married, getting a green card. The various approaches to the young woman, the touch of her being haughty, final agreement to go through with the ceremony, but the couple not living together.

Needless to say, the American officials are suspicious, come to visit, there are comic touches in cover-up, desperate communications so that the appearance of marriage is upheld.

With the solution to the financial situation, and the couple getting to know each other and moving towards marriage, the film comes to a happy ending.

Several years later, Peter Weir’s The Green Card, with Gerard Depardieu as the French migrant needing to marry to get his card and stay in the United States, world audiences became more familiar with this basic scenario.

WHISPERING CITY

Canada, 1947, 98 minutes, Black and white.
Helmut Dantine, Mary Anderson, Paul Lukas.
Directed by Fedor Ozep.

An unusual film noir from the immediate postwar era. It is a Canadian film and centred in Quebec.

Paul Lukas had won the Oscar four years earlier for Watch on the Rhine. He had a very varied career with sympathetic roles as well as villains. Here he is a rich villain as well as a patron of the arts.

Helmut Dantine spent the war years often playing German soldiers or villains. He is an ambiguous character here, a musician dependent on Lukas who is used to commit a murder on an efficient journalist who is investigating him (Mary Anderson).

There is tension, some creepy sequences and some twists in the plot.

1. Postwar Canadian thriller? The city of Québec? Scenes of the city, its atmosphere? Newspapers, orchestras, composition, entrepreneurs?
2. The title? Atmosphere?

3. Michel’s story, the unhappy marriage, his compositions, rehearsals, the support of Albert Frederic, the death of his wife? His arrest? Protests? Circumstantial evidence? Frederic and his hold over him, wanting him to kill Mary Roberts? His unwillingness? His agreeing? His phoning Mary, his pretext, the flowers, going to visit her, the conversations, playing for her? His return to Frederic, the plan for killing her at the waterfall, the travelling together, the rocks, the climb? The audience not seeing his change of heart, but guessing it? The concerto, Mary not going, his phoning her, the success, his concern, the return, rescuing Mary, confronting Frederic?

4. Mary’s story, journalist, moving to Québec, eager for a story, going to visit the actress in hospital, the story about the death of her fiance, 20 years earlier, Mary researching it? The visit to Albert Frederic? His seeming hospitality? Her going to the dead woman’s apartment, finding the diary? Frederic there? The documents? The audience knowing that he was the murderer? His hold over Michel, going to the hotel, murdering his wife, covering up? Mary’s investigations, the visit of Michel, his playing the piano, going to the auditorium, recognising who Michel was? The drive with him, the waterfall? The pretence that she was dead? The collaboration of the police for the cover-up, trying to trap Frederic? Her apartment, not going to the concert, Frederic and his menace, attempts to kill her, Michel coming?

5. Frederic’s story, wealthy entrepreneur, promoting the arts in the city, Michel as his protégé? The concerto? Knowing about Michel’s wife, offering Michel hospitality? The interview with Mary, the news of the actress’s death, her fiancés murder? Going to the apartment and searching? The diary? Wanting to get rid of Mary? Murdering Michel’s wife, pressurising him, Michel drunk and not remembering? The deal, Mary’s murder, the threat of exposure and prison? The phone calls, the suggestion about the waterfall – which is where the fiance died? His being deceived, the setup, the police, the concerto, going to Mary’s apartment, the revelation of his motivations and jealousy for the murder? His death?

6. An interesting psychological drama? The credibility of the setup of the entrepreneur, using the musician as a hitman, a strong open-minded journalist? Trapping the murderer?