SHED NO TEARS

US, 1948, 70 minutes, Black and white.
June Vincent, Wallace Ford, Mark Roberts, Frank Albertson, Johnston White, Dick Hogan.
Directed by Jean Yarborough.

Here are the popular ingredients of the film noir. A femme fatale, a weak older man who can be played (but who knows no bounds for revenge), his wary son, a younger lover and all kinds of double dealings.

June Vincent is strong and attractively repellent as the woman. Veteran Wallace Ford is strong as the older man.

1. A film of the late 40s, film noir?

2. Black-and-white photography, Los Angeles, the town, hotels, apartments? Police precincts? The contrast with Washington DC, the apartment? The musical score?

3. The title, with reference to Edna? Tom grieving for his father? Edna and Ray?

4. The situation, Sam setting the fire, the body thrown out the window? Meeting Edna? The promises? His going to Washington, no contact, wanting the letters, Sam getting the apartment, later the arrangements to sell the furniture, getting the money and return ticket to Los Angeles, the gun, getting into the house, discovering the truth about Edna and Ray, hearing her lies? Following Ray and killing him? His relationship with Tom, getting the money from the bank, dividing it with Edna, money aside for Tom? The detective, the confrontation? Sam and his being shot? Edna falling from the window?

5. Edna, her personality, cold, acting the part of the grieving widow, her love for Ray, the plans with him, the femme fatale? Tom, trying to reach an agreement? His continued suspicions? The insurance examination, the police questions, her being tricked by the detective into showing that Sam was still alive? His blackmail? With Ray, love, being upset, following the detective, the confrontation with Sam, the death?

6. The detective, his secretary and Tom, the discussions, the issue of cash? His flamboyant style, dapper, shrewd? His suspicions, the phone call to Edna and discovering Sam was alive? Tom, the promises of money? Following Sam, the final confrontation?

7. Tom and his relationship to his father, to Edna, his fiancee? Meeting the detective, the cash, following Ray, the anonymous man after the shooting? The discovery that his father was alive?

8. The police, the investigations, suspicions after Ray’s death? The truth?

9. The range of twists in the short plot and cutting through audience expectations about characters and behaviour?

SUBURRA

Italy, 2015, 130 minutes, Colour.
Pierfrancisco Savino, Greta, Jean- Hughes Anglade. Alessandro Borghi, Elio Germano, Claudio Amendola Scarano.
Directed by Stefano Sollimo.


Suburra is a much grimmer picture, gangsters in Rome who want to make Ostia something of an Italian Las Vegas. It is set in 2011, November, and actually opens with the Pope (reminiscent of Benedict XVI from the back) kneeling in prayer, confiding in a young priest who has contacts with a cardinal and informs him that the Pope wants to step down (as Benedict did fifteen months later). The Vatican connection in this film is the Vatican banks and the various links to politicians and developers for the Ostia project.

The world of Italian criminals tends to be merciless although there are portraits of families and the effect of crime and murder on them.

1. The popularity of Italian gangster films? The tradition of the classics? The popularity? This film in that tradition – the with echoes of La Dolce Vita and of Poulos Sorrentino’s The Great Beauty?

2. The title, the suburb of Rome? The city of Rome, Ostia and the Port, the coast Western Mark the site for development? The scenes in the Vatican? The musical score?

3. The plot, the plan development in Ostia, making it a new Las Vegas? The political implications, the parliament and zoning? The developers and the owners? The role of the gangsters and their connections, ownership, Finance? Reliance on Vatican finance?

4. The opening the Vatican, the Pope praying, 2011, Benedict the 16th, his assistant, the consultation, the preparation of the meal? Confiding in his assistant? The plan for the Popes resignation? The actual resignation happening in early 2013? The role of clerics, information and gossip, the Cardinals, the Vatican bank, the connections?

5. The political background, Mal Grady, seen in parliament, his skills, admiration, his reputation, phoning his wife, yet going to the hotel, the two young prostitutes and his behaviour, the death of the young girl, the decision to cover it up? Sabrina at her getting rid of the body, the gypsy contact, putting the body in a lake?

6. The local gangsters, Samurai, his background, right wing, politics, financial connections? His cover, the service station, his wealth? Vatican connections?

7. The gypsies, the Anacleti family, disposal of the body, interest in the scheme, stand over tactics, collecting payments?

8. Sebastiano, the pimp, arranging parties, with his father, his father killing himself? The threats from the Gypsies? The arrangements for paying debts? Organising parties for celebrities
and politicians?

9. Dagger? Blackmailing the politician? His nickname of Number eight, his violence? Deaths, family revenge?

10. Number eight, his father, criminals, political connections, the local sellers, stand over tactics, his relationship with Viola, drugs?

11. The politician, Sebastiano, the gypsy family? Violence? The connections with Samurai? Peace and deals?

12. Betrayals, the abduction of the politician’s son?

13. The buildup to betrayals, shootouts, motivations? The seeming calm, political immunity, the Vatican giving the money, the gangsters and other owners of their profits?

14. The tangles, the possibility of prosecution, the central characters and their deaths – and Viola and her getting her revenge?

THE IMMORTAL LIFE OF HENRIETTA LACKS

US, 2017, 93 minutes, Colour.
Oprah Winfrey, Rose Byrne, Renée Elise Goldsberry, Ruben Santiago- Hudson.
Directed by George C.Wolfe.

This film is based on actual characters and events. It is based on a book by Rebecca Skloot who is played in the film by Rose Byrne.

The film takes audiences back into the 1950s, to an African- American community, to a woman called Henrietta Lacks, her illness, medical researchers using her cells. But it is also a story about the author and her researching Henrietta, interviewing family and friends, the flashbacks taking the audience into the past, the character of Henrietta, a genial woman, strong in the community, her relationship with her children, her illness and death.

What emerges is that the medical researchers at the time were so enthusiastic that they neglected to organise the permissions from the family. In later decades, members of the family, quite scattered in their characters and backgrounds, some being in prison, some with mental health problems, combined with Rebecca to interview people from the medical profession and to receive some compensation.

Because of her personality, the film does tend to focus very much on the character of the daughter, with mental problems, played by Oprah Winfrey. She gives a very impressive performance – but, in some ways, it does detract from the central focus on Henrietta Lacks herself, her life and death, and the contribution she made, after death, to medical progress.

1. True story? Of Henrietta Lacks, her surgery, the use of her cells, benefit because of the research and developments? The true story of the writing of the book?

2. The style of the film, produced by Oprah Winfrey and her presence in the film? The audience? The American audience? The wider audience?

3. The film for television, the television audience, the style of the narrative, straightforward flashbacks, enabling the audience to absorb the characters and issues?

4. The title, the book? Henrietta, her illness, surgery, her cells? The title of Hela? The development, Johns Hopkins and the research, the doctors? The using the cells, without reference to
the family? Making a profit? The family the discovery of the truth? The belief that Henrietta lived on in all those who benefit from her cells?

5. Oprah Winfrey as Deborah, her age, experience, mental and emotional life, the bond with her mother, and the early death, her place in the family, her brothers, the in-laws? Her not having knowledge of her mother, eager for the research, supporting Rebecca Skloot, the talk with her brothers, the growing reluctance, yet persuaded to continue? Rebecca Skloot and visits, the sharing of information? The homes, the town, the hospital, Deborah’s upsets?

6. Rebecca Skloot, in herself, the background information on reading, the connection with Johns Hopkins, her skill at writing? The plan, the support, research? The contact with Deborah? The talk, the excitement, the scenes of the typing, writing? Motivations and Deborah’s sometime wariness? Sharing with Deborah, suffering her attacks, the variety of visits, the old, the towns, the farms? Her brothers, the in-laws? The buildup of information about Henrietta?

7. The impact of the flashbacks, sympathy with Henrietta, life, marriage, family, the South and the times? Her loneliness, music and dancing? Illness?

8. The family, the memories, the flashbacks? The brothers, the man released from prison and his eccentricities? Rebecca Skloot and her cautions? The in-laws and the supplying of information and happy memories?

9. The visit to Johns Hopkins, Deborah, her brother, the sympathetic doctor, his explanations, looking at the cells, the microscopes? Learning what happened because of the use of the cells?

10. Deborah, satisfied, knowledge of her mother, within her family, the visit to Johns Hopkins and her being satisfied?

11. Rebecca Skloot, the achievement book’s popularity, years on the bestseller list?

12. Deborah, her dying, before the publication of the book – and the comment that she would have liked Oprah Winfrey to portray her?

THE HERE AFTER

Sweden, 2015, 104 minutes, Colour.
Ulrik Munther, Mats Blomgren, Sven Ahlstrorm, Oliver Heilman, Wieslaw Komasa.
Directed by Magnus Von Horn.

The Here After his Swedish drama focusing on a young man, John.

At the opening of the film, he is released from detention, receiving some affirmation from the authorities. His father picks him up and he returns home to his town intending to take up his life again. He has an ambiguous relationship with his father, living alone.

What emerges is that the young man has killed his ex-girlfriend and the people in the town not forgiving him. When he tries to resume his life, former friends turn against him, he fails in relationships, and the effect is to build up the violent tension within again as he confronts the people of the town.

The film has a rather grim Scandinavian atmosphere about it, in the look of the bad weather, in the characters, their isolation as well is in their aggression.

1. A contemporary Swedish drama? Teenagers, their problems? Violence and consequences? Family relationships?

2. Swedish setting, the town, homes, the school, cafeteria, classrooms and sports fields, the open road? The musical score?

3. John’s story? Audience interest? Sympathies? Antipathies? In the institution, audience wondering about his crime? The farewell, his father meeting him, the car ride? His bond with his father, his brother? Settling in at home? Restless? No mother?

4. His going back to school, the reaction of the girl, of Kim, the other boys, denunciations? Bullying and threats? Violence? The principal, handling the situation, indicating to John’s father that the majority of students, with their parents’ consent, wanted John out of the school?

5. The young girl, the supermarket, her attack on John, his later going to her house, talking with her, the reconciliation, the relationship with the dead girl?

6. John, killing the girl, girl friend, the breakup, the sexual liaison with Kim? John losing his mind, the judgement in the court – but his saying he remembered everything?

7. Growing effect on John, the girlfriend finding him difficult? Kim and his father? Kim and the violent attack? John going into the cafeteria, bloodied, to the principal?

8. No mention of John’s mother, life at home, meals, discipline, television watching? The father and his trying to cope?

9. The ultimate effect on John, on his bike, riding on the road – to what future?

DEATH OF A CORRUPT MAN/ MORT D’UN POURRI

France, 1977, 123 minutes, Colour.
Alain Delon, Ornella Muti, Stephane Audran, Mireille Darc, Maurice Ronet, Michel Aumont, Jean Bouise, Klaus Kinski.
Directed by Georges Lautner.

During the 1960s and 1970s, and Alain Delon was at the height of his stardom, appearing in a range of films by celebrated directors, making films in Hollywood, but contributing a steady flow of crime thrillers, especially during the 1970s. This is where this film fits in. He collaborated also with a number of directors including Jacques Deray and Georges Lautner.

This is a political thriller with a very strong cast, beginning with a confession by a corrupt politician, Maurice Ronet that he has killed a significant crime personality. Delon plays a lawyer who gets caught up in the intrigues, trying to provide alibis for the politician, encountering his wife who was having an affair, Stephane Audran, his own lover played by Ornella Muti, and a sinister powerbroker played by Klaus Kinski.

Political intrigue is always interesting. So are corrupt politicians and the tangles in which they find themselves, and the continued trails that are discovered which lead to unexpected criminal connections. Added to this, there are also a number of car chases, so popular in the films of the 1970s.

An interesting contribution to the career of Alain Delon and films about French politics and corruption.

1. French politics, 1970s, corruption, business, violence?

2. The Paris settings, scenes of the city, apartments, the police precincts, the streets, freeways and crashes, countryside, the railway station? The musical score?

3. The premise of civic corruption, companies, CEOs, hired thugs, diaries and blackmail, politics and politicians on the take, murder, lies, cover-up?

4. Dubaye, his life, politics, his meeting with his promoter, the argument, the diary, his telling lies about what he had done, the murder? Going to Xav, for protection, an alibi, his wife and her drinking, his mistress in the apartment, concealing the files, the instruction to Xav? His being murdered?

5. Xav, an Alain Delon character, in himself, age, the opening with the girl, his relationship? The phone call, Philippe, going to see him, listening to the story, giving him an alibi? Seeing him in action, going to the scene of the crime and being photographed, the encounter with the police, Pernais, Moreau? His always having answers? Going to the police office, his covering for Philippe, his discovering Philippe dead? His being a suspect, going to the apartment, the crash on the highway, meeting Valerie, helping her to escape, the file, protecting her, in the cafe and the street, the phone calls, the police following him? Valerie going to her friend’s house? Going to the studio, the modelling, photographing the documents? The range of pages? The decision as to what pages should be publicised, what individuals to be targeted, hypocritical politicians, immoral yet against pornography and abortion?

6. Tomski, international business, the meetings, the hunt and the shooting? His role in the corruption?

7. The variety of lawyers, the lawyer for Christiane, the various businessmen, underlings, communicating, threats? Xav, the meetings, the threats, his winning out?

8. Xav, his driver, the crash on the freeway, Xav leaving and coping?

9. Xav and the information about the killer, his being taken in by the police, Valerie and her confiding in the police? Pernais and his wanting to retire, salmon fishing? Moreau and his strong stances?

10. The station, Moreau and his motivations, righteous, killing, cleansing society, his being recorded, arrested?

11. The moral stances of the film and of the characters?

NATALEE HOLLOWAY

US, 2009, 96 minutes, Colour.
Tracy Pollan, Grant Show, Amy Gumenick, Jacques Strydom, Clayton Evertson.
Directed by Mikael Salomon.

This film for television is based on actual events. It is also based on a book written by Natalee Holloway’s mother, Beth.

In many ways the story is a familiar one, the 18-year-old graduate going with friends to celebrate in Aruba, enjoying the time away from home, her being cautious, especially with the advice of her mother. However, she is slipped a drug, letting down her guard, goes off with the young man who turns out to be the son of a wealthy man on the island. She is not seen again.

The film focuses on Beth, with an overwrought performance by Tracy Pollan of a woman in an overwrought situation. She is aggressively American, not taking into account the customs of different cultures, so aggressive talk to the police, demanding answers, kept waiting. She is exploited by the media which she eagerly embraces. And she receives some help from local Americans.

The young man and his associates are arrested, interrogated, give conflicting reports – and these are dramatised in flashbacks. Ultimately, some years later, the young man gives an interview to a journalist who is undercover and describes what probably happened – at least Beth believing him.

There is a sequel to this film, Justice for Natalee Holloway, also starring Tracy Pollan. When the young man is arrested for murder, investigations continue.

1. Based on a true story? On the book by the mother of Natalee Holloway?

2. The setting up of the situation, home, graduation, friends, going on holidays, Aruba, teenagers partying, away from home, issues of drink, boys, caution? Natalee’s mother cautioning her?

3. Natalee, at the bar, the last night, the attraction to Joran? His being a student? His slipping her the drug? The effect on her, dancing, going in the car, the friends concerned, on the beach? The disappearance?

4. The character of Beth, intense, love for her daughter, protective? Her second husband? Her first husband, Natalee’s father? Her son at home? Receiving the news? Upset, panic, going to Aruba? Having finance available?

5. The local authorities, the police, seeming lack of interest? The couple left waiting? Getting impatient? Local help, American consulate, media personalities? Beth aggressive towards the media woman exploiting her?

6. Beth, the intensity, growing impatience, making demands? Very American, not taking account of local customs and styles? Aggression towards the police? Going on the media, at every opportunity? The reaction of her husband? Natalee’s father arriving, more laid-back?

7. Time passing, no information? Joran and his friends being interrogated, his wealthy father? His friends? Supporting each other, bravado and sex talk, the contrasting testimonies?

8. The flashbacks, the possibilities of what happened, Natalee in the car, her behaviour, on the beach? Her being left? The friends coming to pick up J’soran? Their being freed? Beth going to the shop, the confrontation, the man taking out a restraining order?

9. The frustration, the years passing, the returning home? Beth’s father giving up?

10. Holland, Joran, the setup, the drug connection, the journalist undercover, the trip, Joran telling this story, Natalee having the seizure, the friend taking her body on the boat out to sea? Beth believing that this was the truth?

11. The unresolved case – in the film sequel with Joran committing another murder…?

SO DARK THE NIGHT

US, 1946, 71 minutes, Black and white.
Steven Geray, Micheline Cheirel, Eugene Borden, Anne Codee.
Directed by Joseph H. Lewis.

This film is interesting as a contribution to the career of Joseph H. Lewis, director of small budget features but with a significant reputation in his time and, especially, later. He directed such films as My Name is Julia Ross and Gun Crazy.

One of the surprising features of this film and its short running time is that it is set in France with French characters and situations as well as performers – but was filmed at a ranch in the United States.

Steven Geray was a character actor and this is one of his rare opportunities for him to have a starring role. He is a detective in Paris who is getting worn down, has not had a holiday in 11 years, is urged by the superiors who admire him to go away for a holiday. After walking around Paris, he agrees.

In the provincial town, he is attracted by young woman who, in herself, is eager to break free of the town and go to Paris. However, there is an understanding since they were children with the local farmer, Leon.

The detective is infatuated, encouraged by the young girl’s mother but told by her father that he is too old for his daughter. The plot moves towards marriage – but then come the deaths, the girl, Leon, the girl’s mother…

The detective uses all his skills to detect the murderer though there are no clues. Eventually, with the rain, there is a shoe print. There are also warning notes.

The detective returns to Paris, discusses the case with his superiors, examines the clues, sees the results from sketch artist and declares that he is the killer. The film then moves on to a discussion of schizophrenia, films of the time interested in psychological and mental states, and there is a melodramatic conclusion with the death of the detective.

1. An unusual story from Hollywood in 1946? French settings, characters, plot, atmosphere? But no mention of the war?

2. The American settings for Paris, the Surete offices, the shoeshine on the street? Travelling to the countryside, the town, lodgings, the woods? The musical score?

3. The focus on the detective, his successful career, becoming tired, his memory, not having a holiday? The concern about the officials, his walking around the city before he left, the sites, the tip for the shoeshine boy? His agreement to go on a holiday? The doctors and their opinions?

4. The first part of the film as a romance? With the film gradually getting darker?

5. The psychological aspects of the film, films on these years interested in mental states, the discussions about schizophrenia? The manifestations in the detective?

6. His arriving at the town, the welcome at the inn, the parents, the chambermaid, Nanette? The ordinary situations? His response? His falling in love with Nanette?

7. Nanette, her place in the house, her father thinking the detective was too old, her mother keen for her to move and have opportunities? Her dreaming of Paris? Clothes, opportunities? Her relationship with Leon? Since they were children? The outings with the detective, restaurants, dancing?

8. Leon, his character, the farm, his obsession with Nanette, jealousies?

9. The buildup to the wedding? Nanette and her leaving? The hunchback and his news? Finding Leon dead? The death of Nanette? The reaction of her parents? The death of the mother?

10. The detective, his concern, his investigation? The footprint, the size of his shoe? The threatening notes?

11. His concern, going back to Paris? The discussions with the officials, the sketch artist, the fingers, the shoe in the cast, the notes and the handwriting? His declaring that he himself was the killer?

12. The discussions about schizophrenia? The character of the detective? Under guard? His going back to the town, the confrontation with Nanette’s father, threatening to kill him? The police shooting him? His smashing the windows, his death?

13. The credibility of the characters, and this psychological case study?

REMEMBER THE TITANS

US, 2000, 113 minutes, Colour.
Denzel Washington, Will Patton, Wood Harris, Ryan Hurst, Donald Faison, Craig Kirkwood, Ethan Suplee, Kip Pardue, Hayden Panettiere, Nicole Ari Parker, Kate Bosworth, Earl Poitier, Ryan Gosling.
Directed by Boaz Yakin.

Remember the Titans was a huge box-office success in the United States, a film of uplift and morale-boosting with an American football setting. Unfortunately, football stories do not travel well beyond America as the rules and the plays are not generally understood. Even if the movie's issues are universal, many audiences get lost in the game sequences.

This movie is based on a true story, the appointment of a black coach from South Carolina to the Titans in Alexandria. The year is 1971, only eight years since the march on Washington and this area of Virginia (so close to Washington DC) has not come to terms with integration. This football season, as with so many sports activities, was a significant contributor to the breaking down of prejudice.

Producer Jerry Bruckheimer is best known for his gung-ho action features like Top Gun, The Rock, Con Air, Armageddon, Pearl Harbor, so it is surprising to see him back a sports and inspiration movie. The director, Boaz Yakin, had previously made smaller, independent movies, Fresh and A Price Above Rubies, which also tackled life among minorities, African American city-dwellers in Fresh and the New York Jewish community in Rubies.

With Denzel Washington as the coach, the film can't but be inspirational, even if he is tough, demanding and unrelenting. The film offers a collection of black and white students who are forced to mix at a two weeks' training camp and who, gradually, are forged into a team, to the admiration of the townspeople. Will Patton is the white coach who is passed over but who becomes a true friend to the newcomer.

The film is a mixture of racial drama, sports action, emotional episodes American style - which, wearing its heart on its sleeve, provided too much overt sentiment to many non-Americans who could not empathise with the 'high-minded earnestness' (the British Sight and Sound critic) of the screenplay.


As one looks at the cast list in retrospect, it is interesting to see what success Hayden Panettiere has made of her career and to discover that one of the football players is Ryan Gosling, just before he made The Believer and moved into starring roles.


1. Impact for an American audience? American football audience? Audiences over the world appreciating the themes rather than the sports play?

2. Virginia, 1971? The towns, the schools, training camps? Stadiums, football play? Homes? The musical score?

3. Race issues in retrospect? The situation in 1971? In the aftermath of the March on Washington, Martin Luther King and his assassination? This film dramatising the innate hostilities of ordinary people? Non-acceptance, verbal insults, segregation? The implication that African- Americans were less than human?

4. The football themes, young American players, their ambitions? Selection, the details of training, hard training, boot camps? Discipline? The games, the game plays, challenges, victories?

5. The introduction to Herman Boone, the Denzel Washington character? Strong-minded, football coach in the 1960s, Carolina? Moving to Virginia? Official hostility? Official intolerance? Authorities being pressured by changing racial situations?

6. Yoast, coach, his being replaced, the political pressures, his friends and associates? His relationship with his daughter – and her prejudices? The challenge concerning his moving on, the request that he stay? The difficulties, observing Boone, working with him, overstepping his authority, yet his patience, hard work?

7. Boone, moving to Virginia, his wife, his children? His daughter and the acquaintance with Sheryl? Sheryl and her keenness on sport, the daughter and dolls, not interested in sport? The gradual bond between them? The brick through the window with both girls in the house? At matches, coming together? Children prejudiced and the breaking down of prejudices?

8. The local team, white, the characters, Gary in charge? Not wanting to play? The challenge, their being forced? Boone and his confrontation with Gary at the bus, the Martin Lewis jokes? The effect of segregation? Clashes, verbal insults? In the bus, separate? Getting out of the bus, their being paired, black-and-white, in the bus, roommates? Boone telling them to get to know all about the other person? The various duos, the conversations, the resistance, breaking down resistance? The two weeks of the boot camp, the difficulties in training, hard? Yoast and his observations? The gradual working together, the return to families?

9. The footballers, the focus on different individuals, Gary and Julius and the clashes, confrontations, talking, becoming friends? Gary and the challenge from Emma and her friends, his choice of the footballers? Wanting Julius to meet his mother and her resistance? Gradual changes, Julius and Gary wanting him after the accident? Supporting Gary’s mother at the funeral?

10. Louie, large, not prejudiced, loving football, bursting into song, cheering people? The coach and getting him higher grades and into college? The other white players? Ronnie and his support? Sunshine, his hair, the military, his father, the throw, accepted, the kiss, his play, with Petey? Having to step up and achieving the player of the match?

11. The African- American players, Julius, strong, stern? Rev and his capacity for play, friendships? Petey, cheeky, younger, substitute play for Yoast, having to sit on the bench? The interactions with Sunshine?

12. The authorities in the town, Yoast in the Hall of Fame talk, the pressure on him, wanting to get rid of Boone? His taking a stand, losing his opportunity, talking to Sheryl? The various fathers, the various town councillors and businessmen?

13. The opening of school, segregation, hostilities? The fights in the corridors? Julius and Gary calming things down? The opposition teams and their attitudes? The decision to sing and perform before the matches? The bewilderment of the other teams?

14. The series of victories, Boone and his talk of perfection, the challenge and the final match, everyone doing his best? Winning? Yoast and the tactics and the players?

15. Emma, her prejudices, shaking Julius’s hand before the match?

16. Gary, the sense of achievement, in the car, the crash, the injuries, hospital, talking with Julius, his ambitions?

17. The final information about the careers of the various characters?

ALI’S WEDDING

Australia, 2017, 110 minutes, Colour.
Osama Sami, Don Hany, Helana Sawires, Rodney Afif.
Directed by Jeffrey Walker.

What to say first? That Ali’s Wedding is entertaining or that Ali’s Wedding is topical? For Australian audience – especially those who live in Melbourne – it is very entertaining. For Australian audiences everywhere it is very topical.

This is the story, a true story – as the advertising tagline says, ‘unfortunately’ – of a family who came from Iraq, were ousted at the time of Saddam Hussein, took refuge in Iran but eventually migrated to Australia, arriving in Melbourne and settling with the Muslim community in the inner northern suburbs of the city. In case anyone was wondering about the truth of the story, there are many photos before the final credits of the actual characters on whom the story is based.

At the centre of the story is Ali, played quite engagingly by actor and comedian, Osama Sami, who also collaborated with highly-awarded Australian writer, Andrew Knight, on the screenplay.

The tone is set instantly – an open paddock outside Melbourne, a tractor coming over the hill, Ali in wedding clothes frantically driving the tractor and then the police in pursuit.

In reality, most Australians have very little idea about migrants, refugees, asylum seekers from the Middle East. There have been a number of powerful documentaries about the plight of boat people sent to Manus Island and Nauru and the conditions they have experienced there and the stances of Australian politicians and public opinion.

But, what about day-to-day living in Melbourne? The older generation, in this case father and mother, with Don Hany impressive as the father, leader of those who gather at the local mosque (men in one part, women in the other) who pray, discuss, and put on plays. Values from original countries are preserved. Yet, the importance of multicultural interactions in Australia are highlighted. And, of course, this is especially true of the younger generation – Aussie clothes, Aussie accents and Ocker language.

One of the main themes of the film is actually truth and lies. Ali walks in the shadow of his reputable father and the expectations of his mother, and memories of his older brother who gave his life to save Ali when he stepped on a mine back home. It takes only one small lie and the consequences are enormous. Ali claims that he got into medicine at Melbourne University with a very high mark, better than the proper son of the very proper alternative religious leader at the mosque. But he does give credit to the highest mark obtained by Diane, originally from Lebanon, working in her father’s takeaway shop. And Ali is infatuated, awkwardly visiting the shop to make contact.

So, some adventures at Melbourne University when Ali attends, despite his mark, and gets tangled in lectures and tutorials – rescued from one by his eager mother and her friends who have wedding plans well in hand. Ali is unwilling. He dreams of Diane. What he gets advice from his friends about how to deal with the tea ceremony and the betrothal, he is so eager that he gets it wrong, everyone initially aghast, but the prospective father-in-law delighted that Ali seems so eager. The wedding of the title, therefore, is that between Ali and his betrothed.

Not that a lot of drama does not happen in the meantime, Ali exposed, humiliated, the interesting way in which the community treats him (surprisingly forgiving), but Diane…

And so, we are back at Ali on the tractor and what has happened at the wedding.

Some audiences might feel a bit apprehensive about the broadly drawn characters and dialogue, fearful that this might be something of a putdown. But, the spirit is so exuberant, inviting the broad audience to share in the satiric touches, the spoof, the funny situations, even the cultural customs and the overdoing of them, that most audiences will be satisfyingly entertained and horizons opened towards Muslims just that bit more widely. Of course, getting to know people makes all the difference.


1. A topical Australian comedy? Popular? Civil issues? Race issues? Religious excuse? The Australian audiences? Universal audiences?

2. The film as autobiographical? Osama Sami, his life, writing, acting? The collaboration with Andrew Knight and his reputation? The final photos of all the characters? The tagline: true, unfortunately?

3. The background Iraq, Saddam Hussein, the Baathists and the revolutionaries? The family fleeing to Iran, life in Iran, harshness, leaving?

4. Melbourne, the suburbs, the home, the streets, the mosque, the shops, the fish and chips, the hoardings for Arabic meals? Arab Melbourne? The University of Melbourne, the scenes, the grounds, the rooms? The musical score?

5. The opening, Ali on the tractor, in the wedding suit, the chase, the police, the crash – and the flashbacks?

6. Ali and his mother and father? His heritage? The father and his religious leadership, the customs in the home, dress, the mosque, attitude towards God and providence? The flashback to the boys in Iraq, the older boy standing on the mine, saving his brother? Expectations on Ali? His brother assimilating into Melbourne life and language and jobs, the sister born in Australia, Muslim customs, Australian customs and language?

7. The comment about lies, Ali and his study, studying for the test, sitting for the tests, the attraction towards Dianne, seeing her in the shop? Her father and his expectations? The result of the test? At the mosque, the young man getting 96.2? Ali telling the lie, the better mark? The celebration, his speech about different perspectives, potatoes, pronunciation and differences?
The photo on the wall? The mother, everybody celebrating? And the irony that Dianne got 99 and nobody mentioned it?

8. Dianne, her work, the strict attitudes of her father, not going to University? Ali, coming to the shop, explaining the need for doctors, for Dianne’s father and his arthritis, his giving permission?

9. At the University, the three going to the lectures, the lectures, tutorials, Ali and his ignorance, Dianne coaching him, pressurising him to learn? The tutorial, interrupted with his mother and the suit?

10. The parents taking Ali to visit the other family, Ali ringing to the garage for advice, about the drinking of the tea, to avoid betrothal? His drinking the tea, the father’s enthusiasm, betrothed, the girl and her being attractive, the family and their characters?

11. The play, the musical, the women separated from the men, the men drinking coffee, the women chatting? His father and his writing plays? The new play, Ali as Saddam Hussein, the songs, the rehearsals, the satire?

12. Ali and his friends, growing up, the Muslims, the ordinary Australian and his comments? The friend worked in the garage?

13. Ali, the exposure, the proud father, his religious stance, with his son? Ali and his admitting the truth? The effect on his father, on his mother, on the community? On his fiancee’s family?

14. The community dealing with Ali, the gathering, the taking down his picture, yet the support of him as a person? His father standing down as religious leader in the mosque, the serious father taking over, sitting on the high chair? The community rebelling and reinstating the father? The other man going off in a huff after denouncing the community?

15. Dianne, her relationship with Ali, in love, the outings, sunsets…? Ali and his talking to his father, listening to his father solving all the cases, casuistry, interpretation of the law? The issue of the personal wedding, the commitment for six weeks, the commitment on the railway station, the two witnesses on the train coming? The background of Islamic divorce and the husband’s declaration, three times? In the casuistry of saying it many times but only the one thought?

16. Dianne humiliated, her father’s reaction, out of the University, going to Lebanon?

17. Dianne, her denunciation of Ali? His being hurt? Out of studies, back to the shop? His plan, going to the airport every night, to meet the flights from Lebanon? The many disappointments?

18. The final visit, her arrival, being reunited?

19. The true story, the photos of the various characters and the story of what happened?

CORRUPTION

UK, 1968, 91 minutes, Colour.
Peter Cushing, Sue Lloyd, Noel Trevarthen, Kate O' Mara, David Lodge, Anthony Booth.
Directed by Robert Hartford- Davis.

Corruption is rather an ugly film – even though its central concern is physical beauty.

It was released in 1968 and is very much a film of its time, especially in the swinging London, Carnaby Street psychedelic visual style, models and miniskirts, bright colours, leery photographers…

And, at the centre of this is, of all people, Peter Cushing as surgeon Sir John Rowan. For some moments, Cushing at 55, has to act as a romantic lead, passionately kissing a glamorous model to whom he is engaged – but not really his cinematic style. And he looks less at home, after several hours of surgery, at the swinging party.

There is a confrontation with the photographer, played by very young Anthony Booth (from Till Death do us Part, and Cherie Blair’s father!). The model is disfigured and Sir John spends the rest of the film attending to surgery, at first his stealing a dead woman’s pituitary gland and wreaking wonders, but it soon fails and, desperately, he kills a prostitute (Peter Cushing wrestling with a bare-breated woman and gorily stabbing her and decapitating her), then a woman on the train, continually urged on by the ambitious and vain fiancee.

There is a somewhat vicious climax, a substantial body count – especially as the huge laser is switched on, swinging indiscriminately and causing mayhem and death.

Peter Cushing had become a key figure in the Hammer horror films and was to continue at Hammer and in Dracula and other films throughout the 1970s.

Dir Robert Hartford- Davis made a number of these horror films as well as in blacksploitation films in the United States.

1. Late 1960s horror call film? The psychedelic look and echoes of Carnaby Street and the look of the swinging 60s? The story and its time? Looking dated?

2. The hospital setting and surgery? The swinging party, guests, clothes, styles, photography? Homes, the coast, the railway, the trains? The cliffs? The musical score – in terms of the time?

3. Peter Cushing as Sir John Rowan? Famed surgeon, hours in the operation room, Steve and his admiration and support? Falling asleep, the phone call from Lynne, going to the party?

4. Peter Cushing, aged 55, acting against type, romance, kissing, at the party? His looking uncomfortable in this role?

5. The party, the photographer and his brash approach, the model with no thoughts in her head? Lynne, the party, dancing, wanting to stay? John and his clash with the photographer, the fight, the overturning of the light, burning Lynne’s face?

6. Lynne, in surgery, the visit of her sister, John and his support? Lynne’s character, her vanity?

7. John, his studies, surgery in ancient times, contemporary developments? Steve and his questions? The dead woman, taking the pituitary? The surgery and its success? Lynne and her revival? John and his lack of ethics, his devotion to Lynne? The challenges from Steve?

8. The failure of the operation, Lynne and her desperation? The effect on John, his obsession, decision to kill the woman, going to the prostitute, the struggle with her, the brutality of her death, his taking her head? The further surgery? The continued need? Terry and her visit, the loss of opportunity to kill her? Going to the railway station, on the train, killing the woman in the carriage, her head, the body under the railway seat? Police investigations?

9. Lynne, her vanity, recovery, going on the cruise with John, the sudden return, the corruption of her face, the continued operations, her growing desperation? Urging John on? No scruple?

10. Terry, the visit, being taken in, the meals? The irony of her casing the house, the plans for the robbery? Her disappearance, the gang coming in, the threats to John and Lynne, then using them to force John to operate despite his scruples and his nerves?

11. The sister, her visit, discovering the truth, her being chased through the rocks, to the sea, death?

12. The confrontation of the group, the touch of madness? The woman doing the cooking and discovering the head? Lynne persuading the young man to go with her, pushing him over the
cliff?

13. The return, crisis, Lynne switching on the laser, it swinging wildly, and killing everyone, John tried to turn it off, failing?

14. The final focus on John, his face, the return to the party – what happened and truth, whether his jealous imagination or reality? His corruption?