TWICE BORN

Italy, 2012, 127 minutes, Colour.
Penelope Cruz, Emile Hirsch, Adrian Haskovic, Saadet Aksoy, Pietro Castellitto, Jane Birkin, Sergio Castellitto.
Directed by Sergio Castellitto

Twice Born is a complex film about war in the Balkans in the 1990s.

The screenplay was written by Margarita Mazzantini and Sergio Castellitto, her husband, who directed the film as well is appearing as Penelope Cruz’s husband.

The film moves from the 1990s to 2010 in Italy.

Penelope Cruz plays Gemma, a young Italian woman going to the Balkans for research, meeting a group of art and performing types before the outbreak of the war. She is a good friend of one of them, Gojcos, Adrian Hascovic, who introduces her to an American photographer, Diego, played by Emile Hirsch. They are attracted, but she returns to Italy, is married, then divorces, with Diego coming to Italy, with the approval of her father, and they are in love. She becomes pregnant, loses the child, learns that she is sterile, a traumatic feeling, and the couple approach an agent, played by Jane Birkin, about adoption. Because Diego has a criminal career and history of drugs, they are refused. He returns to the Balkans and she follows, their choosing one of the artistic colony to be a surrogate mother for their child.

In the 2010 sequences, Gemma is seen with her son, Pietro (Pietro Castellitto, son of the director), the return of the friend from the Balkans, and their going to an exhibition of Diego’s photos.

When Gemma returns to the Balkan she finds that the surrogate mother is still alive, married to Gojcos. Gemma is afraid but the woman wants to glimpse her son – there is some kind of meeting of minds, the surrogate mother explaining Diego’s death. And the audience is left to wonder whether Pietro understands that he has two mothers.

1. A Balkan story, the Balkan wars of the 1990s? Suffering? War correspondents and photographers? The Italian sequences in the 21st-century?

2. Bosnia, the countryside, Sarajevo, the vistas of the city, in peace before the war, the war and the ravages? Postwar and rebuilding? The contrast with Italy, peace, Rome, apartments and streets? Rome in the 21st-century, the photo gallery? The musical score?

3. The title, in reference to Pietro? To Gemma, Diego, Aska? Pietro growing up – and having to mothers?

4. The different times, the into cutting, the 21st-century story, Gemma and her husband, his role in the police, his knowing her story, bringing Pietro? Pietro and his visit? Gojco arriving, being alive, the meeting, the visit to the gallery, the invitation for them to return to Sarajevo?

5. Before the war, Gemma, Italian, going to the Balkans for research, language? Meeting Gojco, young with bravado, the travel and his taunting her in his vehicle, getting out on the bridge? The bonding? Introducing her to the commune, himself as a poet, the musicians, the arts? Their isolation, not ready for war? The impact of the war on them and their being involved?

6. Diego, with the group, the introduction to Gemma, the attraction, their sharing so much together, the bonding, love? Diego, his character, his past, the harshness in the family, his difficulties, his drug experience, the police record? The later effect of this in the interview with the adoption agency, the agent and her sympathy, but his record against him and not being able to adopt?

7. Gemma, going back to Rome, her wedding, bond with her father, her husband’s music, the distance, the divorce? Diego arriving, on the bike, bonding with her father, the time together, sharing, proposal, in love, pregnancy, the miscarriage and the experience and its effect, her depression, going to the gynaecologist, the tests, the announcing of her sterility? Having to cope while wanting to be pregnant? The effect, acceptance, the attempted adoption, the sympathetic interviews, their capacities for adoption – but the refusal?

8. The return to Sarajevo, the war, activities, seeing the suffering, Sebina’s mother and her giving birth, the soldiers and their violence, the artist wheeling his father and defying the snipers but being shot? Symbolic of the wall?

9. Gemma and her choice, discussions with Diego, possibilities for surrogacy? Aksa, the choice, Aska as a musician, checking on her, agreement on the deal? The effect on Diego, his initial reluctance, arranging the encounters, sexuality, pregnancy, the changes Aksa? In Diego? The birth, his assistance, giving the baby to Gemma, her holding the baby? Going back to Rome and bringing her son up?

10. Diego, his return to the war, its effect on him, in danger, the photos? News of his death? Aksa’a later relating the death, the flashbacks, his standing on the cliff, his death?

11. 21st-century, the exhibition of war photographs, the effect on Gemma, for Gojcos, for Pietro – and his hesitation and acknowledging Diego as his father?

12. Gemma and Pietro, going to Sarajevo, her husband a green? The meeting, Gojcos and Aksa, her survival, Gemma’s realisations, fears of losing her son? Aksa wanting to see him? Gemma’s reactions, listening to the story of Diego and his death, relenting?

13. Aksa, watching her son, tenderness?

14. The farewell, Pietro and his two mothers, realisation or not? And some resolution for the dramatic issues of war, love, pregnancy and stillbirth, surrogacy?

PARIS CAN WAIT

US, 2016, 93 minutes, Colour.
Diane Lane, Arnaud Viard, Alec Baldwin.
Directed by Eleanor Coppola.

If you ever wanted to travel through the south of France, from Cannes, through some of the small towns, through Lyon to Paris, then this might be the film to see for the time being. And, if this part of the world is familiar, audiences will probably want to revisit.

This is a very leisurely film. The central character, Anne had intended to fly from the Riviera to Paris but has an ear infection and accepts the offer of a lift from a friend of her husband, both being film producers.

In fact, this film is so leisurely that one of the reviewers was champing at his bit throughout the whole film, urging them to get a move on, stop the delays – and agreed that he would have preferred the film to have them get in the car in Cannes and do an edit cut for their immediate arrival in Paris! But, look what he would have missed.

Diane Lane is always an attractive screen presence and this is her film. In her past, she has appeared in four films directed by Francis Ford Coppola. Paris Can Wait is directed by Coppola’s wife, Eleanor, who has made documentaries and accompanied her husband as support and photographer during his 1970s filming of Apocalypse Now in the Philippines. The production notes advise that Eleanor Coppola experienced a similar situation and did go for the drive from Cannes to Paris. And, Diane Lane’s Anne is a photographer and would have liked to have had photography as a career.

There is a narrative, but, keeping the French tone, it is soufflé-light. And, it is the perennial French/ American theme of French sophistication and sense of superiority over the very uncultured and up-front about it, Americans. The French stance is embodied in Jacques (Arnaud Viard), the rather happy-go-lucky producer, bad driver in his old car, and flirting unashamedly with Anne.

Anne has been married for 22 years to Michael, a busy, very busy, film producer, who has to go to Budapest and then phones to say that he has to go to Morocco where a very talented but impossible director is hugely overbudget. He is played by Alec Baldwin. We see this pressure on Anne right from the beginning as they prepare for the trip and he is continually getting calls. They do love each other but, for Anne, there is a fair amount of exasperation. She does enjoy the trip, is certainly very wise to Jacques’s preoccupation with her, and it all makes her think a bit more deeply about her relationship with Michael and also her daughter who is at college.

On the one hand, there is plenty, plenty of scenery, the countryside, rivers and lakes, as well as the towns and some Roman ruins including the aqueduct. That may be enough for some audiences but, this is also a film about food, French food, beautifully cooked, information about the ingredients, elegantly served – and always in the best hotels and restaurants. With dinners and lunches like this, obviously Paris can wait.

At a midday screening, there are quite a number in the audience, older than they used to be, but really enjoying this reverie in France.


1. An American story? A French story? A soufflé entertainment?

2. The director, her experience with her husband, her being a photographer, her documentaries, her first feature film? The family and their filmmaking, Zoetrope Company, Francis Ford Coppola, Roman Coppola, Sofia Coppola?

3. The French settings? The film festival in Cannes? The scenes of Cannes? The coast and beaches, the affluent accommodation? The range of French countryside, Provence, the towns, Roman ruins, the aqueduct? The visit to Lyon? The restaurants, the Lumiere Museum? Ordinary scenes, the roads, the car breakdown, the picnic by the water, the new car, driving through the night? The visit to the church? Paris, the street, the apartment? The audience immersed in a French experience? The musical score, the songs?

4. The situation, Michael, producer, at the festival, the phone calls, budgets, director’s whims, filming in Morocco, his need to go to Budapest? His being on the phone? His relationship to Anne? The years of marriage? Love, but busy, the promise of a holiday, but…? His character, his continued phone calls, anxious, especially about Jacques, his love for Anne?

5. Diane Lane’s screen presence, lively, charm, beauty? The introduction, the hotel, her taking photographs, her ear infection, Michael being busy, the suitcases and her taking them down? The drive to the plane? Jacques And his charm, producer? Her being advised not to fly, Jacques and his offer for the drive, her accepting?

6. Jacques, producer, Frenchman, typical or not? His charm? Flirting, seductive? His plan, the drive to Paris, his attraction to Anne? The irony of his difficulties with his credit card – and his final repayment? Audience’s suspicions? His lavish expenses? His not being married, his liking children, his expertise on food, French pride in cuisine, the various meals, his dealings with the staff, his knowing managers, the women, the director of the museum and his relationship with her? His delaying the trip, the various excursions, the meals? His comments about Anne as an American – and trying to educate her according to gourmet tastes? And his frequent comments about the difference between American sexual behaviour And French attitudes?

7. The variety of locations, audiences appreciating them, Anne and her photography? The meals, the styles, the service? The wines and appreciation?

8. The effect on Anne, the attraction, Michael and his phone calls, her girlfriend ringing? Her being wary, observing Jacques, especially with the woman in Lyon?

9. Arriving, the apartment, his return with the roses – and all the roses throughout the trip? Anne and her apprehensions about his driving? The kiss, Jacques’ expectations, Anne and her breaking off? His note, making the appointment in California – And the gift of the roses and the message?

10. The difference between Americans and the French in behaviour and attitudes? The effect of the Americans on the French? The French on the Americans?

CINEMA VERITE

US, 2011, 90 minutes, Colour.
Diane Lane, Tim Robbins, James Gandolfini, Thomas Decker, Patrick Fugit, Lolita Davidovich.
Directed by Shari Springer Berman, Robert Pulcini.


Cinéma Vérité is an interesting HBO film for television. The premise is the origin of Reality Television in 1971.

James Gandolfini portrays Craig Gilbert, a successful documentary maker who pitches the idea to television executives in 1971 of having a series focusing on an actual American family. He scouts in California and chooses the Loud family, Patty the mother, Bill the father and five children. Ultimately, they agree to the experiment.

Diane Lane is Patty, Tim Robbins is Bill and Thomas Decker is the oldest son, Lance, a rather flamboyant gay young man, especially for this period.

Everything is set up in the Loud home, with Patrick Fugit as the cameraman.

In many ways, the development of the series goes as expected – and as Craig Gilbert hoped. However, the cameraman has ethical scruples in filming some of the sequences, hesitating but told to get to work by his boss. In the meantime, the executives look at the material but want some action.

Patty and Bill have been married for 22 years. It emerges that he is a philanderer and she has been very patient. The children are devoted to their father, Lance going off to New York to stay at the Chelsea Hotel immersing him in the gay culture. Two boys want to form a band and what the littlest girl loves horseriding.

There are scenes of Patty visiting Lance in New York, a lot of homes sequences, but Bill is more and more absent, having relationships, especially with the dress shop owner, Lolita Davidovich. This builds up to a climax, Patty being interviewed alone about her situation, her wanting to break the marriage with Bill privately, urging one of her sons to explain the situation to him but he can’t. This means that the ultimate confrontation is on film.

Subsequently, Patty and Bill go on television programs, especially, as seen here, the Dick Cavett Show with a fightback about the intrusion into their privacy. Craig Gilbert did not film again. The final credits have photos of the actual characters and an explanation of what happened to them – with Lance dying of HIV in 2001 but wanting his parents to come back together, which they do.


1. The significance of “Reality Television� since the 1970s? Origins? Now all-pervasive?

2. Television at the beginning of the 1970s, executives reluctant about the experiment and expense for Reality Television? The investment, filming, the editing? The issue of intrusion into people’s lives and privacy? Finding drama and conflict? The response of audiences?

3. The excerpts from the actual television series, the Loud family, the interviews, the scenes? The information about the consequences of the program? The final information and pictures of each member of the family and the explanation of their subsequent careers?

4. The visual style of the film, the highlighting of television programs, framing, titles? The reality of the producer, the camera team in the house, the setup? The filming of the family? The audience watching the filming of the filming? And the disputes between cameraman and producer? The ethical issues?

5. Craig Gilbert, his personality, making documentaries? His interest in filming and American Family? His play with the executives? His seeking out of a family, his friend, meeting Patty Loud? The discussions, her being persuaded? The discussions with Bill? The discussions with all the children? Gilbert and his motivations, friendliness with Patty, the visits, the discussions, giving her information about Bill? His argument with the executives? His wanting drama, his choosing the Loud family for his own agenda? The clash with the cameraman? The final product, its success – but the last film that he made?

6. Patty Loud, Diane Lanes performance? 22 years of marriage, California, the number of children, bringing them up? Her relationship with her husband, his work, being away? Her place in Santa Barbara, neighbours, friends, Val and the affair? Her agreement? The involvement of her brother and his wife, their supportive presence of the time of the breakup?

7. Bill, his personality, the marriage, away, his work, relationships, the filing cabinets and the files of photos of women? Interviewing starlets? Promising work? His relationship
with Val – and their both being sunburnt? His agreement to the program?

8. The various children, Lance, flamboyant style, going to New York, his partner, the Chelsea Hotel and his mother’s visit, taking her to the drag show? The plan to go to Paris, patronage, the audition and his singing on the piano? His return home? The family acceptance of his homosexuality or not? The television audience and homophobia?

9. The boys, the band, practice, their hopes? The girls, younger, horse riding? The relationship of the children to their mother? To their father?

10. The cameraman and his wife, setting up the house, the flashbacks to their marriage, ethical stances, the clashes with Craig Gilbert? His ordering them back, their assistant?

11. The various domestic scenes, ordinariness? Patty and her visit to New York City, the Chelsea Hotel, the drag show and her reaction, wary about her husband knowing? Bill and the discussions at home, smiling, always going away on business, Patty hoping that he would be home for the show?

12. The surfacing of the tensions, Craig Gilbert knowing this, Patty and her exasperation, her meeting with Val, the other evidence about her husband’s affairs, unlocking the filing cabinet? Craig and his giving her information? Her decision to go public, telling the children privately, hoping that Grant would pick up his father at the airport and tell him, his not doing this? The filming of the discussion, Bill, surprised, moving to the hotel, the room already booked?

13. The interview with Patty, her deciding that this would be valuable for American audiences, American women, explaining her situation and the 22 years of marriage? His failure? Her children?

14. The television programs of the time, especially the Dick Cavett Show and the commentary? Having the family all together, the interviews? The meetings, the decisions to fight back, the various programs, books? The showing of the actual couple and family along with the actors in the film? The subsequent history, Lance and his dying of HIV and his wish that the family get together again? The business successes of the children, of Patty and her writing, Bill? And their getting back to live together?

15. Audience interest in Reality Television – and its influence on viewers over almost 50 years?

THE BIG SICK


US, 2017, 120 minutes, Colour.
Kumail Nanjiani, Zoe , Holly Kazan, Hunter, Ray Romano.
Directed by Michael Showalter.

There has been a film, something of a classic, called The Big Chill. So, there is no reason that there shouldn’t be a film called The Big Sick – although that is not an immediately attractive title. But, there is no false advertising here, at the core of the film is a significantly big sick.

This is one of those films where a reviewer offers an initially cautionary note. There will be some audiences who are immediately attracted by the central character, Kumail, played by, who co-wrote the script. He is an immigrant, along with his parents and his brother and his brother’s wife who have come from Pakistan and settled in Chicago. While they have settled in Chicago, they certainly keep many of their Pakistani customs, closeness of family, meals together, food and tastes from the old country, and, to Kumail’s continual discomfort, arranged marriages (where mother announces during meals that some young woman has just “dropped in� – an audition for a potential arrangement).

Some audiences may find that intriguing from the word go and the discovery that Kumail tries to be a stand-up comedian in a comedy club.

But, the reviewer then needs to say that this is a film which will probably grow on the audience, as it allows us to know the characters better, not always admiring Kumail, but getting to know Emily (Zoe Kazan) whom we see first calling out to Kumail during his act, which he interprets as heckling and challenges her on it. But, before you can say Pakistan, they have gone to his apartment, a sexual encounter, relationship.

There are two more developments however. An insensitive breakup on the part of Kumail and a sudden phone call to let him know that Emily is in hospital. In fact, for most of the film, Emily is in hospital, in an induced coma, doctors puzzling over diagnoses, and Kumail having to stand in as an authority for Emily’s surgery though they have broken up.

The other central characters in the film are Emily’s parents, Beth and Terry, from South Carolina. They are played by Holly Hunter and Ray Romano, Holly Hunter always able to do the acerbic with some forcefulness and Ray Romano, possibly doing a variation on Everybody Loves Raymond, but very effectively, a good man, loving his wife and daughter, put upon, and trying to deal with Beth’s domination as well as decisions about his daughter’s surgery and prognosis.

Part of the drama is that Beth does not like Kumail at all – at all. She is brusque, wishing him away. She knows about the breakup and is very angry about it. Terry is much more sympathetic and appreciates what Kumail is trying to do. They eventually have some heart-to-heart conversations.

So, while Emily is in hospital in the coma, and Kumail is trying to fend off the continual visits of eligible girls who “drop in�, there is the story of Kumail and his attempts at stand-up comedy, various sets that he performs, and the group of friends that are continually trying out in the club. Audiences will enjoy the sequence where Kumail reluctantly invites Beth and Terry to the club and a very WASP member of the audience heckles – and receives the full brunt of Beth’s anger and disapproval.

Of course, the drama is the question of Emily’s illness, her possible recovery and, if she recovers, what will she think about Kumail because her last memories will be of breaking up with him and her being hurt.

It is not meant to be a spoiler because we read the credits at the beginning of the film but, in fact, the screenplay was written by Kumail and Emily. During the final credits, there are photos of the real characters, including the Pakistani family.

As has been indicated, this is a film which you need to give time to and it will very likely grow on you.


1. The title? Literal sickness?

2. The Chicago settings, the Pakistani family home, the American family, comedy clubs, apartments, the hospital? The musical score, songs?

3. The couple and the true life story, writing the film, Kumail performing? The final photos at the end of the couple and their families?

4. The focus on Kumail, his voice-over, his boyhood back in Pakistan, his family, the awkward boy, glasses, criticised? Going to the United States? The whole family migrating? Father, mother, brother and wife? His life in America? His apartment, his roommate? His driving? The Comedy Club, his friends and their performance, the boss?

5. The range of comedy the club, the sets, Kumail, the girl, his friend, Chris and his not making people laugh? The scouts, the competitions for intercity and international challenges?

6. Emily at the club, her intervention during his act, Kumail’s reaction? Interchange with her, rudeness? The bar, talking, their going home together, the sexual encounter? The talk, the nature of the relationship, the problem with arranged marriages with Pakistani families? The clashes with Emily, the break, her being hurt? His dating of women?

7. The family, the arrangements, girls dropping in, during meals, even families, the girls being tested, Kumail and his reactions? His not wanting an arranged marriage?

8. The phone call, Emily sick, his going to the hospital, the doctor pressurising him to sign the document as her husband for procedures to go on? His presence throughout her illness? The phone, her thumb print to open the phone, his ringing the parents?

9. Beth and Terry, their reactions, Beth and her harshness, her mothering of her daughter, putting Terry down? Her reaction to Kumail? His presence, her wanting him to go, eating his meal separately, Terry inviting him over, the gradual mellowing?

10. The situation at the hospital, the range of doctors, the consultations, the diagnoses? The need for surgery? The puzzle about the illness, keeping Emily in the coma? Beth wanting to transfer her to a better status hospital, Kumail’s reaction?

11. At the club, his not wanting Beth and Terry to go, their going, the heckler and his rudeness, Beth and the vitriol of her attack, her changing attitude towards Kumail?

12. The solution to the problem, the diagnosis? Emily waking up, resentful of Kumail, harsh towards him, his photo of all the passes and his presence during her illness? Her not wanting to see him again?

13. The gradual recovery, with her parents, greater stability, rehabilitation?

14. The parents talking, Terry staying with Kumail, confessing his infidelity and whether this was the right thing to do? Beth welcoming Terry to the bed?

15. Kumail, at the club, late, his anger at the takeaway food, wanting the cheeseburger with four slices of cheese (Beth’s earlier complaint), challenging the man serving and its being his first day? Late, the bad set, talking personally – not funny?

16. The friends deciding to go to New York, the discussions, his agreeing to go?

17. Going to his parents, the girl coming with her parents, his telling the truth, the girl and the argument?

18. Getting ready to go to New York, his friends, the car, Chris staying behind, the family exiling him but his father wishing him well, the packed food from his mother but her not looking at him?

19. Kumail, at the Comedy Club in New York, the set, Emily intervening?

20. Wife of the couple together, the pictures of their true selves in families?

21. A love story, a race story, the bigotry story, mellowing, mistakes and change?

BUBBLE BOY

US, 2001, 88 minutes, Colour.
Jake Gyllenhaal, Swoosie Kurtz, John Carroll Lynch, Marley Shelton, Verne Troyer.
Directed by Blair Hayes.

Bubble Boy is a bizarre little film, comedy, parody, often absurd.

Jake Gyllenhaal in an early role is Jimmy, the boy of the title. His voice-over narrates how he was born without immunity, is in danger of infection and so is placed in a hermetically sealed bubble. His devoted mother, Swoosie Kurtz, overwhelmingly smothering, and putting down her husband, John Carroll Lynch, supervises his growing up. We see this in phases until he is an adolescent, happy in life, playing the guitar, looking out the window and seeing the attractive young neighbour, Chloe (Marley Shelton) and experiences sexual arousal – which his mother says to control by singing the Star Spangled Banner!

The attraction towards Chloe grows but she has a boyfriend who proposes to her and an intended wedding at Niagara Falls.

Jimmy decides to leave home, goes out on his bubble, experiences a whole range of eccentric, if not odd, Americans along the road including a young Zach Galifiniakis as a rather monotone bus ticket seller, a group of over-enthusiastic members of a sect in their bus, singing and dancing, with their leader (Fabio) telling them that a saviour will appear in a bubble. There is Danny Trejo as bikie, a number of bikie friends, a whole range of freaks from a circus on the train with their leader Phreak (Austin Powers’ Mini -me, Verne Troyer), a Hindu seller of ice creams and curry, the pleasant young woman who gives him a free drink but who has a gun pulled on the owner of the diner, and an old, very old man and his twin who give Jimmy a ride in a car and then in a plane. In the meantime, his mother and father in pursuit, picking up Phreak and treating him well until he gives the information and he is ejected from the car.

Jimmy arrives in time, a bit like the culmination of The Graduate, steps out of his bubble and finds that his mother has placed him there for protection and he can survive outside the bubble. In the meantime, she is identified by the bikie as his former girlfriend, Wildfire, and he rides off on his bike with her and her husband!

1. Comedy, parody? The touches of the absurd?

2. Jimmy and his situation, the voice-over, the story of his being born, taken home, the devotion of his mother, the bubble, infections and immunity, his life, growing up, the various stages, his mother and her stories, the slight presence of his father, changing age, adolescence, the music, playing the guitar, the prospects for his life? His contentment within the bubble? Communications, happy, the funnel for things to come in, his gloves and handling the outside?

3. Home setting, the contrast with being on the road, in the desert, the bus station, Las Vegas, for gambling, on the road, the truck, the bus, the bikies, the cars, the diner and his getting a free drink, the family fights, the plane ride, Niagara Falls? The musical score and the songs?

4. Jimmy, in the bubble, ingenuous, the attraction to Chloe, watching out the window, the effect, sexual arousal and his mother urging to sing the Star Spangled Banner, Chloe coming to visit, wanting to get in, Jimmy stopping her? The visit from the boyfriend, his cigarette? The news of the wedding, Chloe’s gift and his giving it back, Jimmy sulking? The decision and his motivation?

5. Getting out, and the bubble, awkward, on the street? Going to buy the bus ticket, the impassive man selling? Knocked down by the bus, the sect representatives, welcoming Jimmy, song and dance, going to their conference, the leader of the sect, his diagram with the saviour coming in the bubble, their returning onto the road, to find him? Not wanting to go to Hell for not finding the bubble boy? The biker, Jimmy offering the patches, getting the ride? The other bikies? The Hindu, ice cream and curry, the kids following? On the train, encountering Phreak, the range of freaks, their befriending him, Phreak off the train? His being stranded? His parents finding him? In the diner, the girl holding up the owner and letting him have the free drink? His father, deciding to let him go? The old man, the car, the alternate old man and the feud between the two brothers, the woman in between? The plane ride? Niagara Falls? The zany effect, American oddities?

6. Jimmy’s mother, ultra devotion, smothering him, fanatical? The father, subject to his wife? Picking up Phreak, treating him like her child, the information and ejecting him?

7. Niagara Falls, the wedding, the ceremony, Jimmy arriving, loving Chloe, getting out of the bubble, his mother telling the truth, his father’s urging? His love for Chloe?

8. The bikie, his talking about his girlfriend standing him up, Wildfire? Finding Jimmy’s mother, her being Wildfire? Going off on the bike, with the bikie and with her husband?

9. The blend of the amusing, the silly – and its overall effect?

CLASH

Egypt, 2016, 97 minutes, Colour.
Nelly Karim, Hani Adel.
Directed by Mohammed Diab.


Clash is a topical film, taking audiences back to the end of the presidency of Mubarak, the Arab Spring of the uprising in Cairo. It indicates a change of government but also a reaction against the Muslim Brotherhood, the removal of the president and another government substitution. It also says shows the riots in the streets, the Muslim Brotherhood, the protesters against the Brotherhood.

This film takes place over one day, a glimpse of particular action in Cairo which symbolises the whole protest and uprising. It also takes place on the one set, the inside of the police van.

Initially, two journalists are interned in the van, the police not listening to them. Then other protesters are rounded up, then anti-Muslim Brotherhood protesters as well as Brotherhood adherents. There are fights, squabbles in the van, the journalist photographing, the mobile phone used by various people to try to contact those who could influence their release.

The van becomes full, there is another van across the way and there is some dialogue. However, when squabbles become heavy, the police turn water hoses on everyone in the van.

The various characters, there is a mother who insists on being interned in the van to be with her 14-year-old son. There is a Muslim Brotherhood man with his young veiled daughter (who has a sad sequence where she wants to go to the toilet but is unable).

The van travels throughout the city, the camera taking the point of view of those inside the van observing the police, the writers, guns, the shooting of the driver of the van, fire, the overturning vehicles.

An opportunity to enter into the experience and the high feelings and angers in the Egyptian uprisings and changes of government.


1. An Egyptian story? Topical? The Arab Spring and the change of government in Egypt? The Muslim Brotherhood? The later uprisings and change of Presidents?

2. The structure of the film, over one day, symbolic day?

3. The setting, the interior of the van, the point of view of those looking out through the windows, what was happening outside the van? The musical score?

4. The Egyptian politics, the past presidents and military rule? The rise of the Muslim Brotherhood? The clashes with the government, the stances about Islam? The police, the military? The protesters and the tactics? The counter tactics of the police?

5. The reporters, the American background, the camera, their being taken, arrested, put in the van? Their pleading?

6. The various types going into the van, the protesters, the Muslim Brotherhood, anti-Brotherhood? The child and his father, the mother wanting to be taken, her being put in, protective? The 14-year-old girl and her father? Members of the Muslim Brotherhood?

7. The van, the collection of people, the range of views, a microcosm of the fighters? The police and hosing them down in the van?

8. The police, obeying orders, impervious to pleading?

9. The discussions in the van, the phone calls, getting influential people to try to get them out, the young girl wanting to go to the toilet?

10. The van, the driver, all the protests, different locations, the guns, the shooting of the driver, further arrests, the other buses and talking between the buses, the fire, the crash, the boss overturning?

11. The audiences immersed in the experience, with the characters, the fighting, the clashes?

SECRET EVIDENCE


US, 1941, 60 minutes, Black and white.
Marjorie Reynolds, Charles Quigley, Malcolm Mc Taggart, Howard Masters, Robert White.
Directed by William Nigh.


The title promises more than the film actually delivers. This is a very brief supporting feature, the touch of romance, the touch of the law, the touch of crime.

The romance is established right at the beginning, a lawyer becoming assistant district attorney, his assistant and his romance with her, his coming to meet her parents. In the meantime, her past boyfriend, a thief, has been released from four years in jail and wants to take up the relationship. She resists. Further complication is that her younger brother had been holding the jewels from the robbery but she had forced him to give them back to the authorities.

The former criminal demands that the young woman meet him. The younger brother comes along with his father’s gun, the brother and sister struggle and the gun fires. In the meantime, the thief has refused to deal with another crony who also arrives with the gun and attempts to shoot him. The young woman then phones the ambulance.

It turns out that the new assistant district attorney will have to prosecute. The brother keeps his counsel. The young woman also conceals what happened. And the man who was shot lies in hospital, refusing to give information, with his assailant coming to visit him. He also mocks the assistant district attorney, trying to prove to his former girlfriend that you can’t trust lawyers.

The rest of the film takes place in the court, cross-examination, the case getting no further until the thief stands up in court, is cross-examined, his assailant is in court and pulls a gun, with the thief having the satisfaction that he humiliated the assistant district attorney. However, romance has to come at the end – which it does.

STRANGE FASCINATION


US, 1952, 80 minutes, Black and white.
Cleo Moore, Hugo Haas, Mona Barrie, Rick Vallin.
Directed by Hugo Haas.

Hugo Haas was a successful actor in Czechoslovakia in the 1930s but fled Europe and came to the United States where he helped in propaganda work during World War II.

In the late 1940s to the early 1960s he appeared as an actor in many films but also wrote a series of small-budget supporting features, generally stirring himself as an older man, with potential, but ruining his opportunities. He started films with Beverly Michaels but had a series of seven films with Cleo Moore from 1952 to 1957.

Cleo Moore was a platinum blonde in something of the Jean Harlow tradition, compared with the time with Marilyn Monroe. Generally she played sympathetic characters with a touch of ambiguity. To see her at the most dangerous and vengeful femme fatale style, see The Other Woman.


The times she is a dancer who has a falling out with her partner, but irritated when a customer in the club ignores the act and causes all kinds of distractions. When she discovers that he is a celebrated concert pianist from Europe, on tour in America, she decides to go to the concert to cause destruction for him – but, strange fascination, she is caught up by the music, goes to get his autograph, his first in America, and they go for a drink together.

Hugo Haas is the musician, pianist, composer, seen being successful in Europe, meeting Americans after the war, a society widow offering to sponsor him to the United States (Mona Barrie interestingly sympathetic but somewhat haughty role).

The dancer and the pianist meet up again in New York, she moving in, this being discovered, her going on tour with him, the announcement of their marriage, his continued financial difficulties with gifts for her as well as his having a drinking problem.

He goes downhill, she still is devoted to him, works as a fashion model but he becomes more and more possessive, forbidding her to go out, and she languishes until her former partner comes to New York and she takes up with him again.

There is some heart-to-heart talks with the society widow. The pianist then contrives an accident to damage his hands and collect the insurance – which does not happen and he is left playing, now a scruffy street and homeless man for a similar group in a hall.

1. The title, Margo and her fascination with Paul, Paul and his fascination with Margo? The role of classical music?

2. The work of the director, as writer, producer and director, his seven films with Cleo Moore?

3. His role in films, the older man, possibilities for success, down on his luck, beguiled by the femme fatale, the consequences?

4. The opening, Paul, down and out, at Carnegie Hall, listening to the music, going to the shelter, tapping the piano? The flashbacks?

5. Paul, as pianist, composer, in Europe, the performances, his success? The response of audiences? In the restaurant, his American friend, the introduction to Diana and her children? Her interest, offering to be his patron and bringing him to the United States? The reaction of her children? His acceptance, conscious of the financial situation?

6. To New York, continual practice, the children and their resentment, Diana and her card companions, the suggesting that there was gossip and scandal? Her not caring? Her arranging the agent? The discussions about the tour, the cities, reviews, the gradual buildup?

7. Paul, the performance in Columbus, going to the club, hungry, his demands, the dancers, his distractions and not realising? Margo and her partner, dancing, their clashes? Margo and her anger with Paul? Discovering who he was?

8. Margo, going to the concert, making the noise, talking, the pages of the program? Her being caught up by the music, fascinated? Going to his room, the autograph, talking, their having a drink together? Exchanging numbers?

9. Paul, the continued tour, arriving back in New York, the insurance of his hands and Diana supplying the money?

10. Margo, arriving at Paul’s apartment, wanting a job in New York, asking for accommodation, his letting her stay? Audience suspicions of her motives? Yet her admiration for Paul and the fascination of his music? The time together, his growing interest in her? Her being discovered by the agent, his reporting it to Diana?

11. The difficulty with getting bookings, the role of the agent? Entrepreneurs? The concert, Paul announcing that he and Margo were married, her being on the tour with him, the front row? His phoning Diana, her hearing the news, her reaction?

12. Paul, his financial difficulties, always short of money, buying things for Margo? His drinking – and the observations that he drank a lot while still in Europe?

13. Loss of money, loss of bookings, his drinking, Margo and her getting the fashion job? Paul and his growing possessiveness, not wanting her to work, keeping her at home? The booking for the Polish concert, his suspicions of her with the return of Carlos, taking the taxi, confronting her?

14. His desperation, going to the music publisher, wanting to play his song, the clash with Margo on the phone, his seeing the machine, his accident, going to hospital, wanting the insurance?

15. Margo, her concern? Diana and the visits? The discussions with Margo, Margo asking her whether she loved Paul?

16. The phone call from the insurance, the testimony of the worker and his comments about Paul’s being deliberate with his accident? No money, his dropping the case?

17. His going to the shelter, playing for the homeless men, their wanting something bright, his playing Boogie Woogie – and Diana watching? His future?

ONE GIRL’S CONFESSION


US, 1953, 74 minutes, Black and white.
Cleo Moore, Hugo Haas, Glenn Langan, Anthony Jochim.
Directed by Hugo Haas.

Hugo Haas was a successful actor in Czechoslovakia in the 1930s but fled Europe and came to the United States where he helped in propaganda work during World War II.

In the late 1940s to the early 1960s he appeared as an actor in many films but also wrote a series of small-budget supporting features, generally stirring himself as an older man, with potential, but ruining his opportunities. He started films with Beverly Michaels but had a series of seven films with Cleo Moore from 1952 to 1957.

Cleo Moore was a platinum blonde in something of the Jean Harlow tradition, compared with the time with Marilyn Monroe. Generally she played sympathetic characters with a touch of ambiguity. To see her at the most dangerous and vengeful femme fatale style, see The Other Woman.

This time she is a young woman working at a diner, for a man who was responsible for her upbringing but she is too to an orphanage. He continually claims to be supporting her because of her father but he has accumulated $25,000 and she steals it, goes to the police and confesses. She then goes to prison, makes a good impression, especially with the warden and the chaplain, Father Benedict. They help to get a job in the garden, recommend her for parole – although warning that the money was cursed.

She returns, the diner is gone, she gets a job as a waitress in a new establishment, slaps the owner for his advances, he being very impressed and giving her a job. He is an inveterate gambler and eventually loses his money and the club. In the meantime, there is a sympathetic fisherman who is attracted to her.

The complication is that she feels sympathy for the owner and his card losses, indicates where the money is but he returns without it and she assumes that he has stolen it. She attacks him, hitting him with a bottle and assumes that is a dead – and she once again goes to the police to confess. She also digs up the money, has moral dilemmas but decides to give it to the Sacred Heart orphanage.

However, he is not dead, she relinquishes the money to the nuns, has a possibility of working in the new club with the owner but he urges her to go on the fishing boat with the young man. Happy and moral ending.

1. The title and expectations? The focus on Mary? The nature of her confession, the consequences?

2. The work of the director, his collaborations with Cleo Moore? His character, possibilities for success, down and out, double-dealing? Yet happy ending?

3. The focus on Mary, her work in the diner, the boss and his relationship with her father, the deals, the touch of the crooked, Mary in the orphanage, her resentments, love for her father? The owner and his $25,000? Her taking it?

4. For going to the police, the confession? Her insistence? In court, sentenced to prison? Not revealing where the money was?

5. In prison, Mary and her good nature, helping the other prisoners with their work? The attention of the warden, the women going to mass, the role of Father Benedict, with the warden and their good opinion of Mary? Her being able to choose her work, choosing the garden, the friendship with the gardener, his comments about the role of roots, his interest in what she had done? The warden and Father Benedict influential in getting her parole? Father Benedict and his moral stances? Driving Mary, encouraging her? But indicating to her that the money she stole was cursed?

6. Mary’s return, the diner having gone? A new place, meeting the owner, his character, incessant and compulsive gambling, his partners, winning, and his losing streak? Mary, slapping him for his advances, his being attracted, offering her the job? Her work, friendship with the barman, his advice? Johnny, finding her attractive, his background, fishing, coming to the diner?

7. The issue of the money? Johnny and his needing a loan, her considering it, explaining how she had a friend with money? Her sympathy for the owner, his desperate losses, her telling him where the money was, his return, violent towards her, not having found the money, calling her a liar? Her being upset, hiding away in her apartment?

8. The encounter with the new manager, finding out that the former owner was still in possession, had moved to an expensive apartment, was throwing a party? The sitting and watching the party?

9. Going into his apartment, his being drunk, asleep, trying to wake him, angry with him, hitting him with the bottle? His girlfriend arriving, accusing her of murder? Then the explanation that he had a lucky streak and this was not her money?

10. Her going to dig up the money, her moral dilemma, going to the Sacred Heart orphanage, putting the money through the gate?

11. Going to the police, her confession, desperately insisting that she had killed the owner? The police ringing the hotel, his being alive, the police sending her away? Her going to retrieve the money, the postman arriving, her not being able to get the box through the grate, the nuns coming, finding the money? The decision to let them keep it?

12. Finding the owner again, his cheerfulness, offering her a job, reconciliation with him? Johnny, going out on the boat, asking her to come with him, the blessing of the owner?

13. And so, happy and moral ending?

FUSI/ VIRGIN MOUNTAIN

Iceland, 2015, 94 minutes, Colour.
Gunnar Jonsson, Ilmur Kristjansdotte.
Directed by Dagur Kari.

Fusi is a film that can be recommended. It may not seem a likely film to recommend as it centres on a 40 something man-child who lives with his mother, is large and ungainly, but keeps a steady job baggage handling and other work at the local airport, is a good cook, tinkers with machines and, with a friend, recreates battle scenes, especially that of El Alamein.

He lives with his mother who has a boyfriend living in. He is bullied at work, rather mercilessly. His mother’s boyfriend gives him a birthday present of a ticket to go to line dancing. He goes but does not go in, encountering a young woman after the lesson when a storm breaks out, giving her a lift home, she very grateful that he does not attack her.

She does persuade him to go the next week and he begins the dancing, takes her out for a meal to the same restaurant where he goes every Friday and has the same meal, has discussions about travel. She says she works in a flower shop but really is a garbage collector – and has a breakdown, experiencing depression, locking herself in her room, Fusi making meals for her, cleaning the unit, buying tickets for travelling to Egypt.

He is very ingenuous but very sincere. He persuades her to come out of the room, she paints her apartment, suddenly approaches him sexually and then invites him to live in. She has taken him to an empty shop and expressed an interest in doing something with it. When she goes back on her word and apologises, he goes to buy the shop and tidies it up and then gets on a plane to fly away – symbolic of his opening up to a world beyond what he is used to.

Gunnar Jonsson is excellent in the central role, building up an unexpected sympathy, in the film providing a portrait of somebody in the world would look down on.


1. The title, focus on Fusi himself, the play on words and ideas in the English title?

2. Iceland, settings, the home, airport work, restaurants, dancing class, the streets, the shop? The musical score?

3. An Icelandic story, universal? Unlikely central characters?

4. The portrait of Fusi, audience response to him initially, critical, getting to know him better, fat, awkward, his age? The dominant mother, her boyfriend? His playing the wargames with his friend, the battle of El Alamein? Alone, no girlfriend? Bullied at work, the tauns, putting him under the shower? His fixing the car engine, the invitation to the party, getting the stripper, urging her onto Fusi, her resistance? His fleeing?

5. At work, with his boss, their friendship? Getting some time off? Conscientious about work?

6. The little girl neighbour, her wanting to play, explaining the war game, at home, the toys, her father upset? Her wanting to go for the drive, the ice cream, going home, the police, the anger of the father, the police interrogating Fusi, the implications of the drive with the little girl? The father’s later apology?

7. The boyfriend, the gift of the ticket for the dance lessons? Fusi unwilling to go? The storm, Sophie, the lift home, the chatter, glad not to be killed? The promise for next week, his going, awkwardness at the line dancing, the moods? His mother’s interrogation? The bond with Sophie, going to the restaurant, his favourite restaurant, going every week, the same meal? The talk, getting to know each other, the discussions about travel? His going to the agency, wanting to go somewhere warm? Sophie and her depression, locking herself in, fired from her job, the lies about work in the flower shop, the garbage collection? Fusi making the meals, cleaning the unit? Going to her workplace, his time off, taking her place, the garbage and sorting, the friendly co-workers?

8. The mother, her friend, the blowtorch, his good cooking? His mother upset, the boyfriend walking out on her?

9. Helping Sophie, the change, painting the unit, the sexual encounter and the consequences?

10. Her suggesting that Fusi move in? Packing, arriving, her backing out of the arrangement, tears and apology?

11. Fusi and his buying the shop site for her and his repairing it?

12. Fusi, his capacity for acceptance, his being seen on the plane – and the daring of his going travelling, and some changes in his life?