EMMA'S CHANCE

US, 2016, 93 minutes, Colour.
Greer Grammar, Joey Lawrence, Missi Pyle, Christina Robinson, Jennifer Taylor.
Directed by Anna Elizabeth James.

Emma’s Chance is a pleasant film for audiences who love films about horses. It is very much geared to an adolescent female audience who can identify with the central characters at high school and Emma herself. She belongs to a group of high school students in the lighter vein of Mean Girls – and, the leader after being told off by Emma at the end quickly repents and becomes a better person.

Emma is influenced by this group and goes over a fence of a farm for the rehabilitation of horses. She is caught, was potentially harming a horse, is summoned to the principal’s office, given a community service term working for the horses. She is also grounded by her rather protective mother. It all goes as expected, her wanting to get it all over and done with, her becoming more attached to the horse, Chance, learning that the farm could be taken over and sold, bonding with the foreman, Kevin (Joey Lawrence) and the owner (Missy Pyle).

She learns to work fairly quickly, urged on by someone who had been in her situation, Lexi (Christina Robinson), is urged to ride, decides to enter the dressage competition to win money to pay for the farm – which, of course, she does, in a light and minimally demanding way.

Greer Grammar, daughter of Kelsey Grammar, is certainly a pleasant heroine in a pleasant film.

1. The appeal of a film about horses, an adolescent girl learning to love horses, wanting to save the farm?

2. The California settings, the town, homes, the high school, the farm, the paddocks, the stables, the horses? The training for the competition? The competition and hurdles? The musical score?

3. Emma’s story, her age, friends with the girls at school, the touch of Mean Girls? Her mother driving her to school? Jacob and his attentions? Her not responding? Persuaded to go out with the girls, climbing over the gate, disturbing the horse, getting caught, the interview with the principal, the community service, her mother grounding her? And her grandmother reminding her mother about her escapades when young? Her planning to go out with the girls, the friend advising her not to go? Jacob and his wanting the English summaries?

4. Going to work, meeting with Kevin, his friendship and advice? Meeting Lexi, her own situation, the clash? Doing the hard work, cleaning the stables? The collage of the routine, day after day? Attracted to Chance, giving Chance to treat? The growing attachment? The suggestion that she ride, her hesitation?

5. Kevin getting her on the horse, the canter, her being at home with the horse? Seeing the ad for the competition?

6. Susan, owner, bighearted, worried about finance, sales of the paddock? The prospective buyer, the touch of the sinister, the story about his selling horses over the Mexican border? Susan tearing up his cheque?

7. Emma, the decision, the practice, Lexi and her injury? Being ready for the competition, the reconciliation with her friends, everybody present, her mother, Jacob, the girls? The would-be owner’s daughter and her arrogant tone? The competition, Emma’s success?

8. The arrest of the buyer? The cheque saving the farm? Everybody joining in, celebration?

9. The film as a moral fable, criticising the callow and mean life high school students, finding a cause and commitment, and personal transformation?

IO SONO L'AMORE/ I AM LOVE

Italy, 2009, 120 minutes, Colour.

Tilda Swinton, Flavio Parenti, Edoardo Gabriellini, Alba Rohrwacher, Pippo Delbono, Maria Palato, Waris Ahluwalia, Gabrielle Ferzetti, Marisa Berenson.
Directed by Luca Guadagnino.

Italian film-making in the older classical style.

In the 1970s, Italian directors like Mauro Bolognini made films that were portraits of a time and, often, of a family immersed in that time. The films concentrated on the look and the feel of the period and situated their characters and their interactions and struggles in lavish tableaux, in melodramatic interchanges, sometimes quite operatic, with a score than emphasised this mood and this atmosphere. The same could be said of Io Sono L'Amore. However, the time and the setting are more of the present, the early 21st century.

The writer-director has had a long association with the star, Tilda Swinton, and they have been in pre-production for many years. While the film is about a family, an industrial dynasty from Milan, it is very much about her character, Emma, a Russian immigrant who has borne her business tycoon husband three children and has become the lady of the mansion. The long opening of the film shows her preparations for a birthday dinner, the arrival of the guests and their chatting at pre-dinner drinks and then the meal with a speech by the patriarch of the family and his handing over the reins of the business to his son and grandson.

It should be said that the film dwells lovingly and in close-up on rooms and furnishings, art work and, especially, sumptuous meals and table settings.

And it goes on from there... Business issues like selling the company, father eager, son opposed. Emotional issues like the daughter studying in England and coming out. The widow of the patriarch still asserting her influence. But, most of all, the focus is on Emma, her relationship with her husband who is business preoccupied, her love for her son, Edo, who wants to start a restaurant with his friend, Antonio, and eventually an affair with Antonio which transforms her but leads also to some grief.

Many reviewers have found the film elegant and involving. This reviewer admires the elegance but, despite Tilda Swinton's nuanced performance, not so involving. Part of the difficulty (which, it should be said, was a great plus for many including Tilda Swinton, the director and the producers) was the use of selections of music by John Adams. At times the score counterpointed the action but, often, it seemed incongruous, especially in the long credits sequence, tracking through the snowy suburbs of Milan, to a disconcertingly jaunty accompaniment.

It is, however, a strong attempt to embrace Italian traditional film-making and use it for a contemporary story.

1. A contemporary Italian family story? The range of characters and relationships? Traditions and inheritance? Industry and companies and changing financial situations? Contemporary restaurants?

2. The Milan setting, the glimpses of the city, the streets, churches, cathedral? The homes, interiors, dining rooms, kitchens, corridors? The sequences in San Remo, the town, the mountains, the woods? The sequences in London, the views of London and the business district, offices? The streets? An authentic feel for European cities in the 21st-century?

3. The musical score, the range of music and songs, as background for the action?

4. The title, with reference to Emma? To the other characters?

5. The background history of the family, the grandfather and establishing the fabric firm, the patriarch, his son, management of the firm? Changing industrial situations? Whether to sell the company or not? The view of the grandfather? Tancredi, inheriting, going to London, the discussions at the board meeting, the American Indian buyer, Edoardo and his presence, agreeing or not? The return to Milan, the lavish dinner for the new owner? His presence, the discussions?

6. The opening meal, its long running time, the details of the preparation and the different courses? The kitchen staff? Emma, as hostess, preparing? Tancredi as host? His father, guest of honour, the reception, the grandchildren, Eva, the discussion, speeches, presence? The family unit?

7. Emma, a Russian background, her original name, Tancredi going to Russia, her falling in love, marrying, coming to Milan, his giving her the name Emma? Her life in Milan, wealthy, social, her relationship with her children? Her relationship with her maid, Ida? Ida as serving, confidante? Emotional support?

8. Edoardo’s story, his age, his place in the company, his later visit to the factory, walking through it, going to the dining room, memories with his grandfather, Eva and the meal with him? His relationship with Eva, engagement? The background of his race, losing, everybody’s comments, Antonio as the winner – and Antonio coming to the door with the food? The plan for the restaurant, in the mountains? Getting his father’s support? Financial? The scenes with Antonio, their friendship, recipes and plans? His going to London, the return, his realising the truth about his mother, the issue of the soup, his favourite and his mother giving the recipe to Antonio? His seeing the book with Antonio? His leaving the meal, confronting his mother, falling into the pool, his injuries, hospital, his death?

9. Betta’s story? Her mother finding the photos and the CD, the revelation about her relationships, sexuality, plans, in England? The returning home, the discussion with her mother? Her coming out? Her partner? The support of her mother? Of Edoardo? Her returning to London, her partner? The return home, the dinner, grief of Edoardo’s death?

10. The other members of the family, her other son, his plans? His wife?

11. Emma, the discussions with her mother, her place in the family?

12. Antonio, chef, in the mountains, his interest in Emma, her visit, the sexual encounter, the aftermath and her laughing? Her return? The long sequence of lovemaking and its impact? Their being together, the book, the recipe, in the kitchen? Antonio returning to cater for the meal for the businessman?

13. Tancredi, his way of life, his father, the company, relationship with Emma, the growing distance, his children, the meeting in London? Comforting Emma, her telling him about Antonio – and his disowning her?

14. Edoardo’s death, the funeral, the mourning, the family gathered, Emma and her seeming stunned, telling the truth to Tancredi, the comfort with Ida, her changing her clothes, coming downstairs, better seeing her – and her disappearing?

15. The Italian tone of this family story – and universal?

RINGS

US, 2017, 107 minutes, Colour.
Matilda Lutz, Alex Roe, Johnny Galecki, Vincent D'Onofrio, Amy Teegarden.
Directed by F. Javier Gutierrez.

The producers of Rings seem to be under the impression that audiences all over the world cannot get enough of the Ring stories. It is not Lord of the Rings – but, rather those phone calls that audiences became aware of in the late 1990s in the Japanese horror film, Ring and its sequel, then to American versions soon afterwards.

In case there are some in the audience who are not familiar with the ghostly video, featuring the emergence of a young girl and her sinister behaviour and look, which, when anyone watches it, they get an immediate phone call telling them that they will be dead in seven days, there is a prologue. We see a young man in a plane, explaining his situation to some young women, his telling them that his seven days were up, his fears, his bleeding nose, hiding in the toilet – but the plane then (perhaps limiting the screening of this film as an in-flight feature) goes into crash mode.

Now that we’re all familiar, more or less, it’s time to take the story further. Not that the sinister video is not seen in whole or in part many times throughout this film – and we live to tell the tale or write a review. By now, a university lecturer (John Galecki) who tinkers with technology, has seen the film, has not died, but has obviously made copies and passed them on. He has also begun a course at the University, enlisting the participation of students who see the film, make a copy and pass it on, and so survive – and, in case there are difficulties, he finds “tails� to protect the student or to become the next victim, not to die but to make a copy and pass it on…

In the meantime we have been introduced to Holt and Julia (Alex Roe and Matilda Lutz), a couple in love, he going off to the University and admiring the professor and becoming part of his program. While Julia is mystified, a young woman comes onto her computer screen screaming about Holt, which certainly disturbs Julia enough that she gets into her car and drives to the University, going to a lecture, confronting the lecturer, following him to his laboratory and rather shocked at what she finds. But she is even more shocked when she goes to the young woman’s apartment and finds herself locked in a room while Skye realises that her seven days are up and, no matter what plugs she pulls or what screens she smashes, the sinister Samara emerges and Skye dies, it looks like from fright.

At this stage, Rings does seem rather familiar but then it takes a turn and moves towards the development. Julia is no frightened heroine. Rather, she decides to watch the film, save Holt, but starts her own investigations as to what was behind the film. She then has several visions, about Samara, and visions of her pregnant mother. Julia is a young woman of initiative, tracking down locations, finding Samara’s grave (with some rather terrifying moments when she is locked inside, a feeling of her being buried alive), tracking down a church, retired blind man (Vincent D’Onofrio) who reassures her.

But she’s also told about a priest in the town, now retired, who seems to have taken on a woman and made her pregnant…

So, anyone interested in finding out what the consequences of this are (and there are a few shocks and frights), it is necessary to see the film.

Some fans have complained that it is not enough of a horror film – it does have some scary jump out of your seat moments but, on the whole, this is a film about Julia solving the mystery of Samara. And, just to be sure, the makers have set up situations where one might expect a sequel, or sequels.

1. The popularity of the Ring story? The Japanese origins and treatment? American versions? This film and its development?

2. The remake aspects? The development aspects?

3. Introduction on the plane, the young man, having watched the film, giving information to the women, seven days left, in the toilet, his blood, the plane crashing? Familiarising the audience with the basic film and Samara’s presence, black and white, sinister?

4. Two years later, Seattle and Washington State? Gabriel, his shop, inheriting the video, fixing it, the film inside, seeing it, exploring the reality, the existence of a soul, conducting his course, the experiment and the rooms, the individuals, the issue of their being protected and having tails, to watch the film but make a copy of it and hand it on? The distorted photos of the people on the wall?

5. The relationship between Holt and Julia, their personalities, his going away to study? The phone contacts? The friends dragging him away from the phone, Julia later encountering them and their hostility? The intervention of Skye, on the phone, upsetting Julia, her travelling to the University?

6. Gabriel and his lecture, his interaction with Julia, not answering her questions, her following him to the lab, Holt and his warning, the discovery of the situation?

7. The encounter with Skye, at her apartment, the film coming to life again, her inability to stop it, her death?

8. Holt, involved in the experiment, rescuing Julia? Julia loving Holt and watching the film, not making a copy?

9. Her beginning the investigation, the range of her visions, Samara and her story, her mother, the pregnant woman?

10. The crash, the pregnant woman, Gabriel and his death, the explosion? The book, the illustrations, the background history? The photos?

11. Holt and Julia visiting the cemetery, finding the grave, Julia going inside, being trapped and the moments of being buried alive, Samara, the well, Holt getting her out?

12. The discussions with the woman in the town, the information about the mother, the priest?

13. The visit to the church, finding the house, the encounter with Burke, his blindness, talking and explanations?

14. The realisation that Burke was the priest, confronting him in the house, his confession, as a priest, wanting to father a child who would save the world, Julia exploring the house, finding the basement, the scratches on the wall where the mother, Evelyn, was interned? Going upstairs, bashing down the wall, finding Samara’s corpse?, Holt to the rescue, Burke and his death? The burying of Samara?

15. The theme of Samara, her soul inhabiting someone else? Holt and Julia happy? Julia inhabited – and the possibility of more sequels?

RESIDENT EVIL: THE FINAL CHAPTER

US, 2016, 106 minutes, Colour.
Milla Jovovich, Iain Glen, Ali Larter, Shawn Roberts, Ruby Rose.
Directed by Paul W. S. Anderson.

Back in 2002, with the release of the first Resident Evil film, directed by Paul W. S. Anderson and starring Milla Jovovich who was soon to become his real-life wife, no one would have necessarily predicted that there would be a sequel, let alone five films in the franchise over a period of almost 15 years. So, Resident evil, and the computer games, have been very successful commercially and with fans.

It is always a bit ominous when a film announces that it is the final chapter.

This film opens with quite an explanation of the background from some of the previous films, always showing the ambitious technical company, Umbrella, and this time a focus on the scientist and his little girl who became ill, his quest to find a cure for her, the consequences for her – and for his unscrupulous partner, Dr Isaacs, Iain Glen who appeared in a number of the previous films. Dr Isaacs – and there are some clones of him as well – is an arch-villain with no redeeming qualities.

So, Alice, the superhero type from the previous films is given a mission. There is an anti-virus which could heal all those infected and transform the world in order for it to grow again. Alice, in Washington, and dealing with monsters leaping out at her (as we leap out of the seat), then with a giant Dragon, then evading the undead, is advised to go to the headquarters of Umbrella, retrieve the antivirus and save the world.

Then Alice is on the road, unwittingly encountering obstacles, the undead in pursuit, conflict with Dr Isaacs but thwarting him, getting a motorbike, and arriving to gather some of the faithful from the previous films to support her (and, of course, there is a traitor amongst them).

Alice is superhuman and she has to go through all kinds of superhuman feats, from human attack, from technological attack – and the audience sometimes wondering who built all these extraordinary, vast underground what they call “facilities� – where did they get the material, who did the building, who installed the technology, how were they kept secret…? But that is a distraction from the adrenaline-pumping action, near-death experiences, the loss of some of her allies, and an eventual fight, or fights, with Dr Iaacs.

Alice learns a lot about herself, her background, cloned characters who have no memories but she encounters the ailing little girl now prematurely aged (some very effective make up for Milla Jovovich in this role) and, of course, a rapidly shortening deadline for her to achieve her mission.


For the biblically minded, in this post-apocalyptic world which needs to be saved, the saviour figure does come to mind, more explicitly when Alice is advised by those close to her that she will have to lay down her life (after such superhuman suffering which does make The Passion of the Christ look milder). So, she opts for passion and death. The biblical distraction of course is resurrection and – spoiler! – because she has committed herself to die for others, she experiences resurrection and graces the world in releasing the antivirus. Whether Paul W.S.Anderson is biblically-minded, who knows? But, certainly, the gospel outline and its many secular variations are quite archetypal.

So, resurrection. Is this really the final chapter? As regards movie sequels, there is nothing against reincarnation!

1. The popularity of the series? Computer games? Films? The appeal? Target audience?

2. The post—apocalyptic age? The ruins of Washington DC, monsters, dragons, the undead?

3. The road, the desert, the vehicles, tanks and bikes, Alice being drawn behind the tank, the undead in pursuit? The terrain?

4. Alice, audience response to her? Milla Jovovich in the whole series? Her personality? The explanation of her personality and her origins, clone?

5. The prologue, the little girl, her scientist father, her illness, the finding of a cure? His work with his partner, betrayal? Motivation for betrayal? The girl ageing, the hologram of the girl and its contents? Her contacting Alice?

6. The cure, hopes, the location in the Umbrella headquarters, Alice’s mission, her motivations, the strict deadline? Her travel, in the car, crashing, in the tank, drawn behind the tank? The conflict with Dr Isaacs? Her taking the bike?

7. Dr Isaacs, his role, his betrayal of his partner, in the tank, his staff, stopping Alice, leaving her at the mercy of the undead, the confrontation, the visuals of the fights, her escape?

8. The Umbrella facility, vast, the floors, the heights, the technology?

9. The team, Claire and the others, from the past films, their welcoming Alice, her identifying the traitor?

10. The focus of the film on the action to keep to the deadline, to save the cure? The range of dangers, the deaths of the team, progress, the traitor, the supervisor and the cameras on Alice, the interactions?

11. The range of bodies, ready for reawakening, for a new society?

12. Dr Isaacs, awake, the real doctor, the man in the tank being a clone, the clash between the actual doctor and his clone? Isaacs and the further vicious fights with Alice?

13. The revelation of Alice as a clone, the shock for her, not having any memories? The explanation given? Her being given all the memories of the young girl?

14. The young girl, now aged, the hologram, the older woman in control, her part ownership of the company, firing people, the request to Alice?

15. Alice, Claire, the amount of suffering Alice endured, the extremes, willing to die? Her death, recovery, the spread of the antivirus throughout the world? Possibilities for recovery?

16. Alice alive, and experience of resurrection? Hope? And the final chapter – or not?

ANGELS IN AMERICA

US, 2003, 352 minutes, Colour.
Al Pacino, Mary- Louise Parker, Jeffrey Wright, Justin Kirk, Ben Shenkman, Patrick Wilson, James Cromwell, Meryl Streep, Emma Thompson.
Directed by Mike Nichols.

Angels in America is quite a mammoth production for television. Originally, it was staged in the theatre in two parts, filmed for television in two parts, three hours each, but with five chapters, almost 6 hours of content.

The play was written by Tony Kushner who has adapted it for television. He won many awards including the Pulitzer Prize.

The play was in two parts: Millennium Coming and Perestroika.

The film has been directed by Mike Nichols and has an extraordinary cast most of whom take on several characters. While Al Pacino portrays lawyer Roy Cohn, Meryl Streep place several roles including that of the executed traitor, Ethel Rosenberg, as well as the Mormon mother of the conflicted young man who works for Cohn but has to struggle about his sexuality, played by Patrick Wilson. Emma Thompson portrays the angel, Jeffrey Wright has a strong role as does Justin Kirk, again struggling with sexuality.

This is a New York story although there is quite a deal of background of the Mormons and growing up in Utah.

Again, there is great deal of Jewish culture in the story. And there is a great deal about homosexuality, Roy Cohn and his work, aggressive, with Senator Joseph Mc Carthy in the 1950s blacklist era and now having to face the reality of AIDS, the needs for special drugs, and his being tormented by the memory of Ethel Rosenberg.

The film has a blend of the real and surreal, especially the scenes with the angel and also an allegory set in Antarctica involving Patrick Wilson and Mary- Louise Parker who portrays his struggling and estranged wife.

And, with the biblical references, especially to angels, there is a talk about heavenly messengers, the role of angels, Jacob struggle with the angel in the book of Genesis as well as Jacob’s ladder.

This is a television film which interests, entertains – but requires considerable study.


1. A television version of an award-winning play? America in the 20th century? Politics, sexuality, AIDS, the Jewish community? The film and its reliance on theatrical language?

2. The writer, adapting his play? The career of the director? The strong cast, the variety of roles?

3. The settings, the opening credits from San Francisco to New York? The musical score?

4. A New York story – but also with a focus on the Mormons and Utah?

5. A film about sexuality, the emphasis on homosexuality and relationships, the transition to coming out in the 20th century?

6. A film about AIDS, the early years in the 1980s, those suffering, the effect, medication, hospitalisation, deaths?

7. The focus on Roy Cohn, his reputation, the McCarthy? era, no sense of decency? 30 years later and his dying? Closet homosexual? His dealing with Ethel Rosenberg, her coming to haunt him, his final disbarment?

8. The blend of realism and surrealism? The fantasy sequences? Dreams? Characters reappearing in dreams? The fantasy with the angel? With Prior and his ancestors? The Antarctic? The final scenes in heaven?

9. The appearance of angels, reflection on angels, their presence, power, messages, the struggle with angels (and the use of the Genesis story of Jacob struggling with the angel), the ladder to heaven?

10. The focus on Millennium Coming and then on Perestroika?

11. The ending, and hope, desire for life?

• BAD NEWS

1. Lou and Prior, the funeral, in the synagogue, the Jewish community, the traditions, the old rabbi, the speech? The cemetery, and Lou arguing with the rabbi? Prior and Lou, in the street, the relationship, the revelation of the lesion, the background of AIDS, Lou meeting Joe in the toilet, weeping, the truth, Prior in bed, ill, Lou leaving?

2. Roy Cohn, Al Pacino’s performance, Cohn in himself, his reputation, references to the past, offering Joe the job in Washington, continually on the phone, getting tickets for people, favours, exercise of power? The visit to the doctor, AIDS, his saying he had liver cancer, and unwilling to admit homosexuality, talking about his power? The reaction to the doctor?

3. Joe and Harper, at home, his work, his ambitions, the offer to go to Washington? The encounter with Lou, the surfacing of his homosexuality? At home, his Mormon background, upset, his secret, going for walks? His admission to Harper?

4. Harper, taking the pills, the Mormon background, loving Joe, miscarriage, the tensions, at home, staying at home, untidy, the confrontation? The lack of the sexual relationship? The appearance of the angel, his slick talk, suggesting she go for a trip? Harper and her preoccupation with the ozone layer and its effect?

5. Prior’s dream, Harper’s dream, their meeting? Prior in drag? The discussions about relationships, sex?

• IN VITRO

1. Roy Cohn’s story, his friend, the dinner with Joe, the pressure on him to go to Washington, Cohn’s affection for him?

2. Harper, at home, Joe returning, her wanting him to go to Washington, her saying she would leave? His admission to her about his homosexuality? His meeting with Lou in the park, their talk? His wandering the streets, going into the park, looking at the gay men? His phoning his mother? At 4 am? Her response, his weeping, drinking, his admission to her, wanting to know whether his father loved him? Her response, saying that he was talking nonsense, wanting him to go home?

3. Prior, the collapse in the hallway, Lou getting the ambulance, Prior in hospital, the treatment? The nurse, her consideration, her attitude towards Lou and watching him? Prior and his sleeping, Lou leaving, getting the taxi, moving out? Talking with Joe in the park? His going to see Prior, Prior and his scream? The visit from the drag queen, the lotion, sympathy?

4. Prior and his fantasy, his ancestors, Michael Gambon and Simon Callow, from the plague in the Middle Ages, from the 18th century? The musical fantasy?

• THE MESSENGER

1. The introduction of greater fantasy sequences? Blending with realism? And the messenger?

2. Prior, in hospital, the attentions of the nurse, his reaction to Lou and his absence? The nurse and her speaking in Hebrew, her life? His own foreign language words? The conversations with Belize? Going home, in bed, his fantasies, the roof, the light, the angel? And Emma Thompson as nurse and Angel? The words, the opening of the kitchen floor, the emerging of the Hebrew book? His bewilderment? AIDS?

3. Lou, leaving Prior, his fears? In the restaurant with Belize, his incessant talk, Belize’s reaction, the racist commentaries, African- Americans, anti-Semitic attitudes?

4. Harper, her dream, in Antarctica, with Mr Lies, the discussions, her wanting to stay there, the forest, the Eskimo? The Eskimo being Joe? The lighting the fire, waking, in New York? The police?

5. Joe, his meeting with Roy, his love, ideas? Roy’s response? His being the Eskimo in Harper’s fantasy? Meeting Lou?

6. Joe’s mother, coming to New York, Joe not at the airport, her waiting, the bus, stranded in the street in the early morning, the talking to the bag lady, eating her soup, her frustrations, getting directions, going to the flat, ordering the superintendent around? The phone call about Harper?

7. Roy, his ranting, Ethel Rosenberg appearing in his apartment?

• STOP MOVING!

1. Joe, meeting with Lou in the park, the encounter, Joe’s needs, touching Lou, going home with him, the night, the buildup to the sexual encounter, his decision? Staying weeks in Lou’s apartment?

2. The doctor, arriving at the hospital, his demands of Belize? Belize and the comments about Roy Cohn’s liver cancer, on the AIDS floor?

3. Roy, in hospital, the liver cancer, dealing with Belize, his ranting against him, the racist attitudes, the gay situation, being offensive? Belize, his reactions? His warnings to Roy? Roy on the phone, his being crippled with pain and cramps? The AZT and his access to it from Martin Heller, the discussions with Belize and his taking the medication for Prior?

4. The funeral, everybody there, Prior and Belize walking away, the talk in the street, the flashbacks to the experience of the angel? The songs and the Fred Astaire homage and Prior and Lou dancing?

5. Roy, in his hospital bed, with Belize, the appearance of Ethel Rosenberg, her taunting him, appearing and disappearing? The issue of his being disbarred and her wanting to go to be witness to this?

• BEYOND NELLY

1. This episode having scenes principally of realism?

2. Joe and his story, the relationship with Lou, their walking along the beach, Lou and his declarations about love, friendship, Prior? Joe willing to do anything, even stripping off his Mormon underwear, standing naked? His visit to Roy in the hospital? Apologising to Roy, Roy’s tantrum when Joe said he would go back to Harper? The blood? Belize and his reaction? Roy dismissing Joe?

3. Joe, going to his mother, her not understanding, talking about his father? His going back to Harper, her reaction, his wanting to be with her, the sexual encounter, impotent, her standing naked and his saying he saw nothing? The truth and the impact on her?

4. Joe’s mother, selling the house, working in New York, at the Mormon exhibition, her diligence, Harper sitting in the front row, a slob with all the junk food and drink? Seeing Joe’s resemblance in the exhibit? The wife coming alive, Harper talking to her, the wife challenging Harper and Harper wondering what was like in the 19th century? Later seen. the model in the window?

5. Roy, being sick, Joe’s visit, his tantrum and exasperation, wanting Joe to go back to Harper? Pulling out the needle, the liquid and blood flowing? Belize having to deal with him? And Ethel Rosenberg sitting in the ward again?

6. Prior, the phone call from Lou, Prior’s anger and exasperation, going to meet him, dressed like the Grim Reaper? The hostility, the argument, walking away? The discussions with Belize? Sharing? The going to the office, seeing Joe, Belize recognising him? Joe and his bewilderment at their visit and their identity? Prior following Joe, to the exhibition,
talking with Joe’s mother, her letting him in, her asking about homosexuality, his collapse and her helping him?

7. Belize and Lou, Lou accusing him of jealousy, that he loved Prior, but Belize claiming only friendship?

• HEAVEN, I’M IN HEAVEN

1. The final episode? The ending and hope?

2. Hannah, the encounter with Prior, her keeping him company? The effect on her? His being called a prophet? Talk about the angel? Sensing the angel coming? The appearance, his struggle with the angel, in the sky, over New York? Hannah and her hiding? Prior and his defeating the angel?

3. Ray, dying in hospital, his ranting, the presence of Ethel Rosenberg? His death, wanting her to sing, her moment of compassion, singing, the Jewish hymn, his holding her hand? And then the revelation that he was pretending and the effect on Ethel? His interactions with Belize? His final words, Ethel telling him that he had been disbarred, that he had been defeated? His death?

4. Belize, with Roy, taking the AZT tablets, the meeting with Lou, giving them to Prior? Prior’s reaction and refusal? Belize and his demand that Lou recite the Jewish prayers over Roy Cohn, for his enemy? Ethel Rosenberg joining with Lou?

5. Joe, going to the apartment, the encounter with Lou, Lou and his anger? Bringing the documents, the argument about Joe’s giving advice to the Justice, Joe and his application of the law, hard decisions? The fight with Lou? Lou and the contact with Prior, his wounds now on the surface?

6. Harper, the final confrontation with Joe, his credit card, never wanting to see him again? On the plane, her final words, the trip across America? The ozone layer? Her hopes?

7. Prior, the fight with the angel, the ladder to heaven, his being in heaven, black-and-white photography, his red coat? Seeing people in heaven, the desks with all the people? The pool? His going before the panel? The variety of characters in his dream and on the panel? The angel and her appeal? His wanting life, wanting to leave heaven, his speeches about the value of life and his return, wanting the blessing, the angel giving the blessing? Waiting through the pool, the return to his bed, wet, the nurse and her attention, Hannah and the memory of her dream?

8. Five years later, Washington Square, the angel? Winter? Hannah and her being with the men, friendships, discussions? Prior talking to the audience, his experience of the five years, his living, Belize and Lou coming to talk to the audience? Hannah? Their leaving, talking together, affirming life?

FILS DE JOSEPH/ SON OF JOSEPH

France, 2105, 115 minutes, Colour.
Victor Ezenfis, Natacha Regnier, Fabrizio Rongione, Mathieu Amalric, Maria de Madeiros, Julia Gros de Gasquet.
Directed by Eugene Green.

The Son of Joseph is a secular story, set in Paris as well as on the French coast. However, many aspects are those of biblical parable and biblical allegory. In fact, the film is divided into chapters or with biblical references – from the book of Genesis to stories from the Gospels.

Vincent is an adolescent living with his mother, sometimes a quiet boy, having a range of friends at school who indulge in bizarre hobbies (taunting a rat, for instance – although the final credits reassurance that there was no harm done to the rat and he had returned to his home, or selling semen).He has a great desire to find out something about his father.

Another religious aspect of the film is the musical score, a blend of the secular and the sacred, especially a sung poem which he and his uncle listen to in a church.

Vincent is something of a Christ-figure, made to resemble the Jesus of the Gospels as well as Isaac, son of Abraham, in the Old Testament. He considers that his father has sacrificed him, abandoned him. His father is a famous publisher who is caught up in his worldly success, with reference to the image from the book of Exodus of the Golden Calf and greed.

We follow the manoeuvres of Vincent to infiltrate into his father’s office, have conversations with his father, burst into a social – and be recognised by people as a budding author.

The other complication is that his father’s younger brother, Joseph, considered a ne’er-do-well, enters Vincent’s life and Vincent is drawn to him, bringing him home, accompanying him around the sights of Paris and then going to his father’s beach house where they infiltrate a party.

There are echoes, in the final part of the film, of Jesus, Joseph and Mary and the Flight into Egypt.

1. The title, the biblical references? Expectations?

2. The Paris story, homes, school, publishing office, hotels, socials? The sights of Paris and the use of the locations? The coast, the beach, the country house?

3. The musical score, the range of music, religious and secular? The sung poem by the group in the church? The effect on Vincent?

4. The references to the sacrifice of Abraham, the Golden Calf, greed as an idol? The sacrifice of Isaac, the Carpenter, the Flight into Egypt?

5. The film relying on audience knowledge of the Scriptures, the references, the stories, Jesus, Mary and Joseph? Abraham and Isaac, the sacrifice? The role of God?

6. Vincent as the focus, the suggestion of Jesus? At school, his age, his friends taunting the rats and his leaving, the friend with the business of semen? His mother as a nurse, his retiring to his room, the decorations and the picture of the sacrifice of Isaac? his questions about his father? Searching his mother’s desk, finding the letter, her upset? His morose temperament? Unhappiness?

7. His mother, with the father for two years, the name of Marie, pregnant, the suggestion of the abortion, her writing the letter, its being returned, the decision to be a single mother, a nurse helping others, keeping house and her son? Exhorting him to care about this?

8. Vincent, going to the shop, storing the file, the night? His dressing up the social? The author, the publisher, his secretary, alert at talking to Vincent, explaining the work as a critic? His father, the speech, the atmosphere? His being mistaken for a young author?

9. The publisher’s room, his office in the hotel? The meeting with the concierge? The maid, getting the key,? Sleep, under the sofa? Bernadette and the sexual encounter, the panties? The wife arriving, arguing, leaving?

10. His return, telling his mother he would not be at school, the writing? Getting into the room, the confrontation with his father, the knife, at his throat,, the attack?

11. The visit of Joseph, the two brothers, his request, the refusal, wanting to buy the land to raise cows? Sitting in the restaurant, Vincent going past, his concern, going for the walk, the phone number?

12. The bond between the two, going for walks, around the city, looking at the statues, the discussions, Vincent and his puns and jokes, looking at the hut, going to the church, listening to the symphonic poem?

13. Inviting Joseph to the meal, his mother’s surprise? The sharing, the joy? Discussions about cinema? Joseph taking Marie, seeing The Red Desert, discussing films and the need always to hope?

14. The decision to go to the country house, memories of holidays, Marie and the interiors, going to the coast? The house, the crowd, the social? The decision to go inside, looking through the house, Joseph’s life? The cook, the footsteps, thinking it was ghosts, talking to the publisher? The pursuit, the publisher and reaction, the police cars, the helicopter?

15. The escape, confrontation with Vincent? On the path, the men, the donkey, rewriting, going to the beach?

16. The confrontation at the beach, their being let go, the father and no accusation?

17. Their seeming to be no recognition or acknowledgement of relationships?

18. The background of the publisher, the Abraham figure, sacrificing his son? The Golden Calf, greed as a social idol? Vincent as Isaac, rescued from his father? The discussions about the voice of God, voices of angels, to do the right thing? Joseph, his work, the analogy with Joseph the carpenter? The finale and the images of the flight into
Egypt?

19. Portraits of Vincent, Marie, Joseph, of the publisher? Aspects of the film as parable and allegory?

MAUDIE

Canada/ Ireland, 2017, 117 minutes, Colour.
Sally Hawkins, Ethan Hawke, Gabrielle Rose.
Directed by Aisling Walsh.

Maudie is a portrait of a painter from Nova Scotia, Maudie Lewis. It is based on a true story.

Some commentators have noted that the screenplay simplifies Maudie Lewis’s life, that she had painted early in life, that she had some sales earlier than is shown in the film. She was also a very small woman, suffering severely from rheumatoid arthritis and disfigured spine.

Nevertheless, Sally Hawkins shines as Maudie. A versatile actress, Sally Hawkins made quite an impact in her award-winning performance in Mike Leigh’s Happy Go Lucky. Despite her illness and her hard and harsh life, Maudie emerges so often as happy-go-lucky.

Suffering severely from her childhood, Maudie is offloaded on her maiden aunt, Ida (Gabrielle Rose) by her brother who sells the family house against her knowledge and will. Ida is something of a severe woman who resents having to support Maudie, makes her life extremely restrictive, humiliating her.

An opportunity arises when Maudie goes shopping sees a a notice in the store from a local fisherman-fishmonger, Everett Lewis, played quite intensely and somewhat savagely by Ethan Hawke for help in his house. Maudie answers the notice and walks to his house, not an easy interview, but she perseveres and stays and Everett giving some begrudging consent to her presence, as long as she keeps the house clean and. He tells her that the priority in the house is: me, the dog, the chickens, you.

When Maudie finds some paint, she starts to do pictures on the wall of the house, simple flowers, cats, landscapes. Again Everett is rather begrudging, wanting some wall space without pictures. It is when a woman visiting from New York City calls to the house about the delivery of fish and discovers Maudie’s paintings, buys one, continues to affirm Maudie and promotes her paintings in the US and through the media, life becomes different for Maudie.

To Everett’s bewilderment, visitors come to the house, buying Maudie’s paintings and, especially, the greeting cards, and giving commissions.

There is an emotional development at the end of the film concerning the baby that Maudie had borne when very young and the verdict that it was not healthy. Sad moments for Maudie – but, as the film shows, despite her own illness and disabilities, despite her sufferings, she was a woman of strong spirit and achievement.

1. A portrait of a woman, disabled, with a talent for painting?

2. Nova Scotia, the 1950s, costumes and decor, homes, huts, shops? The countryside? Musical score?

3. The casting Sally Hawkins and Ethan Hawke? Powerful performances?

4. The prologue, Maudie’s hand, the paintbrush, paints, strokes? Disabled?

5. Maudie, Sally Hawkins’ performance? Age, arthritis, information about the birth of the child and its alleged deformity? Living with aunt Ida? Unwelcome? Charles, his visit, selling the family house, Maudie being upset? Feeling abandoned? Going to shop, seeing the advertisement? Taking? Walking to Everett Lewis’s? The meeting, his criticisms, her thinking him unwelcoming, a cranky man, her staying, doing the work, his being dissatisfied but letting her stay? Her cooking, cleaning, his continued demands and cleanliness?

6. Beginning to paint the walls, the windows? His reaction? Criticisms of the fairies, really birds? His allowing her to paint the wall, keeping a free corner? House arrangements, sleeping arrangements upstairs, the one bed, Maudie’s past experiences and her being wary?

7. Ida, the portrait of Ida, unmarried, older, living alone, begrudging Maudie her life, harsh and restrictive? Her comments, disapproval, meeting Maudie at the shops, the later visits, her illness, finally telling the truth about her child?

8. Maudie, the finding of the paint, using it, Everett and his scraps, signing the paintings?

9. Maudie, the arrangement in the house, the relationship, the issue of sexual relationship, her urging the marriage, the ceremony, the upper room, the bed?

10. The portrait of Everett, a gruff man, fishmonger, his customers, a loner, his associates, the notice, his wanting help? His reaction to people, to Maudie? Her painting? To the idea of marrying her? His priority in the house: me, the dogs, the chickens, you?

11. The woman from New York, the visit to the house, the meeting with Maudie, wanting the fish, seeing the paintings, buying the painting? Her staying in the town, encouraging Maudie, the cards and the variety, the subjects of the painting, the beginning of commissions? The personal impact of the woman on Maudie, friendship? Affirmation?

12. Visitors coming, the publicity, articles, commissions, the sales? Everett and his presence, the impact of this experience, the touch of bewilderment? An acknowledgement of Maudie?

13. The revelation of the truth about her child, Everett and his response to Maudie?
14. Maudie, the portrait, a sad life, happiness, strong spirit, achievement?

THE MAGICIAN/ EL MAGO

Chile, 2014, 83 minutes, Colour.
Jean Paul Olhaberry, Alonso Quintero, Ingrid Isensee, Victor Montero.
Directed by Matias Pinochet.

This is a brief melodrama set in the back blocks of the Chilean countryside.

The title refers to a young man who has skills as a magician, has an ambition to be in a circus, is supported by his younger brother but not supported by his father who runs a garage for repairs and wants his sons to continue in this work.

While the film opens with a mysterious sequence on a yacht, the film goes into flashback explaining how a circus came to town and the manager of the circus, dealing in drugs and in importations from Peru, is approached by the magician to participate in the circus performances, but is rejected. However, the young man become involved in an affair with the woman in the circus.

Back to the yacht, the circus owner threatening the brothers, accusing them of double dealing with the drugs and killing one brother and throwing the other overboard.

But, the title of the film is The Magician and the sleight of hand and deception overcome the threats for the brothers’ survival and the magician himself going away with the woman.

1. A Chilean story, characters, relationships, crime, vengeance?

2. The setting and the village, homes and garages, the circus arriving, the big top, the accommodation? The sea, the surroundings? The desert, the tunnel in the desert? On the boat, the police precincts? The musical score?

3. The title, the brother, his ability as a magician, his brother’s support? The variety of demonstrations? The encounter with Negro, his abilities, his reaction to the brothers?

4. The brothers, the bond, relationship with their father, their work, going to the circus, Horacio and his ambitions, his younger brother supporting him? The father and his reaction against the circus?

5. The opening with Negro on the boat, torturing Horacio and his brother, the audience assuming that Horacio was killed, thrown overboard, the brother and his diving, escaping? The irony of the plot, magicians, disappearances, surviving?

6. Negro, the circus, the members of his staff, putting up the big top, the dwarf character, the henchmen, the woman, the lascivious performance? The relationship with Negro? The performances, the audience and the response? The brothers, their presence, trying to become part of the Circus, eventually some performances?

7. Horacio, his relationship with the woman? Negro and his jealousy?

8. The pursuit of the car, the disappearance of the car, the tunnel and Horacio discovering it? The drugs and the dealings? The Peruvian brothers, waiting for the twin to arrive, the act in the circus and his death? The threat to the other brother?

9. Negro, the threats to Horacio, taking him, the torture? The variety of tricks – especially Horacio and being locked in the safe and yet his escape, the woman inside?

10. The finale, Horacio escaping, with the woman, the younger brother and the police, his helping – and the future?

CRIMINAL

US, 2016, 113 minutes, Colour.
Kevin Costner, Gary Oldman, Tommy Lee Jones, Ryan Reynolds, Jordi Molla, Gal Gadot, Michael Pitt, Alice Eve, Anje Traue.
Directed by Ariel Vroman.

Criminal is an intriguing CIA story, an American story but with a London setting.

The film begins excitingly with an agent on a mission to find an IT expert, The Dutchman (Michael Pitt) who is willing to sell his expertise, possibilities of weapons sabotage, to a respectable-seeming anarchist (Jordi Molla).

Unexpectedly, the agent is taken, tortured, left for dead but not having revealed his secrets. And, again unexpectedly, contact is made with a doctor (Tommy Lee Jones) who has been experimenting on transferring knowledge from one brain to another. (Ryan Reynolds appeared in a film with a similar theme, Self-less, where he was the recipient of the brain of a dying millionaire).

The person chosen to be the recipient of the memories is a hardened criminal, played very effectively by Kevin Costner. While he retains his own identity, he begins to be aware of the memories of the agent, and being guided in his behaviour by these memories. They include going to visit the agent’s wife (Gal Gadot) and make friends with his daughter.

The head of the CIA in London is played, rather frantically, by Gary Oldman.

The criminal is able to evade detection but is still compelled to fulfil his mission, tracking down the Dutchman, encountering the anarchist once again and, seeming to lose out to him yet again – although the anarchist in his eagerness to have the secrets and put them into practice is destroyed by his own ego.

The plot is interesting, the pace quick, and a rather starry cast gives impressive performances.

1. The title and expectations? The focus?

2. CIA story, conspiracy theories? World War III and world domination?

3. The London settings, the streets, underground, senior officers, offices, support? CIA action? The musical score?

4. The conspiracy, Heimdorf and his television interview, personality, plans, urging revolution? His contact with the Dutchman? The contacts, the testing of the missile, the power for destruction?

5. Bill Pope as agent, his deal, contact with the Dutchman, collecting the money and passport, his contacts, the CIA surveillance, tracking him all over London, his ability to elude his pursuers, phoning his wife, his being captured, tortured by Heimdorf and his associate, the electric current, his death, not giving any information?

6. Wells, in charge of the CIA in London, his desperation about the plan, about Pope’s death? His extensive staff, the screens and cameras, following Pope? The timeline?

7. Dr Franks, his experiments, the pressure on him, introduction to Jerico, his criminal background, personality, no emotions, the deterioration of his brain? As a candidate for the experiment, the preparation, his reactions, the surgery? The role of Dr Franks?

8. The result, the seeming failure, Wells and his impatience? Jerico and the flashes from Pope? The growing influence, memories, information? Jerico retaining his personality but influenced by Pope and his memories?

9. The result of the experiment, control over Pope? His escape, going to action, his brute force and strength, his pain, the need for medication, the role of the doctor? His learning more and more about the mission? Going to visit Jill and the daughter, her fears? Reaction?

10. His later return, his knowledge about Jill, the daughter and her liking him, playing with him, the effect?

11. The Dutchman, his personality, background, knowledge, IT expertise? The deals, the threats? Heimdorf and his pursuit? Selling the experiment? The missile, being launched, Portugal and the submarine? The confusion? The missile exploding? The CIA watching? Heimdorf and the confrontation with the Dutchman? His death?

12. Wells, the staff, with Jerico? The attacks, his eluding pursuit? Driving the car, the deaths? The helicopter pursuit?

13. Jerico, Pope’s knowledge, his pursuit, the confrontation with the doctor, the Dutchman, the crashes, deaths? Pope and his ideas? The buildup to the finale, the CIA assistant, the shooting and her death? Heidorf, the confrontation, the plane? The missile and its returning and exploding the plane? His death?

14. Jerico, the finale, the fading of memories, the image of the beach and his wanting to go there, the wife and daughter, Jerico indicating the sign with his nose that he still had some of Pope’s memories?

15. Popular espionage – plus?

LAURENCE ANYWAYS

Canada, 2012, 160 minutes, Colour.
Melvil Poupaud, Suzanne Clement, Nathalie Baye.
Directed by Xavier Dolan.

Laurence Anyways was written and directed by Xavier Dolan, a young Canadian director who had made a significant impression before turning thirty. His films include I Killed my Mother, Mommy, Thomas at the Farm, Heartbeats, It’s Only the End of the World and The Death and The Life of John F. Donovan. Laurence Anyways is one of his earlier films, released when he was 23.

This is quite a long film, the action taking place over a decade, from 1989 to 1999, evoking a great deal of the decade (when the director was still under 10).

Melville Poupaud portrays Laurence, a writer, an academic and lecturer, who is conscious that he is really a woman. The 1990s was introducing transgender themes more strongly than previously but still not understood or accepted. Laurence is in a relationship with Fred, an intense woman who loves him but with whom he begins to share more and more his desire to be a woman. Ultimately, she is not able to sustain the relationship even though they meet again when Laurence has accepted his destiny.

The film is a character study of Laurence, not looking exactly feminine, but behaving in a feminine way, adopting women’s clothes, even in the lecture room, and gradually moving more comfortably into his identity.

In the background are his mother (Nathalie Baye) who does not accept him, his sister, Fred’s sister and a group of circus troopers, eccentric in their own way, who are supportive.

It can be said that the film is a courageous one and continued to confirm the reputation of Xavier Dolan as a significant filmmaker with significant themes.

1. The work of Xavier Dolan, his career, success at an early age, his range of interests? Sexuality? Gender?

2. The Canadian settings, Montréal, Québec? From 89 to 99? The period, the look, background, clothes and decor? The musical score?

3. The title, the focus on Laurence, 14 years? His age, gender, his quest?

4. The structure, interview with the journalist, the timespan, moving in and out of different times, the dates and places given?

5. The audience, the issue of transgender, the issue in the 1990s, reactions, possibilities? Later?

6. The character of Laurence, introduction to him, in his 30s, character and himself? His background, family, the alienation from his mother and the scenes with her? His academic life, classes, appearing class in female clothes? His friends? Self-image, issue of gender, sexuality, his commitment to change?

7. Fred, in herself, her background, her family, her sister? Her work, television, the encounter with Laurence? Love for him, the relationship, normal over the years, the ups and downs? The issue of the abortion? The revelation about Laurence, dealing with it, the intimacy, the discussions? Laurence and his treatment of her? The break, gap, meeting again?
8. Laurence and his progress, the growing sense of his identity, continuing to adapt, appearance, hair and face, the make up, the clothes, going to class, interactions? His mother and her comments and criticisms? The distance from him?

9. Fred, having to cope, reactions?

10. The mother, the past, in herself, her distance, the meetings and the nature of the encounters?

11. The Rose family, meeting them, the variety of types, their behaviour, entertainment, behaviour, the influence?

12. The journalist, the book, the interrogation, the attitudes?

13. Think the film, immersing the audience in Laurence’s life, sharing it? The final acceptance of Laurence and his life?