DJANGO


France, 2017, 115 minutes, Colour.
Reda Kateb, Cecile de France.
Directed by Etienne Comar.


As audiences go in to see Django, they will have different expectations. Jazz aficionados will be looking forward to the music, Django Reinhardt’s compositions, the range of concerts and performances. They will not be disappointed – and may be surprised but will welcome the Requiem for Deceased Gypsies at the end of the film.

Some audiences may have a vague idea that Jan go Reinhardt was a jazz musician – and that Woody Allen liked his music and incorporated aspects of music and plot into his Sweet and Low down. , They may be in for a surprise.

In fact, the film takes place only during 1943 in occupied Paris, life seeming to go on as normal despite the presence of the Germans and their control.

The tone is set powerfully in an opening prologue, set in a forest, where an old blind gypsy with a powerful voice makes such an impact with his singing. It is a gypsy camp. A child goes foraging in the forest, German soldiers approach and shoot. Django later reminisces that this old gypsy had been a huge influence on him.

By this time in his career, some mention of it in the screenplay, Django Reinhardt had been recording since 1928, successfully all during the 1930s, playing with all kinds of international greats. But now, he and his wife are trapped in Paris with the German authorities pressurising him to go on a tour of concerts in Germany and Berlin to build up the morale of the troops. He says he is a musician and not a politician. However, a woman from his past, Louise (Cecile de France) urges him to be wary. Also, Django’s wife is pregnant.

The concert for the Parisian audience and the Germans is an extraordinary success, the audience responding to the beat and becoming fully alive as they listen, sway, applaud. As it turns out, this is not what the Germans were expecting or wanting. The German officials seem rather puritanical in their attitude towards the music – a warning not to play a wrong note, which means avoid swing, the blues, and too much improvising on the jazz, and no dancing.

The group that Django plays with have mixed feelings. But, on the advice of Louise, Django, his wife and his extraordinarily tough mother all go to the Swiss border with the intention of crossing over, helped by the Resistance.

While waiting in the town, Django plays in the bar, goes fishing, his hobby, and meets the parish priest who invites him to the church, despite Django’s professing that he did not believe, to play the organ and compose.

The Germans track Django down and order him to play a concert in a local mansion. Louise again appears, in company with German officers and encourages him to play. The audience at the Château respond exuberantly to the music and so it is stopped by an officer.

The film shows the hostility of the Nazis to the Gypsies, a flamethrower destroying the camp at the end, while Django trudges through the snow towards Switzerland.

Then, suddenly, it is May 1945, peace and Django conducting his Requiem for the Deceased Gypsies.

In many ways, classical storytelling but, more importantly, a tribute Dkango Reinhardt and his music.


1. An entertaining portrait of Django Reinhardt?


2. Audience familiarity with him, his music, his successful career, his working with so many musicians from the US and Europe? His life, family? The World War II experience?

3. 1943, sets and decor, costumes and the atmosphere of the time?

4. The opening with the Gypsy camp, the forest, the soldiers? The city of Paris, occupied? The concert? Homes? The contrast with the Swiss border, the lake, the church, the inn, the mansion, the mountains? The final concert?

5. The musical score, Django’s compositions, jazz, the requiem for the Deceased Gypsies? The original score by Warren Ellis?

6. The prologue, the music, the old gypsy, the power of his singing, playing, his blindness? Django remembering his debt to him? The boy? The pursuit in the forest, shots, the old man being shot in the head? The impact of the audience?

7. Paris, the preparation for the concert, he audience, everybody waiting for Django? At the river, taking his own time, the discussions about the catfish and cooking? His brother, his agent, the band, his old and dominating mother, his wife?

8. The performance, the power, Django as a different person? The extraordinary applause? The audience getting to the mood of the beat?

9. The German attitude, wanting no wrong notes, seeing Django as degenerative, not liking his swing or jazz, nor the blues? The contrast with the audience responding to the beat – even some of the German military?

10. The authorities, the German musician and his career? Django’s brother, the manager, relationships within the band, the complementarity – and each being focused on during the concert? The invitation to go to Germany, for the morale of the German military? Piaf and Trenet touring? The limits of the music to be played?

11. Django, not interested in politics, only in music? Willing to go to Germany?

12. The arrival of Louise, her Belgian background, her coming and going, the past relationship, her love of the music, the influence on Django not to go to Berlin, the sexual encounter, going to see the wife, warning her to leave – the wife accepting this but disliking Louise? Louise being found again with the Germans, her double agency – and her stating that she would survive?

13. Django, influenced by Louise, his wife, love, pregnancy, concerned?

14. The character and personality of his mother, dominant?

15. The member of the band, his family, deciding to stay in France? Seen at the end of the concert?

16. Their going to the Swiss border, the local contacts, the Resistance, the promises? Living in the Gypsy settlement? Playing at the inn, everybody participating – and the experience of the brawl and playing on while the men fought?

17. Django fishing, the encounter with the priest, shared love of fishing, the priest inviting him to the church, his saying he did not believe, but the organ, the mighty sound, his compositions? The priest also seen jovially in the bar?

18. The arrest, the feeling of imprisonment, the cell, the grim cries on the night? His being persuaded to go to Berlin, free, yet still being considered degenerate? The attacks on Gypsies?

19. The concert in the mansion, the hosts, dressing to play, the limits on what they could play, the censorship of most of the style, not the wrong notes? The performance, the enthusiasm? The German supervisor and his puritanical approach? Louise, dancing, the officers getting up to dance – and some of the behaviour, drunk, sexual? The German observer and his stopping the music?

20. The concert, the cover of the escape of the British pilot? The raid on the train and explosion? Revenge, the flamethrowers destroying the gypsy caravans?

21. The challenge to the resistance, the using Django, the further promises that he could go, wanting the men to join the Resistance, the men doing this, the women left behind?

22. Django, his wife and mother, the hardships of the mountain climb, the women going back, the tracker dogs, the guide, Django burying himself in the snow, not discovered?

23. The immediate transition to May 1945, the end of the war, his calmness, the orchestra, his conducting, the Requiem for Deceased Gypsies? His mother, wife and child, friends?

24. The film as a tribute to Django Reinhardt?

ON BODY AND SOUL/ EL TESTROL EL LELEKOL

Hungary, 2017, 117 minutes, Colour.
Mrocsanyi Geza, Alexandra Borbely.
Directed by Ildiko Enyedi.

On Body and Soul is quite a striking film, Hungarian in its storytelling and perspectives but with a powerful universal impact.

The film is set in an ordinary city, scenes of people’s apartments, restaurants, but most of the action taking place in an abattoir.

With the abattoir and the focus on the cattle, penned, prodded, close-ups of their eyes, their deaths, the carcasses and the blood, the hanging meat, the workers going about their tasks calmly, the abattoir as something of an image of life and human experience. While there is a lot of detail of the abattoir – and the final credits note that animals were harmed during the filming but not by the film crew because they simply photographed an abattoir at work – it is not confined to the slaughter but also to the range of members of the staff, Finance Director, Human Relations director, supervisor, as well as the various women in diverse domestic jobs.

At the film begins with another image of animals, beautiful shots of a stag and the doe in the snowy forest, their instincts, their meeting, moving towards each other and an animal affection. As it turns out, these are the animals in the dreams of the two central characters, therefore highly symbolic. Peter is the finance director at the abattoir, Maria is a supervisor and inspector. When he first sees her, standing aloof and alone as she usually does, he is fascinated, meets her in the dining room, begins a conversation – but she is very awkward in responding. As we can see almost immediately from her behaviour, she is both compulsive and obsessive in the detail of her work, in neatness, in remembering sequences and dates in exact order.

An event in the abattoir, the stealing of some pharmaceuticals, leads to a psychologist visiting and questioning all the workers, rather intrusive questions about sexual behaviour, the nature of dreams… Peter is very offhand whereas Maria is absolutely precise. It is here that the audience sees that the two have the same dreams, the psychologist thinking this is joke and Peter not disillusioning her. Interestingly, she actually does pinpoint from her examination who the culprit is.

Quite a deal of the film focuses on Maria, her attempts to begin some kind of communication with people, getting advice from the rather raunchy old lady who cleans on what to wear and how to walk, buying a mobile phone which she has never had, contacting Peter, having conversations which lead to a theoretical intimacy. She also goes to a music store, listening all day to records but finally buying that recommended by the woman at the counter.

Peter, meanwhile, dislikes one of the workers, warning him about having care for his work on the animals, suspecting him of the theft – and later apologising when the man is not the thief. Peter has an injured arm, lives alone quietly, a slapdash kind of life. Maria brings something out of him but, both of them being awkward, there are some misunderstandings – which will almost leads to tragedy.

The film is very well acted, the dialogue always interesting, the situation is identifiable with, the exploration of human nature, human bodily illness, the reality of the soul. This all makes On Body and Soul a film of high quality.

The film won the Golden Bear at the Berlin are they, 2017, as well as the prize of the Ecumenical Jury and the jury of the International Film Critics.

1. The title? Ideas? Symbols? Images in dreams? Conveyed by drama, dialogue?

2. Hungarian sensibility, European sensibility, a focus on ordinary life, its meaning, struggles, hopes? Emphasis on humans and animals, differences, similarities? Symbolism?

3. The city, offices, flats, restaurants? Ordinary atmosphere? The musical score?

4. The opening, the deer, the forest in the snow, the meeting, nature and what is natural, instinct? The recurring images of the deer? From the dreams of Peter, of Maria? The link? At the end? The absence of the deer and peace in the forest?

5. The abattoir setting, the large plant, the various areas, the slaughtering of the cattle, the close-ups of the cattle, their eyes – and Peter’s asking the worker about feeling sorry for the cattle? The cattle dead, the blood and the rinsing of the floor, and the meat hanging? The workers, their jobs, going about them? Human Relations? Finance? The supervisor? The abattoir and the life within it as something of symbolic of life?

6. Peter in himself, his job, finance, watching Maria, fascinated, the discussions with his friend, not to say Marika, going to talk, discussion about the meal, her reaction? The staff reporting her to Peter? His visit, the discussions about her work, the grades of the cattle? Asking her for coffee, sharing it with her?

7. Maria, obsessive, clean and neat? The qualifications, in herself, aloof, not communicating with the others, despite their invitations? At home? The dialogue between herself and Peter with the pepper and salt shakers? Her inability to make connections, dedication to her work? A change in response to Peter?

8. The friend in Human Relations, his family, the theft and his cover-up? Sandor being a suspect, the psychologist and her correct estimation of who stole? Tipping the Human Relations man?

9. Peter, his not liking Sandor, Sandor and his bravado, with the workers, taunting Maria? Peter suspecting him, later apologising?

10. The psychologist, the glamour style, the range of questions, about sexual behaviour, losing virginity? Asking about dreams? Peter and his reaction? Maria, exact precision about health, dates, her dreams? The psychologist thinking the two dreams about deers was a joke, not? Peter saying to the psychologist that it was?

11. Peter, his life, lacking the hand, the daughter’s visit, living alone, scrap meals, watching television, his needs?

12. Maria, the consultations with the doctor? The discussion about clothes and way to walk with the old lady (and the old lady and her rather raunchy style)?

13. Not having a phone, Maria buying the phone, using it, contacting Peter, talking, their shared conversations, falling asleep together?

14. Music, her not being a listener, going to the shop, listening to all the records, buying the recommendation of the woman at the desk, the lyrics and the relationship to her?

15. Peter, erratic, messages, ignoring Maria, the break?

16. Maria considering suicide, setting up the music, in the bath, slitting her wrist, the blood? The phone call, Peter and his expressions, the impact on Maria? Maria going to the hospital, tending to her wrist, going to Peter, their sexual encounter and what it meant to each of them?

17. Ordinary, love, the possibilities for them – and no deer in the dreams?

18. The title, exploration of human nature, bodiliness, the reality of the soul, humans as body and soul?

THE LONE GUN

US, 1954, 76 minutes, Colour.
George Montgomery, Dorothy Malone, Frank Faylen, Neville Brand, Skip Homeier.
Directed by Ray Nazzaro.

The Loan Gun is a typical enough Western of the first half of the 1950s – and there were many of them. George Montgomery appeared in quite a number of westerns in the 1940s and 50s as did Skip Homeier. Neville Brand portrayed many criminals in his career. Dorothy Malone offers some complex love interest. The film was stolen by Frank Faylen as a card conman, Fairweather. Director, Ray Nazzaro was quite prolific in making small-budget westerns.

The story is about an initially unwilling marshall, an agreeable conman, two brothers who do not stop at murder and cattle rustling, a brother and sister who become their victims.

1. The westerns of the early 1950s, brief running time, location photography, musical score and atmosphere, the western towns, the ranches, the open plains and cattle?

2. The title, the introductory observations about Texas and frontiers, about good men and bad men, about individuals who uphold the law?

3. The introduction to Cruz, writing, the encounter with Fairweather, Fairweather shooting the snake? Three travelling together? In the town, the Moran brothers and the attack, Cruz fighting? The mayor offering him the job, his past refusal when things got difficult, his finally accepting?

4. The character of Fairweather, smooth talker, skill at cards, winning, friendship with Cruz, Cruz not giving him any favours? The drama of the card games? Fairweather and his final support?

5. The Moran brothers, thugs, stealing cattle, fighting, the pressure on the Downings, the plan with the cattle, rustling, pasturing them with the Downings, the murders, brutality, confronting Cruz?

6. The townspeople, not wanting to be part of the posse? Cruz, the evidence against the brothers, his getting the warrant, confrontation, the pursuit?

7. The final confrontation, Downing, the brothers?

8. Charlotte, her initial antipathy towards Cruz, learning the truth about her brother and the brothers, in debt, the appeal to Cruz? A love interest?

 

 

 

 

RED BILLABONG

Australia, 2016, 113 minutes, Colour.
Dan Ewing, Tim Pocock, Jessica Green, Sophie Don, Ben Chisholm, Gregory J.Fryer.
Directed by Luke Sparke.

With billabong in the title, audiences will know that this is an Australian film and wonder about the red billabong, suggestions of blood.

It is worth saying at the outset that many aspects of the film will seem quite absurd to the ordinary viewer. This means it is also worth saying that the target audience for this film is those who like to go to horror fests or movie monster fests. It is there kind of film and the ending, the confrontation with the monster, is clearly designed to get this kind of audience both cheering and laughing. Which rather precludes most other audiences.

Apart from the prologue where the audience is introduced to the monster, The Bunyip, and the death of a significant character, the screenplay is ordinary enough, one brother managing a farm, but also dealing in drugs locally, and the other coming from the city, asked for advice, especially as their grandfather had left a letter before his sudden death asking that the land be left to the local aborigines or for consideration of the sale.

Then a group of rather unappealing thirtysomethings all turned up, a drug dealer who is full of himself, his associate whom he dominates, and three women who trail along. A meal, they get high, while the serious older brother is examining documents and getting suspicious about the sale of the land.

There is an estate agent with an American accent who is eager to have the land minute with all that is found to be on the property with documents indicating the grandfather was a scientist, researching aboriginal law and especially, The Bunyip, which the men's father (who returns) and the agent are wanting to exploit.

One of the visiting girls go swimming in the billabong and is taken possession of by The Bunyip, and this happens to another of the girls. An aboriginal leader turns up with advice and indicates that the Bunyip needs three women under control and that this situation needs to be prevented. The rest of the film is The Bunyip, the search, the women and the dangers, deaths.

As indicated, this is a film for those who like monster movies – it would not be credible to any other audience.

1. The title, the Australian language? The billabong itself, the prologue, the man with the gun, the threats, the deed and throwing it away? The shots?

2. The countryside, the home and the farm, swimming pool, the caves? The musical score?

3. The film as a melodrama – and then emerging as a monster movie? The horror touches?

4. The film beginning a straightforward drama, becoming more melodramatic, mysterious, heightened atmosphere, the seeming absurd, the finale?

5. The target audience, those attending horror festivals, movie monster festivals, other audiences?

6. The situation with the two brothers, the younger brother managing at home, get drugs? The older brother, his leaving, coming home? Their mother, the disappearance of their father and his seeming to financially support them? The grandfather’s will, leaving the land to the aborigines selling it to developers? The younger brother and his decisions? The advice of the older brother?

7. The issue of aborigines, land, belonging to the land, the arrival of the aboriginal elder, his comments and advice? The other tribes people?

8. The arrival of the drug dealer, his friend, the women in tow? Thirtysomethings, flirtatious, drugs and drinking, promiscuity? Tristram and his involvement with the girl? Nick and his seeing his former girlfriend and his abandoning her and leaving? The scenes of the group together, the meals, the flirting? The dominant attitude of the drug dealer?

9. Nick, examining the documents, suspicious? His going to see the agent, their discussions? Tristram and his wanting to sell, Nick becoming more suspicious, urging him to wait? Nick returning later with Kate, in court?

10. The girl going for the swim, the drug dealer leaving her, the encounter with the monster, the Bunyip? Taking possession of her? The shift to supernatural themes?

11. The group going to search for her, Grace and her being taken in the water, supernatural possession? The men leaving? Jason and his death? The dealer and Tristram?

12. Kate, with Nick, not believing him? Coming across the truth, trying to warn people?

13. The agent, in control, the return of the Father, his threats and violence? The three women required to be possessed at the same time, the pressure on Kate?

14. The aboriginal leader, his advice, with Nick? The confrontation with The Bunyip? Saving Kate? The other girls returning to normal?

15. The dealer, Tristram, the pursuit, deaths? The confrontation with the agent, his been the mastermind, his death?

16. The fight with The Bunyip the giant monster, the touches of the absurd, at the touches of aboriginal mythologies?

17. Defeating the Bunyip, those saved, the saving of the farm?

 

THE TRUTH BENEATH

Korea, 2016, 102 minutes, Colour.
Directed by Kyoung-mi Lee.

The Truth Beneath is a rather ominous title, indicating truth of the of the surface and the deceits which might underlie this.

This is a Korean drama, with a political setting as well is a story that involves a domestic situation. It moves very rapidly, involving the audience in the election and campaigning, the abduction of the daughter of the new candidate, the mother’s search for her daughter – and the revelation of the true truths which lie under the surface of what seems to be apparent truth.

The situation shows a Conservative leader, in power for years, who is now being challenged. The new candidate campaign steadily, has good support, but needs to keep his reputation. With the abduction of his daughter, he fears that this might be used by his opposition to discredit him.

His wife, has a different opinion, and wants the campaign stopped, with the parents to concentrate on finding their daughter again. The candidate is wary of social media which might want to exploit the situation against him and so he does not want the disappearance of his daughter immediately revealed.

In the meantime, the wife begins her own search, collaborating with the police, searching her daughters computer, getting lists of people that she was in contact with, discovering the identity of a close friend, from a poor family whom the daughter was trying to help. They also played in a band together with songs about the family and touches of rebellion.

Further investigations take the wife to the school and discussions with the homeroom teacher who indicates that the reports on the daughter had improved over the years.

Then the girl’s body is discovered. In further investigations, the friend gradually reveals more and more of the truth, especially the two girls setting up a camera which spied on the teacher and her relationship with a lover – who turns out to be the father, stating disparaging words about his rigid wife. The teacher was sending exam questions to help the girls who were blackmailing her and eventually demanding money which was to be for the poor family.

Any mergers that a hitman was hired by the teacher and by the politician – and the girl had run him over, a hit run on the night of the abduction.

The wife is angry with her husband – for many reasons. After she attacks him, she decides that he should live and bear the burden of his responsibility even though he has just won the election.

Quite an interesting drama.

1. The title? Truth, falsity, fraud? In families? In society? In politics?

2. The setting, the city, the political region? Homes? School? Political gatherings? The countryside? The musical score?

3. The political situation, the Conservative member, long service, the challenge? Political Mac nations? The new candidate, his endorsement, his campaigning? The support of his wife?

4. The daughter, her age, relationship with her parents, previous trouble, running away, the mother and her concern? The father with less concern? The campaigning day, her promise to behave, giving a false phone number, disappearing?

5. The concern of the mother, the phone calls, the false phone number? Making contact with friends? The issue of the campaign, suspicions about opposite candidate? The role of the media? The disappearance looking bad for the new candidate?

6. The mother and her investigating, the father and his seeming to consent?

7. The friend, the relationship with the daughter, their music together, lyrics of rebellion? The tape? The bond between the two? The girl gradually giving more information?

8. The teacher, her concern, the revelation that she sent the exam questions to the girls? Her proclaiming her innocence?

9. The role of the police, their investigations, interrogations?

10. The information about the hit run, the man killed? Seemingly no connection with the abduction?

11. The gradual revelation of the truth, the girl and her story, the photographing of the teacher and her sexual encounter, blackmailing her, the exam questions, the teachers comment about the daughter’s improvement, the blackmailing for money?

12. The finding of the daughter’s body? The mother’s dismay?

13. The revelation that the father was sleeping with the teacher? The hiring of a hitman to kill the daughter? The responsibility of the teacher? The responsibility of the Father? The potential scandal for his campaign?

14. Social media, the comments, the criticisms of the Conservative candidate? Affirmation of the new candidate?

15. The election, husband-and-wife together, the victory?

16. The wife, trapping her husband, beating him, her discussed, the tape and his comments about his wife’s frigidity? Her allowing him to leave and to carry the burden of what he had
done?

17. The final comment about the daughter and her mother, her seeming to despise her mother – then the declaration that she was acting to protect her weak mother?

ANGUS, THONGS AND PERFECT SNOGGING

UK, 2008, 100 minutes, Colour.
Georgia Groome, Aaron Johnson, Karen Taylor, Alan Davies, Eleanor Tomlinson, Georgia Henshaw, Manjeeven Grewal, Kimberly Nixon, Sean Bourke.
Directed by Gurinder Chadha.

At least the title gets one’s attention. Angus is a cat. A catty girl wears thongs. And, perfect snogging is a 14 year old girl’s idea of a dream kiss.

Actually, the centre of the film is a 14 year old girl who will be fifteen before the final credits. For a fairer review of this film, it would be best to have an interactive discussion between girls of this age and their parents or grandparents. Meanwhile, this review will have to do.

This is a genial British film from the director of Bend it Like Beckham and Bride and Prejudice. Though born in Kenya, Gurinder Chadha grew up in London. This time she goes further afield than London, down to Sussex, Eastbourne and Brighton. While the director said she wanted to make a film like those of John Hughes (and she specified Sixteen Candles) and it is reminiscent of many American films about teenage girls, this one is firmly British in accent, vocabulary, mood and family portrait.

It should also be said that it is a ‘nice’ kind of comedy with an air of innocence, where perfect snogging is the ultimate in relationships between the sexes.

Georgia Groome, as Georgia Nicolson, has a strong personality and keeps us interested in her travails, the young adolescent girl preoccupations. She has nice parents but thinks they are very old hat and is embarrassed when they kiss, snog, in front of her. Her baby sister is a born mischief-maker. Luckily, she has three friends (and Angus, a really odd cat) that she can discuss matters of moment with, her worries, especially about getting a boyfriend. The screenplay by Gurinder Chadha and her husband Paul Mayeda Berges is full of little touches that indicate just how young and inexperienced the girls are (which may be reassuring to parents). When a boy says that he will see her later, there is an intensely serious discussion about what ‘later’ really means and how long.

Poor Georgia is into contriving situations, especially when she sees the boy of her dreams with the vain blonde of the school. She also goes to a gawky boy who coaches girls on how to kiss – and he becomes besotted with her. She, meanwhile, is planning, scheming, abetted by three friends. Complications arise when her father is transferred to New Zealand and she worries about the interior decorator who is spending a lot of time in the house and with her mother at Salsa lessons.

Georgia makes some huge mistakes, alienates her friends who accuse her of being selfish. Needless to say, this helps bring her to her senses and a happy ending for all concerned (except the vain blonde).

Based on a series of autobiographical books by Louise Rennison (who grew up in Leeds along way from the sea and the piers of Sussex), this film will probably go over very well indeed with its target audience of 11-15 year old girls and (unless they are in a state of trauma with their own daughters), their parents.

1. A film based on books for teenagers, for teenage girls? Girls identifying with the character? The situations? Boys identifying – or observing?

2. The title, the cat, the girls wearing thongs, developing sexuality, the issue of kissing – all for 14-year-olds?

3. The Eastbourne settings, the town, the sea, the pier, homes, school, socials, the beach, shops and markets? The feel for the town? The musical score?

4. Georgia, a strong presence, the story from her perspective, self-preoccupied, the effect on her, her having to learn?

5. At home, Dad, loving, his job, the offer to go to New Zealand, his accepting? The mother, Georgia comfortable with her? The baby? The sadness of the father being in New Zealand? The party and her turning 15 – the hopes, the plans? Georgia and her response to her parents and their frequent kissing?

6. The tone of the story, Georgia as the stuffed olive, going to the party, the girls in ordinary dresses, her standing out, everybody laughing, Lindsey and her snobbery? Georgia going home, upset, her parents?

7. Her three girlfriends, jazz, the blonde girl, the Indian girl – and her frequent faux pas? But their being together, supporting each other, but Georgia as leader?

8. The interest in boys, seeing Tom and Robbie, the market, their shop, Georgia’s attraction, Robbie’s place in her emotions, Tom and Jazz?

9. Georgia and her plans, utilising jazz? Her love for Angus, pretending to lose him, Robbie and his love for cats, hoping that he would help in the search, his hesitation, his following up? Jazz watching Tom and the sports, finding the cat?

10. Georgia upset at Lindsey, Robbie’s devotion to her? The girls looking through the window with the binoculars, discovering the falsies? Robbie keeping appointments with Lindsey?

11. The problem about Georgia’s party, the cost, the father not wanting a club? The rivalry with Lindsey’s party?

12. Her mother, the presence of the decorator, muscles, the girls admiring him, his going dancing with Georgia’s mother, Georgia’s watching the flirting and interpretation?

13. Georgia going to the office, discussion with the secretary, wanting her dad to return?

14. Jazz meaning well, but blurting out things – and the consequences? Georgia and her being humiliated? Robbie and his plain talk with her?

15. Georgia retiring, her birthday, the cake, the mother promising the party, going to the new club, the crowd of students there? Her discovery that the decorator was gay, his partner present? Robbie and the band? Dad present, back from New Zealand, proud of Georgia’s going to the office? His being promoted?

16. Lindsey, her arrival, the few girls at her party, on stage, the ultimatum to Robbie, the girls pulling out her falsies? Humiliated?

17. Georgia and the lessons learnt, happy at 15, the girlfriends and Robbie and a happy future?

T2 TRAINSPOTTING

UK, 2017, 117 minutes, Colour.
Ewan Mc Gregor, Ewen Bremner, Johnny Lee Miller, Robert Carlyle, James Cosmo, Shirley Henderson,
Directed by Danny Boyle.

Trainspotting became a classic of the 1990s, based on a novel by Irvine Welsh, it was setting Edinburgh but in the sub culture of drugs in the city, focusing on four men in their 20s, their exuberantly reckless life, the impact of drugs – and a certain move toward self-destruction.

But, here they are again, 20 years later. Have they changed at all? Have they learned from their experiences? And what have they been doing during the previous 20 years? This is a story of four men in their mid-40s, also Edinburgh, and there is still something of a drug-culture.

For those who appreciated the first film, there is no doubt that this film will be more than interesting. One very serious reviewer remarked that all the “magic� from the original film had gone. “Magic� is not exactly the word that comes to mind when considering Trainspotting. There is a lot of sentiment, of the affectionate and affable type as well is the hostile and aggressive type, but there is also a great deal of reminiscing with one character remarking that they were “tourists in their own nostalgia�, something which many of the audience will be indulging in as well.

And what has happened? Ewan Mc Gregor is Mark Renton returns to Edinburgh after 15 years in Amsterdam, a finance course, a job, a wife – but this all now collapsing. Johnny Lee Miller Simon is involved in blackmailing clients of a prostitute that he is set up with a camera and has inherited a derelict pub. Ewen Bremner’s spud, quite an interesting character in this film, has been on drugs, tried rehabilitation, been on several jobs but, there is an enjoyable collage showing how he turns up an hour late for everything and is now on his own, yearning for his wife and son. And Robert Carlyle’s Begbie? In prison all these years, but now with a brainwave to get a fellow prisoner to stab him so that he has to go to hospital and where he can walk out, trying to resume his life, meetings wife and son, the son intended to go to college but his father forcing him to go on a botched burglary expedition.

So, there we are. What will they do now?

Mike finds he doesn’t want to go back to Amsterdam, is reunited with his father, experiences the animosity of Simon but then decides to stay and help on a project where Simon can turn his pub into a sauna (that is, brothel). He is in a relationship with the prostitute he set up, Veronica, who is from Bulgaria and a shrewd operator as well. Spud helps with the renovation of the pub meanwhile writing down his stories which Veronica is fascinated with. And Begbie, he is after some revenge on Mark.

All this happens, more or less, but Simon does get charged for his blackmail, but not before going to members of a fund to appeal for a grant and then going to a club where he and Mark Steele all the credit cards and, in a high point in the film, because all the crowd is loyalist and hasn’t forgotten the Battle of the Boyne, are forced to sing the song, Mark improvising, the song being 1690, and the end of each chorus is “not a Catholic left� which is an amazing hit with everybody vigourosly joining in.

There is a buildup to a climax with Begbie attacking Mark, defended by Simon, and Begbie delivered in the boot of the car to the prison gates. And Veronica, with the help of spud, is no mean exploiter herself, especially with the financial grant money.

Trainspotting fans may well be invigorated by this sequel – but it does present a kind of sub- culture world, some dead ends in life unless one is in exploiter. but spud is a great success with his stories, going to see his wife and son and she suggesting a title for them!

1. The original as a cult film? Of the 90s? The cast, Edinburgh, the situations, the drug culture, the end of the 20th century? The director?

2. 20 years, all going back on memories, “tourists in their own nostalgia�, changes on not, experience and learning – or continuing, exploitation? The world of Irviine Welsh, the drug world – and the writer doing a cameo himself?

3. The title, Mark’s wallpaper, the trains? The change from Trainspotting of the 1990s?

4. The city of Edinburgh, the streets in the city centre, Arthur’s seat the views, the railway stations, the poorer areas, the pub? Prison? The musical score?

5. The introduction to Mark, his return, living in Amsterdam, wife, lying about having children, his accountancy course and job, companies merging and his losing his job and resigning? The money from 1996 for each? Going home, the welcome from his father? Going to see Spud, their friendship? Going to see Simon, the visit to the pub, the conversation, the fight, Simon’s viciousness, the issue of the £4000? Mark going, deciding to stay? Veronica, Simon and the blackmail scheme, the plan for the brothel, the attraction to Veronica, his deciding to stay, the building of the brothel, Begbie getting out, pursuing Mark, the extensive fight, Mark winning, Begbie in the boot of the car outside the prison? The highlight of Simon and Mark raising the money, going to the board for the grant and spending their story about…? Stealing the credit cards the club – and improvising the 1690 song, the Battle of the Boyne and everybody joining in – “no Catholics left�?

6. Spud, years of drugs, many jobs, his being fired, the collage of his being one hour late for everything? The money from Mark, drugs? Seeing Gail, wanting to see his son? Back on the drugs, the dealers on the steps? Going to group – and 11 more steps? Helping with the building of the brothel? Friendship with Veronica, telling the stories, her urging him to write them down, her reading them? Begbie in the stories, his liking them? Ironically, the money plan, Spud has expert in forgeries, the grant money going to Veronica in Bulgaria? Visiting Gail, his son – Gail and the stories and suggesting a title?

7. Simon, the same after 20 years, his blackmailing scheme, the teacher and the threats, the money, his having to intervene with the client being too rough? His being left the pub, very few customers? Mark arriving, Simon’s bitterness, the fight – and the lone drinker continuing drinking? The conflict about the £4000, handing it over, paying debts? The plan for the brothel, the drawings, Mark and not going to Amsterdam, telling the truth, staying, helping with the plane, the appeal for the loan, the robberies in the club, singing 1690? Simon’s arrest, going to see the lawyer friend, expensive? Begbie, arriving, the fight with Mark and Simon saving him? Ironic – the relationship and her leaving?

8. Begbie, in prison, getting this prisoner to spike him, in hospital, escaping, going to see his wife and son, the son wanting to go to college, the burglary with his son, going awry? Plans, his son standing up to him? Simon, Spud and the stories and liking them? Wanting revenge on Mark, the fight, losing, in the boot of the car outside the prison?

9. Past characters: Gail and her son, the lawyer, begged his wife and son, Mark and dad?

10. Veronica, her character, from Bulgaria, in Scotland, her work, shrewd, getting the money – and the percentage for spud?

11. An Edinburgh a slice of life, 21st-century?

THE PARTY

UK, 2017, 77 minutes, Black and white.
Kristin Scott Thomas, Timothy Spall, Patricia Clarkson, Bruno Ganz, Cherry Jones, Emily Mortimer, Cillian Murphy.
Directed by Sally Potter.

Over the decades Sally Potter has made quite a number of interesting, often offbeat films, remembering Orlando, The Man who Cried, Rage, and Ginger and Rosa.

In this film, photographed in very effective and sharp black-and-white, she also shows how much material can be condensed into 77 minutes of running time.

It is something like this: Sally Potter has called on several top actors, three British, two Americans, an Irishman and a German, written them some very sharp and telling dialogue, directed them to interact with each other, mounting tension as the film goes on, many in the audience remembering the effect of this kind of social drama in the confines of a meal as in Who’s Afraid of Virginia Woolf.

The film opens with Janet, Kristin Scott Thomas, opening the front door and raising a revolver. We have to wait only about 75 minutes to know what this is all about – and be surprised. Kristin Scott Thomas portrays a politician who has just been announced as an opposition minister, for health, having campaigned long and hard and put her socialist principles into practice. This is the other meaning of the Party, the political party. Then we see Bill, her husband, sitting depressed and forlorn, rather haggard and not with it, listening to music, waiting for the guests for a celebratory meal. He is played by Timothy Spall.

The first visitors to arrive are April and Gottfried, Patricia Clarkson and Bruno Ganz, an unlikely couple, she very sardonic, even cynical, American, close friend of Janet, full of opinions and certainly in no way hesitant to express them, some offhand, some calculated – and often the calculation is to upset and hurt. On the other hand, Gottfried is a genial German who admires April immensely even though she expresses the desire to separate from him and keeps putting him down in front of everyone. He is a personal coach, anti-Western medicine, interested in breathing, self-help, self-healing, and considering doctors’ diagnoses the equivalent of voodoo or curses.

The next couple to arrive and Martha and her partner Jinny, Cherry Jones and Emily Mortimer. Martha is an intellectual, university professor, trendy in many ways, common-sensed. Jinny is much younger and is about to announce that she is not only pregnant but is expecting twins, more than a shock for Martha.

Another couple is expected, husband, Tom, Cillian Murphy, and Maryann who does not arrive. He easily breaks out in a sweat despite his very dapper suit, and relies on cocaine fixes in an attempt to calm his anxiety. He has also brought a gun but decides to throw it into a garbage bin.

This review, having introduced the characters, will leave the rest for the audience to experience, be surprised at, sometimes laugh, sometimes be dismayed, wonder about human nature and its follies and foibles.

Each of the characters has a story. Many of the stories are intertwined and cause quite some surprise and anxiety, outbursts of affection, outbursts of violence, and the problem whether Janet will continue in her role as the new minister.

In fact, a well-written, well-directed, well-acted, contemporary issues drama.

1. The convention of the social event, preparation, guests, situations, revelations, antagonisms, upsets, emotional twists?

2. The black-and-white photography and its sharpness? The editing and the focus on the rooms, kitchen, bathroom, back courtyard? The focus on particular characters, their faces, the responses?

3. The musical score, Jerusalem during the opening credits, Bill and his playing the range of records and the records when he was unconscious?

4. The prologue, Janet coming to the door, the gun? The resumption at the end, Tom and his gun, Janet finding it, April urging her to be violent, including murder? The revelation of the final betrayal?

5. The focus on Bill, looking terrible, listening to the music, sitting in the chair? People greeting him? Janet acknowledging his support? Martha and the memories of their friendship? His revelation that he was terminally ill? The effect on him? The variety of responses, cerebral arguments? Gottfried and his theories, therapies, feelings, despising of Western medicine, admitting surgery could help? Bill and the revelation about his relationship with Marianne? Tom urging him to the truth? Janet and her shock, hitting her husband? Tom punching him out, their thinking he was dead? Bill wanting to live, but with Marianne? His having felt neglected by Janet?

6. The focus on Janet, the announcement of her elevation to opposition ministry, for health? Her personality, calm, the congratulatory phone calls, the sly secret phone calls and texts? Her cooking, linking compared to Mrs Thatcher? Greeting the guests, her relationship with each of them? April on the long friendship, support? Her reaction to the different information and news? Bill and his terminal illness and her shock, not knowing? Her wanting to resign, staying to look after him? His saying that he wanted to spend the rest of his life with Marianne, Janet’s anger, punching him, chewing her wrist? Trying to cope, the burnt canapés, in the rubbish, discovering the gun, taking it, going to the bathroom, April cajoling her? The final message – and the relationship with Marianne? Yet her estimation of herself, her commitment to government, processes, her campaigning?

7. April, cynical and sardonic, her aphorisms, the continued criticisms of Gottfried and his sayings, her control of situations, theoretical suggestions? Her reaction to Bill’s illness? To the news about Martha and Jinny and the triplets? Interactions with Tom? The discussions with Janet, in the kitchen, after the news, in the bathroom, her encouraging Janet?

8. Gottfried, German, admiring April, her condemning him and saying she was separating, comparing the others with his reactions? Sitting on the floor, on the sofa, his comments about life, his comment about health, alternative methods, Eastern methods, condemning Western medicine, curses and voodoo, condemning doctors and diagnoses? Indicating the people could heal themselves? Or that surgery could be helpful? Interactions with Tom, Bill’s collapse, trying to revive him? The irony of Janet being able to hit Bill’s chest and bring him to consciousness?

9. Martha, professor, theories, cerebral? Her relationship with Jinny, not going to the tests, the news about the triplets? Her being afraid? Her reaction to Bill’s illness, to the revelation about Marianne, of making her flat available for them to meet? Jinny, younger, in love with Martha, the marriage ceremony and the vows, triplets, her being sick, helping in the kitchen with the burnt canapés, suspicious of Tom, especially about the garbage and the gun? Her shock at hearing the relationship between Martha and Bill, her disgust? Wanting to move away, Martha and her explanations and pleas?

10. Tom, hyperactive, financier, the expensive suit, nervous arrival, sweating, the cocaine, in the bathroom, the gun and his putting it in the garbage? Helping Jinny with the burning food?
The anxiety, love for his wife, forcing Bill to tell the truth? His punching Bill? Trying to revive him?

11. The status of each of the characters at the end, April and Gottfried perhaps staying together, Martha and Jinny together, especially for the triplets? Bill and his illness, wanting to be with Marianne? Tom in a state of despair? Janet and her anger – and the gun?

12. The effect of this kind of ensemble work, social events and truth telling seriously and in games?

BRIGHT NIGHTS/ HELLER NACHTS

Germany/ Norway, 2017, 86 minutes, Colour.
Georg Friedrich, Tristan Gobel.
Directed by Thomas Arslan.

Bright Nights was entered into the competition of the 2017 Burma now they. Which is rather a surprise because it is a perfectly ordinary (well perhaps not perfectly) story of a father-son relationship.

The setting is northern Norway. If it has been your dream to travel through the mountains in the north of Norway (not the fjords) than if you see this film you will have fulfilled your dream and not had to travel at all. There is beautiful location scenery, the mountains, the lakes, the flora and the fauna. While the director obviously enjoys filming the scenery, it is something of a dramatic mystery as to why there is a long (Rather, very long) sequence where the camera is set on the dashboard, looking out clearly through the frame of the windscreen camera getting the audience to share the view of the drive upwards on a gravel road gradually moving into fault. Well, it does give the audience an opportunity to ponder on what they have been looking at in terms of the Father and the son as well as this trip into the mountains.

George Friedrich is Michael, a builder and supervisor who is informed of the death of his father, whom he hasn’t seen for five years, a hard man, who has spent his retirement in a village in Norway. The father’s daughter is unforgiving and will not go to the funeral and Michael, having been somewhat upset by his partners news that she has been given a Washington job for a year as her papers corresponded, decides to take his alienate it son with him. The sun doesn’t really want to go but is interested to see the place where his grandfather lived.

The go to the funeral, the only mourners there, along with the priest and the gravedigger.

After this, the film becomes a road film, literally. Father and son who are still tense, the son exceedingly angry with his father and his absence from his life, surly and resentful, reluctantly agrees (what else can he do?) To go driving into the scenery of northern Norway. They camp, have arguments, risk driving without sufficient petrol and have to walk into a town on a lake where they hire a room, the boy encountering a rebellious young teenager so some moments of sharing, both anger and music.

Then the father reveals to his son that they are going on a three day hike in the mountains. Needless to say the sun is not happy. However, they drove along the gravel road, into the fog and emerge in beautiful terrain, trees and bright, even red, vegetation. The father wants to confess his past philandering and abandonment to his son and the sun is completely unwilling to hear this. When the father awakes in the tent and finds his son gone, he pursues him, searching through the mountains, the boy then running away, the father tackling him – and some release of anger from the boy.

Actually, nothing particularly new except the scenery – and that may be enough for audiences to follow through familiar father-son tensions and some beginnings of resolution.

1. A film about father-son relationships? In the context of a trip to northern Norway?

2. The importance of the locations, Berlin, building site, apartments? The contrast with Norway, the mountains and forests, the roads, the lakes…? The musical score?

3. Introduction to Michael, his hard hat, sitting, surveying, contemplating, ringing his sister, the death of their father, distance from his sister, explanations, her not being able to forgive, nor go to the funeral? His relationship with Leyla? His edginess, her taking offence, telling him about her journalist post to Washington for a year, his non-reaction? His going to the funeral, taking his son?

4. Introduction to Luis, age, separated from his father, his father’s bad behaviour, relying on his mother but arguing with her, liking her boyfriend? Surliness, anger with his father? His bad behaviour? Sullen responses? Feeling a victim?

5. The plane trip, the son unwilling, the father ordering him? At the graveside, the priest, her greeting and walking away?

6. The film becoming a road film, going north, the scenery of Norway? Camping out? Antagonisms between father and son? The risk of no petrol, stopping, walking to the town, hiring a cabin, getting the petrol, Luis and his meeting Cecilia, their talk, her resentment against her parents taking her away from friends for a holiday, sharing music? The family giving them a lift back to the car with their petrol?

7. Going on, scenes of the road, scenery? The three day hike and the plan? Luis’s negative reaction?

8. The very long sequence of the gravel road and the camera filming through the windscreen? Time for the audience to contemplate the themes and relationships?,

9. Through the fog, the beauty of the top of the mountains, the flora? Camping, Luis going for the walk, his father looking for him, falling, continuing, the boy running away from his father, the father catching him? Bearing down on him making him unable to move?

10. The talk about the past, Luis unwilling to hear? His father’s confession?

11. The return home, his mother meeting him, the embrace with his father – and looking back? The future?

THE QUEEN OF SPAIN

Spain, 2017, 128 minutes, Colour.
Penelope Cruz, Antonio Resines, Chino Darin, Javier Camara, Jorge Sans, Cary Elwes, Mandy Patinkin, Clive Revill, Loles Leon, Neus Assensi.
Directed by Fernando Trueba.

This kind of film is usually described as a romp, with words to describe it like “rollicking�!

This is an ambitious production, written and directed by Fernando Trueba, Oscar-winner for Best Foreign Language Film, La Belle Epoque, 1992. At first, the title could refer to Queen Isabella of Spain and her rule, and dominance, in the late 15th century. However, there is a strong focus on a glamorous Spanish actress who goes to Hollywood, marries a prominent producer, divorces, is seen as a star, returns to Spain for the filming of The Queen of Spain – but it is the actress who is, of course, the Queen of Spain.

The setting is the late 1940s into the early 1950s. The film is very helpful in offering an initial collage of scenes showing the experience of Spain from the Civil War, the emergence of General Franco, Spain’s role during World War II, the end of the war, the Franco era and the sense of control, even repression. Part of the collage is showing the glamour of Hollywood in the 1940s, star popularity, the fans and gossip, the popularity of the movies.

Penelope Cruz is the star, the queen. She gets the start treatment from the press, from the American producers – the filming of the film within the film has American money, something Franco Spain is happy to accept. There is an American director played by Clive Revill who is generally asleep, wakened to say action or cut, something of a parody on John Ford. Mandy Patinkin is the writer, doing hack work because he has been blacklisted during the Mc Carthy era. There is an American actor, Cary Elwes, playing Ferdinand, quite a camp character and, self-important.

There is a range of characters, some oddball, who are part of the Spanish set – but who have an important role in the latter part of the film, eccentricities and all. There is the costume designer, married to a homosexual head of Department; there is a Spanish actor who has seen better days, who is to play the Moorish king, but has hopes of an invitation to Hollywood; there is Trini, the stars personal assistant – not afraid to spread the gossip; and there is the assistant director, played by Javier Camara, frequently in Almodovar films, serious in his work and managing things so that all goes well.

There is a serious tone when a former director who has been missing for many years turns up, welcome back even though everybody thought he was dead – but was in a concentration camp. He is given work has second unit director and seems ready for a comeback when his suddenly arrested, disappears to a working site were an enormous cross is being erected out of stone in memory of the recent past. He is the target of this attempts on his life.

This all comes together in a plot initiated by the star, and aided by one of the young technicians whom she has seduced, to get the motley troop to affect and escape for the prisoner. This is where the film becomes particularly rollicking, the plan, the execution, using the filming of soldiers on horseback, with the star disguised as one, extricating the prisoner and eluding the authorities to get him out of Spain. A happy blend of humour and excitement.

Plenty of characters, plenty of ingredients, scenes from the actual film – including an extraordinary insertion of Queen Isabella singing the contemporary song, Granada, roaming the battlements!

At the end, Generalissimo Franco decides to visit the set, keeping the Americans and they trying to keep in favour of Spain. While the film has been very anti-Franco, it is a scene where the star, now an American citizen, his father was killed in one Franco’s prisons, speaks out a defiance against fascism.

A movie movie, so to speak, with a great deal of humour, with a great deal of gossip, and many serious undertones.

1. The title, the 20th-century story, the making of the film? About Queen Isabella? A contemporary actress as a contemporary Queen of Spain?

2. The lavish production values, costumes and decor, re-creation of period? The US and Hollywood, Spain and the studios, the countryside? Prisoners, the camp for making the giant cross? The escape episodes? The musical score?

3. The film as rollicking, a romp? Its tone, satire and spoof, the use of caricatures, camp dialogue, Hollywood gossip..?

4. The cast, Penelope Cruz, the Spanish cast, the international cast?

5. The prologue and the collage essay on Spain from the time of the Civil War, Franco, into the 1940s, Hitler, the Allies, the end of the war? The Franco era? Repression? The movies, Hollywood, glamour, marriages and divorce? The glitzy tone and glamour?

6. Spain, in the late 40s and early 1950s, the Spanish film industry, production, American investment? Developing a sense of history? The stars, the ambitions of the Spanish cast? Franco and his officials supervising film, but wanting American money? The American producers and their presence, deals, the writer and his having to do hack work, the director always asleep – and the parody of John Ford? The American star and his camp style? The American attitudes toward Spain? The locals, especially the assistant director and his role, his concern, efficiency, technical skills?

7. Macarena, her return to Spain, the plane journey, press conference and her platitudes? The presence of Trini, her manner, style, gossip, protecting Macarena – but telling all about the gossip? Macarena as an American citizen, and marriages and divorce, the affairs, her promiscuous behaviour, eyeing of Leo, seductive? Her manner? Her career, filming, wanting to understand her character better, the discussions with the writer? The reappearance of Fontiveres, her past relationship with him? Leo, working on the set, the sexual invitation, hitting him as well? The scenes of narrative and her manner as Queen Isabella? And the singing of Grenada?

8. Fontiveres, sudden appearance, his age, bearing, everybody’s reactions, happy memories of him, his past and his skills, his wife and her astonishment? The daughter’s wedding and her not wanting him to be present? His being in the concentration camp? The friends, welcoming back, the reaction, the producer giving him the second unit direction and his success with the action shots? The police, his disappearing, in prison, the building of the statue, hard labour, working with his friends, the police and the orders to kill him, the building collapse and his injuries? Macarena’s visit, pretending to be his daughter, his amorous response? Going to the mine, the further collapse, the setup for his death? The plan for his escape, being ready, the collaboration, his being picked up, changing his clothes, in the van? The vans to Barcelona, Rosa and her performance and Fontiveres responding, their not being taken?

9. The Fontiveres action, uniting the mixed group, their political views, interest in their careers, participating? Leo, his ideas and participation? The writer and the background of his being in the Civil War, being blacklisted by Senator Mc Carthy?

10. The ensemble, Lucia and her work, costumes, marrying the homosexual, and lesbianism, trying with Macarena? The homosexual man, his camp manner, eyeing the men, floating? Prim manner? Julian, self-importance, his roles, the Moorish king, hopes for Hollywood, the discussions with the American actor, the sexual humiliation? His explanation of how he was able to weep on cue? The offer for the American Pirate film with Errol Flynn? Rosa, touring South America, age, her role as the Moorish mother? Performing in the theatre? The solution for getting Fontiveres to Barcelona and to the French border? Fontiveres’ wife, the shock, not want him at the wedding, visiting Macarena, persuading her to visit her husband in prison?

11. The writer, sensible, taking over the direction, the black list? His wanting to be in on the escape? The producer and the money issues? The parody with the director, asleep, saying the official words? Attracted to Macarena? A parody of John Ford – even to the eyepatch?

12. The assistant director, earnest, his skills, getting the riders in action…?

13. The escape plan and its execution, Macarena and Leo dressed as soldiers, Julian as Moorish but riding in? Everybody with their task, the bike, the van, the change of clothes, the phone calls and Trini breaking the code? The police holding them up, getting through?

14. The American actor, self-importance, camp, sexual, eyeing Julian, the cuffs and the torture roller, the sexual experience and his later comments?

15. The film itself, the style of epics of the 1950s – touch of history and corniness, and the singing of Jews?

16. Franco coming to the set, meeting everyone, his meeting Macarena and her defying him?