WILD MOUSE

Austria, 2017, 103 minutes, Colour.
Joseph Hader, Georg Friedrich, Jorg Hartmann, Pia Hierzegger, Denis Moschitto, Crina Semciuc.
Directed by Joseph Hader.

An Austrian comedy.

Wild Mouse is the work of Joseph Hader, actor, writer of the script and director of the film. The Wild Mouse of the title is a restaurant – although the character, Georg, is something of a mouse at the age of 50 but, having been fired from his paper and 25 years of music reviews, he discovers that there is more to life and his being a mouse becomes rather wild – even excessively so.

This is a film that people of middle age will relate to. Those, who around 50, find it difficult to get employment after losing their jobs, will also identify.

Hader creates quite a character, a rather self-satisfied man, and snobbish. He is married to Joanna, a therapist, something which creates a variety of complications especially with a recalcitrant client and his relationships.

At first, Georg does not want to admit the truth, goes out to work every day, sits in the park, is amazed that his successor still uses some of his reviews (with his wife astounded they are so friendly). One day, at a fair, he sits on the train designed for children and families which leads to his meeting the driver, a friend from school days (whom he remembers bullying him). The driver also loses his job but is supported by his Romanian girlfriend with whom he will cannot converse, Georg using Italian to get to know her.

With Georg coming to life, one of the main things that Hebrew on is a possible revenge on his boss who sacked him. And that is where the film leads, with some surprises, Georg failing in his intent, falling asleep in the snow and having to phone his wife to come to help him.

The film ends with the audience wondering whether Georg can ever explain everything to his wife.

Quite entertaining, often amusing – despite the fact that Georg is so often disagreeably petulant.

1. The impact of the film? An Austrian perspective? Drama and comedy?

2. Settings in Vienna, the newspaper, the concerts, home, therapy, office, the fair and the rides, the countryside and the snow? The musical score?

3. The title, the ride, Georg as a mouse, but becoming wild?

4. The background of topical issues: age, retrenchment, pregnancy, artificial insemination? Reviews and critique? The television background of Europe and the refugees and Syria? Violence and revenge?

5. Georg, the opening, walking with the journalist, chatting, his reputation, 25 years, striking a pose, but hard on performers? The audience with Waller, his being fired? For younger people? The antagonism towards Waller? Planning revenge? Scratching the car, tearing the car cover, the graffiti, the fish in the pool, buying the guns and knives, the negotiations about paying for a hit, smashing the CCTV? Driving to the country, preparing to shoot, unable to shoot?

6. Georg, lies about his being fired, in the office, the secretary, the paper continuing to use his name and photo, his wife commenting on the pleasant review? Going to the concerts? The Japanese in the restaurant and his having been attacked, his attacking Georg’s car? Joanna wanting to be pregnant, the attempts, his not being ready to be a father? In the park, riding on the train, meeting Erich, payment for the train to depart, Erich, the accusations of theft, his being fired? Playing pool, Georg remembering Erich as a bully? Nicoletta, speaking Italian with her? Erich and the graffiti? The ride and the excitement, the money deal, Georg lending Erich the money? The music, the opening, dressing up classically, Joanna finding him, his pleading, her leaving? The police arresting him after the CCTV attack, the policeman’s admiration? Joanna ousting him from the house? Borrowing Erich’s car, the drive, his fears, the gun, the fight, Sebastian’s intervention, the struggle with Waller, snowed in, Erich’s story about pills and whiskey and the snow, his doing the same, the snowplough men, the pursuit? Call to Joanna, wanting clothes?

7. Joanna, her age, her therapy, the interview with Sebastian, his insult? Her being hurt? Is return, the flowers, the invitation to the band, her professional refusal, yet going, enjoying the music, talking with Sebastian, the attraction? Waller and coming for therapy, the job offer, the dinner? Her going to the Wild Mouse, angry with Georg?

8. Erich, his background, working the railways, being fired, bullying Georg at school, pool, the discussions, friendship? Georg saying he had no friends? Erich and Nicoletta, the language barrier? The rides? Nicoletta deciding to leave, Erich unable to speak with her?

9. The ride, building it, the success?

10. Sebastian, therapy, homosexuality, his friend, bringing the flowers, the invitation to the music to Joanna, talking, the irony of Waller being his boyfriend?

11. Waller, treatment of Georg, the damages, his threats, the police? Going to Joanna, the job offer? In the country, Sebastian, the discussions about food, sensitivities, the fight, Sebastian and his stands?

12. Georg beginning to explain everything to Joanna, in the car, the rain, holding up the traffic – in the film just stopping and leaving it for audiences to work out what will or might happen?

FELICITE

Belgium/ Senegal, 2017, 120 minutes, Colour.
Vero Tshanda Beya Mputu, Gaetan Claudia, Papi Mpaka.
Directed by Alan Gomis.

While the director of this film comes from Senegal and financing comes from there as well as some European countries, especially Belgium, the story is set in Congo, in the city of Kinshasa. With the filming in the streets of Kinshasa, in the villages on the outskirts, in a visit to a mansion, the audience can feel that it has been immersed in something of the life of the city and its characters.

At a bar, the camera begins to focus on Felicite, sitting among the patrons and then emerging to sing. She is a strong character, forceful and assertive, not always sympathetic, sometimes exasperating for an audience which makes it sometimes difficult to feel for and with her.

The film details her daily life, at home, the separation from her husband who is angry at her and rebukes her about her son being a thug, the boy himself being injured in an accident and finding himself in hospital and serious financial needs for his recovery.
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The other main character in the film, Tabu, is a local friend, offering to mend Felicite’s bung refrigerator, which becomes something of a principal episode in the film, Tabu not always being able to fix it properly. And a friendship grows between the two.

Much of the film involves Felicite’s trying to raise money for her son, from her singing, in the bar, Tabu making a collection, even going to a wealthy man and imposing on him.

There is very little explanation about the son and, on release from hospital, he is not particularly communicative until he goes into the city, on his crutches, encouraged by Tabu who is able to bring him to life.

The film is important for those interested in African cinema, its representations of life in the early decades of the 21st century, memories of past traditions, and nation involved in civil war, poverty and survival…

1. The title? Her name? The French and happiness?

2. International co-production, locations in Kinshasa, Congo, in Senegal? The music? Belgian finance? The director from Senegal?

3. Locations, Kinshasa, the city centre, modern, the townships, the outskirts, poor and rough? The musical score, the songs, popular, performance, response? The classical choir? The insertion of the choir into the film? The orchestra?

4. Introduction, Felicite among the people, sitting, the camera on her, the bar, the drinks, her songs, people giving money, at home, the fridge broken, Tabu and his coming to fix it? Her comments about money, the motor, the fan? The news about Samo, hurrying to the hospital, dominating and domineering, not thanking anyone, unlikable in herself? Pushing people around, the hospital staff, money issues, the discussion with the doctor, the woman stealing the money and the prescription? Tabu and his organising a collection amongst friends? Going to see the wealthy man, pressure of the gate, her tantrum? Discovering Samo’s amputation, her reaction? Becoming quiet, reclusive, taking down her hairpieces, alone, dreams and dream-like experiences, in the water, the zebra, Samo coming alive, Tabu and his friendship, able to bring Samo to some activity? Felicite continuing to sing, the fridge being fixed, going to Tabu, the zebra image?

5. Tabu, big, drinking, brawling, liking Felicite, the fridge, the motor and the fan, ultimate success? His company, liking felicity, carrying Samo from the hospital, the women, his interactions, helping Samo, drinking the beer, the end and Felicite’s approach?

6. Samo, no explanation about him, the accident, in hospital, quiet, the amputation, refusing to eat and drink, not talking, the beer and Tabu bringing him alive? His mother going to see his father, the father’s anger, condemning him as a thug? At home, the crutches and walking through the city?

7. The hospital, nurses, the doctor, money?

8. The boss, the doorkeeper, his assistant, Felicite and her tantrum, her being manhandled, the boss giving the money, warning?

9. The club, the clientele, drinking, music, brawling?

10. The orchestra and the choir? The pace and change of mood with the choir music?

11. Life in Kinshasa, Paul, homes, music, both popular and classic, dreams and hopes?

THE LEGO BATMAN MOVIE

US, 2017, 104 minutes, Colour.
Voices of: Will Arnett, Rosario Dawson, Michael Cera, Ralph Fiennes, Siri, Zack Galifianakis, Jenny Slate, Jason Mantzoukas, Conan O' Brien, Billy Dee Williams, Zoe Kravitz, Eddie Izzard.

In recent years there have been quite a number of Lego movies, extremely popular in cinemas and on television. With the popularity of Lego and children using the different blocks for building all kinds of creations, it is understandable that the film companies decided that this would be an effective and profitable type of animation.

There have been some Lego Batman movies but this one is designed for wide popular release and was very successful. It also benefits from a talented voice cast ranging from Will Arnett as Bruce Wayne/Batman, Rosario Dawson as Brenda Gordon, the collaborator in the fight against crime in Gotham city, Michael Cera as the orphan, Dick Grayson, Zach Galifianakis as the Joker, Ralph Fiennes as Alfred the butler.

While the story and the look of the film are designed for the younger audience who will delight in all the shapes and colours in action (often non-stop), there has to be something for the adults accompanying the children! This is immediately found in the opening sequences where the voice-over explains a lot of the techniques how action films work and then illustrates this (which they do at the end of the film is well). Actually, there is a lot of verbal and visual satire and the dialogue which may go over the heads of the children but entertains the adults.

The film is zany to say the least. After referencing all the previous Batman films, we are introduced to the Joker, plans for defeating Batman, rounding up all the DC comic villains, borrowing from Suicide Squad and with references to Superman and General Zod. But things are changing in Gotham city, Jim Gordon is retiring as the police chief, his sister Barbara taking over, acknowledging the contribution of Batman but believing that there should be collaborative effort in the fight against the Joker and crime.

Then there are the orphans, especially a very pushy young fellow, Dick Grayson (voice of Michael Cera) who twists Bruce Wayne’s words about adopting orphans and finds himself not only adopted but a part of the Justice team. Bruce Wayne is rather narcissistic, a hero-figure loner.

There are all kinds of sequences for the combating of the villains, Barbara being a force for good, and even Alfred somewhat critical of his master (in Ralph Fiennes voice) but also becoming part of the active crime-fighting team.

In many ways it is in one eye and out the other, a quick entertainment which is bright and breezy – but, with a more philosophical note at the end, acknowledging the perennial fight between good and evil, Batman and the Joker realising that they have to have their stances otherwise there will never be any stories and no conflict!

KONG: SKULL ISLAND

US, 2017, 118 minutes, Colour.
Tom Hiddleston, Samuel L.Jackson, Brie Larson, John C. John Goodman, Corey Hawkins, John Ortiz,Tian Jing, Toby Kebbel, Jason Mitchell, Shea Whigham, Thomas Mann.
Directed by Jordan Vogt- Roberts.

King Kong has been part of movie consciousness for over 80 years, his first appearance in the 1933 classic which introduced him on his island, his being transferred to the United States and the famous climax on the Empire State Building.

There were sequels, variations on the theme, remakes in 1976 and, by Peter Jackson with Naomi Watts, in 2005.

And now, here he is again.

The audience is not left in suspense because Kong makes his first appearance at the very beginning of the film, 1944, a South Pacific island, planes crashing, a Japanese and American confronting each other – only to find themselves confronted by. Kong

The action in this adventure takes place in 1973. President Nixon’s announcing the cessation of hostilities after so many years in Vietnam. Some of the military, especially Packard (Samuel L. Jackson) are reluctant to leave action and go back to civilian life. When an opportunity arises for him to take his men on a special mission to the South Pacific, he agrees with alacrity.

The background of the mission is an expedition to an unknown island. Leading a delegation to Washington and an appeal to a senator is a wealthy man (John Goodman) and some scientists – the senator, Richard Jenkins, thinks that the mission is nonsense but is persuaded to support it when he hears that it might become a cold war pawn with the Russians.

The other significant members of the mission are Jim Conrad, Tom Hiddleston, an SAS man who is strong on security, and a photojournalist, who has covered the war in Vietnam in order to promote peace and human respect, thought to be a man because of her name, Mason, played by Brie Larson.

As the ship sails towards the island, it is covered in fierce storm clouds and so helicopters are sent in, explosions set off in order to rouse the creatures on the island.

Needless to say, Kong is not very happy at being so disturbed and there are vivid sequences where he destroys so many of the helicopters as if they were little toys in his hands. Packard is very aggressive and terms the weapons on Kong, wounding him.

After his attack, there are two groups on the island, one centred on Packard who wants to get the weapons and to destroy the creature, the other centred on Conrad and Mason, she busily photographing everything, he wanting to lead them back to the rendezvous.

Much easier said than done because of the range of creatures on the island, prehistoric giant creatures, a huge water buffalo, an enormous spider, a large squid, devoured by Kong, ferocious lizards and pterodactyl swooping for prey. As a fierce creature and monster film, this one does very well.

There is one surprise in the form of John C. Reilly, the surviving American who landed at the beginning of the film, who has made friends with the rather silent and painted inhabitants of the island, advises them that Kong is friendly but that there is another enormous lizard creature who wants to destroy Kong – and, in a long sequence, we see the two fighting and the bad creature doing his best to destroy the good Kong.

Needless to say, not everyone survives, but Conrad and Mason, climbing a cliff to fire a flare for the rescue, come face-to-face with Kong and there is the expected moment of Beauty and the Beast, Mason touching Kong, he rescuing and cradling her.

Which means to say that as a version of the King Kong story, this is not bad at all.

1. A popular action adventure? The origins in the 1930s, the various remakes over the decades? Peter Jackson’s 21st-century version?

2. The appeal, creatures, King Kong, the threat, Kong as hero, the touch of beauty and the beast?

3. The war, 1944, the Pacific island and the planes crashing, the two pilots, the confrontation, American and Japanese, the chase, the cliff and the appearance of Kong?

4. The transition to the 1970s, focus on President Nixon, the history of the Vietnam war, the cessation of hostilities, the military, returning home, new assignments?

5. Bill Randa and his quest, Dr Brooks, his associate, the research, the visit to Washington, promoting, the expedition, and the senator and be with, unwilling to gives financial support, the arguments, the point about the Russians and discovery of the island, the senator changing his position and actions, supporting the expedition?

6. The recruiting of James Conrad, SAS, his background, willing to go on the expedition, his role of security?

7. Introduction to Packard, the end of the war, his still wanting to fight, his relationship with his men, the new mission and his willingness to go?

8. Mason, her work as a photojournalist,, promoting peace? Willingness to go on the expedition – and the surprise that she was a woman?

9. The organisation of the expedition, Victor Nieves, his role in management, suited, his being apprehensive?

10. The voyage, the ship, the discussion about the island, its mystery? Appearance as a skull, not chartered? The plan, the storm clouds, thunder and lightning, sending in the copters, the plan for the rendezvous?

11. The dynamics of the expedition, roles of leadership? Bill Randa and the revelation about the myths? The academics and their theses? Packard and his reliance on weapons, loyalties? The copters and the plans? Setting off of the bombs to disturb the creatures?

12. Kong, his appearance, size? The confrontation with the helicopters, the scenes of destruction, the helicopters like toys? The crashes, the deaths? The military attack on Kong himself, his wounds?

13. The regrouping, and Packard and the military and Randa together, trying to make contact with Chapman? Chapman and his wanting to write his letter to his son, stranded? Conrad and Mason in the different group, her continually taking photos, working on the plan to get to the rendezvous?

14. The range of creatures, the giant buffalo, the lizards, the spider, the pterodactyls, the squid? The huge aggression, destruction? The pterodactyl taking Nieves? Randa and his being swallowed as he took photos?

15. The military expedition, gung ho, communicating, Chapman, his being killed – his tag being vomited out and Conrad finding it?

16. The different sensibilities, the scientists and their investigation, Conrad and his guidance?

17. The local people, the sudden appearance of Hank Marlow, his story, 28 years survival, his strong personality, the explanations, about the people and their silence, their gestures? His news of the big one and the confrontation with Kong, Kong’s friend?

18. The boat, the work on rebuilding?

19. Kong, his injuries, Mason and her touching his face, his saving her, cradling her?

20. The search, the range of creatures, the viciousness of attacks? Kong and his eating of the squid?

21. Packard and his stances, wanting the weapons, using them, his death?

22. Kong and sympathy, his fight with the giant creature, the detailed action, destruction?

23. The flare, the ship, coming helicopters, the role of Cole, his making mistakes, his final statements and self-sacrifice? the young man, his working with Conrad, turning the gun against Packard?

24. The rescue, Kong safe?

25. The epilogue, Marlow going home, his wife and his son, the happy reunion, and watching his team on television?

FENCES


US, 2016 139 minutes, Colour.
Denzel Washington, Viola Davis, Stephen Henderson, Jovan Adepo, Russell Hornsby, Mykelti Williamson, Saniyya Sidney.
Directed by Denzel Washington.


African- American playwright, August Wilson, who died in 2005, was an award-winning author who captured the life of African- Americans at the various stages of the 20th century. He adapted some of his plays for the screen – but did not live to see this version of his play, Fences, which won Tony awards on Broadway including for its stars, Denzel Washington and Viola Davis.

Wilson wanted an African- American to direct the screenplay and now Denzel Washington has brought the play to the screen, repeating his role and receiving an Oscar-nomination as well as winning Golden Globe, and Viola Davis receiving most of the major awards for Best Supporting Actress.

The setting is Pittsburgh in the mid-1950s. Denzel Washington plays Troy, working with his friend Bono (Stephen Henderson) on a garbage truck and its rounds – and one of his ambitions being to drive the truck. He lives at home with his wife, Rose, married for 18 years – with a son from a previous marriage and a teenager son of this marriage.

While the screenplay has opened the stage drama out somewhat, although most of the action takes place in the yard of the house, and its interiors, where Troy builds a fence (symbolically keeping people in as well as keeping people out). There are a few scenes outside the house, collecting the garbage, visiting an office… Which means that the film relies very much on dialogue, spoken words and gestures, some silences, a focus on reactions. And, at two hours 20 minutes running time, this can be somewhat demanding.

Denzel Washington is very good as Troy though, as many have remarked after seeing the film, if only he had shut up various times! Viola Davis, on the other hand, initially is a person of reactions and smiles, her powerful dramatic scenes coming later in the film.

Troy is a complex man, born in 1904, a difficult upbringing, especially from his severe father, leaving home young, involved in theft, time in prison (where he met Bono), a son who visits and is something of a musician. In many ways, Rose has been his redemption, especially when his potential baseball career, at which he excelled, does not come to the fulfilment he expected, whether because of age, because of race issues, or both. This has hard repercussions on his son, Corey, who wants to be a footballer but his father treats him very severely, not wanting him to give himself to sport, but to having a good job – which leads to some powerful scenes between father and son.

Also in the mix is Troy’s brother, Gabe (Mykelti Williamson) who suffered injuries during the war and lives in his own world, sometimes in an institution, often visiting family, genial and friendly.

The final act is rather quieter, the family gathering for Troy’s funeral.

This all means that the film immerses its audience, especially the African- American audience, in the hardships of life, a great deal of servitude, African-Americans? on the margin of American cities, but the changes which were beginning at this time leading to the civil rights movement of the 1960s.

Despite Denzel Washington’s incessant talking, this is a film of great value, of insights and empathy, a testimony to the hardships experienced as well as the breaking through to greater freedom.

1. Acclaim? Awards?

2. August Wilson and his work for the theatre? Adaptations for the screen?

3. African- American themes? For cinema? The appeal for audiences? American? World audiences?

4. Pittsburgh in the mid-1950s, the house and the interiors, front yard, the building of the fence? Garbage collection, the streets, offices? The musical score?

5. The title, the nature of a fence, keeping in, keeping out?

6. The emphasis in dialogue, a filmed play, opened out? The importance of one, reactions, silence?

7. Denzel Washington as Troy? His story, his life in the 1950s, home and family, garbage collecting, his friendship with Bono, on the back of the truck, the work, talking? Wanting to drive? The later interview, the promotion? At home, drinking, interacting with the family?

8. Troy’s past, born in 1904, his father, memories of his father and his harshness, wanting to get out, the streets, stealing, his years in prison, getting to know Bono? The years, meeting with Rose, his son Lyons, marrying Rose, her understanding? The birth of Corey? His relationship with Gabriel, support, Gabriel and his injury in the war? Institution, pension? Troy and his skill at baseball, the potential career, his success, memories of success? Too old? The lack of opportunity? Unfulfilled? His relationship with Lyons, Lyons and his music? Corey wanting to play football, Troy forbidding it, wanting his son to work? Bono and hints about Alberta and his comments?

9. The portrait of Rose, initially reacting to Troy, love for him, smiling, preparing meals, listening? Corey? Her love for Lyons and his girlfriend? Bono and his wife? Gabriel, his turning up, sandwiches, her care for him? Her memories of Troy and his sport, his job – and his drinking?

10. The character of Lyons, his age, relationship with his father, with Rose, his girlfriend, music in the clubs, the cashing choose, going to prison, the bond with his father?

11. Corey, age, relationship with his father, intimidated by him, love for his mother and her care? His anger, wanting to play football, his job, needing to practise after school, his motivations? Confrontation with his father, his father physically attacking him? Wanting to be in his father’s shoes all not? Looking at the advertisement for the Marines? His decision to enlist, returning after six years, not wanting to attend his father’s funeral?

12. Bono, a good man, the past in prison, conversations, his wife? The warnings to Troy about Alberta? Troy and his driving the truck, the growing distance from Bono?

13. Alberta, Troy and his relationship, his confession to Rose, his wanting sympathy, wanting space for himself, Rose and her response, love, yet wanting to have some space for her own, sacrificing herself? Alberta’s pregnancy, Rose having to cope? And Troy’s visits to Alberta? The phone call in the night, the news of Alberta’s death, the birth of the daughter?

14. Rose, asserting herself, a powerful personality, her life, the nature of her commitment, taken aback with the news of the death and the birth of the child, living with Troy? Troy and his reasons? His asking Rose to accept the daughter?

15. The time lapse, the epilogue, the gathering for the funeral, Gabriel and his trumpet, and his hopeful comments, looking to the heavens? Lyons and Corey? Raynell, her age, place in the household, calling Rose mother, six years, getting dressed, making friends with Corey? The fact that had dropped dead? Corey not wanting to go to the funeral? Rose confronting him about it, her eulogy about her husband and his life?

16. The perspective on the history of African- Americans in the 20th century? The past, transitions during the century, greater freedoms and autonomy, yet…? Troy spanning the past and the present, a new era in the 1950s, prior to the Civil Rights movement – as seen in retrospect?

BEFORE I FALL

US, 2017, 99 minutes, Colour.
Zoe Deutch, Halston Sage, Logan Miller, Kian Lawley, Jennifer Beals.
Directed by Ry Rosso- Young.

Before I Fall is based on a novel for young adult readers, principally female young readers.

The film opens with the repetition of sequences that remind audiences of Mean Girls, a group of teenagers who are very sure of themselves on the surface, relying on one another and a leader to validate their self-image, critical of others, catty amongst themselves, condemnatory of the girls that they do not approve of.

These opening sequences are a reminder that it is necessary to wait till the end of the film because the tone could well change – and with this one, it does.

Samantha, Zoe Deutch, is at the centre of this film, the I of the title, speaking in voice-over about herself and this special day in February, Cupid’s Day at school, where roses are distributed amongst favoured girls. What Samantha says is rather ominous because it sounds as if something terrible is going to happen to her.

However, we follow her during the day, rather haughty, not wanting to get up, critical of her little sister with her gift of an origami bird, rather neglectful her parents, meeting the girls in her clique, travelling to school, class, the roses, encountering a young man, Kent, in the school corridor, Samantha with a condom because of the plan to connect sexually with boyfriend, Rob, that evening. At the party where they all gather, an isolated girl, Juliet, whom they loathe appears and is ridiculed, running out of the room. Samantha then finds herself in the car and it crashes – only for her to wake up in bed and it is the same day.

And older audiences are remembering Groundhog Day.

Which means that Samantha has to live the day over and over again, the audience noticing the sameness, the differences, Samantha becoming a bit more appropriately self-conscious, seeing through Lindsey, the catty leader of the group, befriending the young man in the corridor – but, basically, the same things again.

And, eventually, this is where the moral of the story comes in. Samantha begins to take stock of herself, critical of her attitudes towards her sister and her mother, becoming nicer to both and to her father, speaking directly to Lindsey and the other girls, befriending Kent and having deep and meaningful discussions with him, learning more about the disliked Juliet and the reasons for the dislike, especially unjust attitudes from Lindsey.

The ending is not quite what we were imagining – but, Samantha has become a better person from her living the same day over and over again, a kind of purgatorial experience for her.

Which means that there is a moral for the young adult audience and a bit of saving grace for the older audience.

1. The title, Samantha and her explanation, the premonition of death? Living the one day, over and over, finally, her death?

2. The echoes of Mean Girls, the friends, catty, their attitude towards others, the click? The attitude towards Juliet? The echoes of Groundhog Day? Audience familiarity, interested to see variations on themes?

3. The Washington State town, the homes, the mountain scenery? The school? The classes, the corridors, Cupid’s Day? The girls at the home, getting together? The party? Kent’s room? The woods and the highway? The musical score?

4. The first part of the film, the impact of the audience about the Mean Girls? Younger audiences identifying, girls identifying? The reaction of adults – impatience with the attitudes of the girls and their behaviour?

5. The day itself, Samantha waking, her sister and the origami bird, Samantha’s disdain, not having breakfast? Being picked up by the girls, with Lindsey, the other girls, their chatter, mean-minded? Their style? At school, Cupid’s Day and the distribution of roses? The comparisons? The teacher and his reference to Sisyphus and his kind of Groundhog Day experience? The special rose and the note for Samantha, the puzzle? Kent and his being late, his concern for Samantha? The encounter in the corridor? The issue of sex, Rob, the condom? The dining room, the meal, the girls together, their disdain of Juliet? Later in the day, the preparation of the party, their chatter, getting dressed? The party itself, Kent the room, Rob and his drinking, Juliet arriving, their condemnation, taunting her, her rushing out? In the car, the experience of the crash? Waking up again?

6. The repetition of the day? Samantha and her bewilderment? The repetitions, the variations? The continued waking? Audiences anticipating what was to happen? The differences? The effect of many days on Samantha?

7. The moral change, her wanting to do something with her life, examining herself, her friends?

8. The improvement, the origami bird and kindness to her sister, the bonds between them? The meal with her parents, praising her mother for being beautiful – and the memories of being rude to her mother? Seeing the girls differently, their chatter, clashing with Lindsey, Lindsey and her backbiting, the back story of Juliet in the previous friendship, the camp, the wetting the bed, the truth about Lindsay, her parents and the divorce?

9. The differences, Samantha and her intentions, the parents’ surprise, the reaction of the girls, yet her trying to reconcile with them and speak the truth to them about themselves? The teacher and Sisyphus? The Cupid’s Day, Rob and her deciding not to have sex with him? The encounters with Kent, his room, talking, memories of the past? The kiss?

10. Juliet, the repetition of the scene with her, Samantha trying to help her, to apologise, the chase in the woods, the irony of Juliet running onto the road, the cars, Samantha trying to save her and herself being killed? The shock for Juliet?

11. A kind of purgatorial experience for Samantha so that she would live her last day better?

THE SALESMAN/ FORUSHANDE

Iran, 2016, 125 minutes, Colour.
Shahab Hosseini, Taraneh Alidoosti, Babak Karimi.
Directed by Asghar Farahdi.

This is a very fine film, a portrait of two ordinary people, a married couple, difficulties that they encounter, the effect on each of them and how they deal with these difficulties.

This reviewer has been following the films of the director, Asghar Farahdi for over 10 years, a strong director in Iranian cinema. His early films were social dramas focusing on marriage and relationships, on criminal behaviour. In 2009, he broke through to an international audience with a complex drama about friends, interactions, disappearances, About Ellie, screening at the Berlinale that year and winning awards.

Two years later, Farahdi won the Golden Bear Berlin, the ecumenical award and many others and, finally, the Oscar for Best Foreign Language film, 2011. And this impressive film was called A Separation. It was the first Iranian film to win and Oscar. Two years later he made another very fine film about marriage and relationships, set in France, The Past. And then, three years later, The Salesman – and the winning of his second Oscar for Best Foreign Language Film. With President Trump’s ban on travellers from some Islamic countries, including Iran, Farahdi was not present at the Oscar awards but a strong statement was read on his behalf.

But that is background to the release of the film.

The title refers to a husband-and-wife and their putting on a play in Tehran, Arthur Miller’s Death of a Salesman. During the opening credits, we see the stage being prepared for the various sets for the action of the drama. And, there are several scenes of rehearsal as well is performance throughout the film. While there are no immediate parallels between the central characters and the play, the elderly man who sells goods on the street and appears at the end of the film is, in fact, a salesman – offering a reflection on the title of the film and the Miller connection.

The film opens ominously with residents having to abandon immediately a building which seems to be in a state of collapse, with images of a building site adjacent and the equipment there shaking the earth and foundations – thus giving a symbolic image of the action of the film and the possibilities of all kinds of collapse.

The film is very well written, strong dialogue, fine delineation of characters, not only the central couple but also the actors and the director involved in the performance of the play. The husband also teaches at school, trying to interest young men in literature. As he travels home in a taxi, an anxious woman sitting next to him becomes upset and wants to change places with one of the students in the front seat. This is a device to set audiences on edge with a woman feeling threatened by a strange man.

This comes to the fore when the couple have moved into a new apartment, have discovered that the previous resident used to have clients visiting, to the disgust of the neighbours. When she thinks she is letting her husband into the apartment, it is actually a stranger who attacks her. And this has strong repercussions on the wife, her becoming instantly apprehensive, continually fearful, trying to act in the play but being overcome and unable to continue performance. This has an increasingly dark effect on the husband, his moods and frame of mind, caring for his wife, puzzled at her behaviour, then becoming more and more angry at the unknown assailant and determined to find out who he is and to confront him.

While this does happen, it has different repercussions from what we might have been expecting, both on the part of the wife and on the part of the husband and the identity of the assailant.

Not only is the film will-written, but it is beautifully edited, the director may making fluid transitions between characters and situations, continually involving the audience, immersing them in the experience emotionally and morally.

This film serves as a strong reminder that the Iranian film industry has been one of the best for many decades and one of the best in exploring stories with basic human values.

1. Acclaim and awards, the reputation of the director, impact of his films at home? Internationally?

2. The city of Tehran, the setting, homes and apartments, the theatre, the school, the action of the drama, streets? The detail of the city? The musical score?

3. The work of Arthur Miller, Death of a Salesman? Rehearsals, performance, the excerpts? Some parallels with the characters? Their insertion throughout the film? The setting up of the stage and the variety of rooms during the credits sequence?

4. The image of the building, the collapse, the panic, people leaving, Emad and his helping and carrying the invalid man? Not being able to take possessions? The adjacent building site, the machinery, the damage? An image of the fragility of the city and society?

5. The introduction to Emad and Rana, the marriage, their age, no children, rehearsals and performance, Rana at home, Emad at school, teaching literature, the reaction of the boys in the class, their interactions?

6. The search for the new apartment, Babak and his place in the play, his help in finding the new apartment, going to the variety of rooms, the locked door, the previous resident, the explanation about her and her behaviour, the concealing of the truth, the revelation from the neighbours? Her possessions, locked, brought downstairs, the rain and the tarpaulin? The issue of parking, the couple selling their car? Settling in?

7. The episode in the taxi, the woman afraid of Emad, foreshadowing the sex and aggression issue? The boy in the car, changing places? Asking about what happened? The boys, the discussions, the story of the Cow, Emad bringing the film, his going to sleep, student taking the pictures on the phone, his being upset, the boy wanting his camera, his father dead? The run performance of the play and their being moved?

8. The episode of the assault, Rana at home, allowing the intruder in, thinking it was her husband? The clothes on the bed, going into the shower? The entry of the man, the attack, the injury to his foot, bleeding? The issue of whether to go to the police or not, his leaving his pickup, the keys and the money at the apartment? The cleaning up of the blood, the opinions of the neighbours, their help with the wife, saying the man should be punished, publicly humiliated, issues of revenge? The effect on Emad?

9. Rana, in hospital, her head bandaged, her nerves, at home, leaving the light on, in bed? The director and friends all coming and helping? Her being upset, unsettled? Emad and his having to cope, his becoming more and more upset and preoccupied about the assailant? Her decision to go to the performance, her being upset, having to improvise, the cancelling of the performance, the neighbours telling the cast and crew about what actually happened?

10. The various scenes of the play, the character of the prostitute, in red, her black hat? Her bringing her son to the performance? The actor portraying the son and his laughing during the rehearsal, her going off in a huff? Later with the boy, Rana offering to take him home? Going shopping, the meal at home, the payment – and Emad reacting, because his wife had used the money of the assailant and it was contaminated? The scenes of the play, Linda with Willy Loman, the boss, his death scene?

11. The pickup, Rana moving it, the neighbours, their support, the disappearance? The information, email visiting the suspected owner, in the shop? Majid as the suspect? Emad employing him for a move from the old house? The father turning up, driving the pickup, his age and illness, up the steps, leading to Emad and his suspicion, removing the shoes, the injured foot? The man apologising, upset about his family finding out the truth and his liaison with the woman? His being locked in the rooms? Rana coming, upset, telling Emad that he must not wreak any revenge? The confession, the situation, Emad calling his wife, daughter and prospective son-in-law, the wife and her illness, getting up the stairs? Getting the pills, fearing that he was dying? The family and their dependence on him, the effect of each on Rana, with the man? Emad taking him into the room, slapping him, giving him the money? The family, calling the ambulance, his desperation?

12. The final performance, Linda and the scene, Rana getting made up, Emad getting made up, the focus on their faces – and the future?

A CURE FOR WELLNESS

US/ Germany, 2017, 146 minutes, Colour.
Dane De Haan, Jason Isaacs, Mia Goth, Celia Imrie, Harry Groener.
Directed by Gore Verbinski.

An arrestingly ironic title. We do not know what to expect – and on hearing that the film runs for almost 2 ½ hours, there may be a great deal to expect. And, on hearing again, that the director is Gore Verbinski, whom we associate with the Pirates of the Caribbean, we have to be prepared for anything.

At the beginning, the film seems to be a drama about Wall Street and shady financial difficulties, a focus on the young executive, Lockhart (Dane De Haan), sitting on the train, phone and computer, urging a colleague to be ruthless. He is then invited upstairs to the board room of the company, praised, alerted that there are some shady aspects of his deals, needing signatures to avoid investigations by authorities, and commissioning him to go to Switzerland to find an executive who has gone to an institute for his health and to bring him back for document signing.

The audience does not get back to the United States, the rest of the film all taking place in Switzerland, Lockhart travelling from the station to an elaborate mansion which houses the health Institute, confident that he can get the executive very quickly and travel back to New York. Big mistake, of course. Lockhart is certainly interested in looking at all the patients or clients, all dressed in white, playing croquet or doing exercises on the lawn, all older, chatting with some of them, hearing some of the history of the building. He signs in at reception but is told he will have to wait – and the executive declaring that he does not want to leave.

Lockhart is injured in a car accident, a crash into a deer, and finds himself in bed in a ward, his broken leg in plaster, being reassured by the staff, especially the smiling doctor, Volmer, who is in charge of the Institute. But, Lockhart is ever curious and spends a great deal of the film wandering around the Institute, wondering about the young girl, Hannah, who stands on the parapet (eventually persuading her to take him down to the town on her bicycle after stealing some documents about the executive and trying to verify what was happening).

So, the film becomes more and more sinister, Lockhart wandering the corridors, going into the spas, having a water treatment that almost kills him, continually reassured by the doctor, talking with an English lady, Mrs Watkins (Celia Imrie) who fills him in about the background of the Institute 200 years earlier, the peasants burning the building, the Baron being killed, his incestuous relationship with his sister who may or may not have been pregnant or barren…

By this stage, with a mixture of sunlight on the lawns and the cheery patients and very dark sequences in the corridors, in the cells, in the underground pool, the film takes on something of Gothic horror.

Ultimately, all is revealed, and Jason Isaacs as the head of the Institute, seemingly pleasantl, doing a variation on what might have been a role for Christopher Lee, has to confront Lockhart with the revelation about who Hannah really is.

Just when you think all is well and the situation resolved, Lockhart and Hannah are on their bike, going down the mountain and crash into a car containing the board members from New York who have come to sort everything out. What else to do but continue bicycling down the mountainside to…

1. The title, expectations? Ironies?

2. The New York story, Wall Street, business offices, financial dealings, Lockhart in the train, the deals over the phone, urging his partner to courage? Invited upstairs? The board meeting, the members, the congratulations, yet the investigation, the letter from Pembroke, his mission to Switzerland, getting Pembroke back, to sign the documents? The New York story as a framework?

3. The visit to Switzerland, the images of the train, the tunnel, the splitting? The taxi ride, the drive up from the station, to the mansion, talking to the taxi driver, indications of our knees? The look of the mansion, the sunny day, the Gothic appearance of the mansion itself?

4. Lockhart, his age, young, experience, self-confidence? Yet the vague memories of his father, in the taxi, on the bridge, his father standing on the edge, throwing himself over? Lockhart remembering this? But having suppressed memories? Pembroke and his praise of Lockhart’s father? The memories being used for Lockhart’s therapy?

5. Lockhart, arriving at reception, the reaction of the nurse, his signing the document, the variety of people on the lawn, dressed in white, the various games and exercises? Meals? Conversations with the inmates? The meeting with Mrs Watkins? The meeting with the doctor and his assistant, their reassurance?

6. The car accident, the death of the deer? The doctor saying he could not kill innocent animals? Lockhart and his broken leg, in bed, the reassurance of the phone call to New York? His becoming a patient?

7. The impact of the staff, the doctor presiding, genial, his smile – yet intimations of the sinister? Presiding at meals in the dining room? Always helpful? Rescuing Lockhart after his going to the in and the fight? Lockhart lost in the building, the doctor and his continued explanations? His relationship with Hannah and her photo on his desk, his explanations about her?

8. The stories about the mansion, 200 years earlier, the building being burnt, the role of the Baron and his sister, suggestions of incest, the reaction of the peasants? The variations on the story, the sister being barren, the sister being pregnant, the burning of the child being rescued from the fire? The photos of 1912? The girl and the portrait? The masked man?

9. Lockhart and his experience, inexperience, seeing Hannah on the parapet, talking with her, the mystery of her presence, persuading her for the bike ride, his stealing the documents, going to the man in the village, the information, Hannah and the jukebox, the dance, the tough types, the man in the bar, the taxi driver? The doctor and the rescue?

10. The range of activities, treatments, the spires, Lockhart and his exploration, pretending to be Pembroke? Finding the bodies in suspension?

11. The talk with Pembroke, in the spa, Pembroke not wanting to return? His reappearance at the end and his reassurance that he wanted to stay?

12. The staff, the various nurses, at reception, the doctor assistant and the touch of the sinister? The men on the wards? Pursuits and violence? The importance of water and everybody drinking the water? The background explanation of the aquifer?

13. Mrs Watkins, love for history, her various treatments? The explanation about the tower, Lockhart seeing the grille and its being cemented up? The bodies taken there? Her interest in the history, her becoming a victim?

14. The treatment, Lockhart in the water, his imagination, the giant leeches? His body in the compressor, the guard and the sexual encounter, ignoring the crisis, Lockhart being saved? His dreams, nightmares, the toilet – and the presence of the leeches?

15. His suspicions, finding his leg was not broken, exploring, hiding, his discoveries?

16. Hannah, going into the water, having her period, the doctor and his change of attitude, the consummation sexually, the celebration of the wedding, Hannah unwilling, the
doctor and his approach, Lockhart and the confrontation? The doctor removing his mask, the truth about his age, Hannah as his daughter? The explanation of the bodies being kept, the peasants in the past, the patients at the Institute, the elixir of life dripping from them, the extract being used for Hannah, for himself, Lockhart and the taste?

17. Hannah, the truth, killing her father?

18. The wedding ceremony, the dancing, everybody dressed in white? Lockhart and his setting the fire in the lab, burning the mansion, people escaping?

19. Lockhart and Hannah escaping, almost crashing into the members of the board on the highway, the argument about the financial situation? Lockhart making the choice to go with Hannah?

20. The ingredients of Gothic storytelling, but with an American flavour, German and Swiss flavour? The building and its secrets? The sinister characters and situations?

I AM BELFAST

Northern Ireland, 2015, 80 minutes, Colour.
Helena Bereen, Mark Cousins.
Directed by Mark Cousins.

This is an essay, a cinematic essay, poetic in much of its style, but with an acknowledgement of the social and political realities of Belfast, that draws its audience into the atmosphere of Northern Ireland, its long history, the city of Belfast itself, the Troubles and the contemporary period.

Audiences who can surrender themselves to this experience of Belfast – rather than being self-conscious or over-analysing - will enjoy the experience of such a range of images, styles of photography, landscapes, the building of the city as well is the experience of the Troubles and an encounter with a couple of older ladies, one Catholic, one Protestant, Rosie and Maude, and a range of other characters who are introduced including the last bigoted man in Northern Ireland!

The film uses the device of having an actress, older middle-aged, Helena Bereen, doing an extensive voice-over, being the personification of the city of Belfast, conscious of her many centuries, seen in the streets of the city, making her commentary on this, sometimes wistful sometimes happy and incorporating the poetry.

The images of the Troubles are very powerful, the presence of the British, the unionists, the IRA, the explosions, the fierce faces of people shouting at one another, the explanations of the British Loyalists, the reactions of the more impoverished Catholics, the segregation in the city, and, a particular emphasis on the range of walls that still divide.

However, there is an emphasis on the capacity for people to be friendly, a final episode involving a lady leaving her shopping behind at the bus stop and the driver willingly turning round with the passengers’ consent, to go and pick up the shopping…. A down to earth and pleasant ending.

The film was written and directed by cinema expert and director Mark Cousins, probably best known for his extensive series on history of cinema. He tells us that that he lived in the Belfast for 20 years – and still has his accent and modulation which makes the narration more authentic and pleasant.

TIN CUP

US, 1996, 135 minutes, colour.
Kevin Costner, Rene Russo, Don Johnson, Cheech Marin, Linda Hart.
Directed by Ron Shelton.

Kevin Costner is one of the movie personalities of the 90s. Reunited with writer-director, Ron Shelton, with whom he made the thoughtful baseball film, Bull Durham, he is more at home on screen than he was in the heroics of Waterworld last year.

One of the conclusions from watching Tin Cup is that Costner should stay with this kind of role which he does best - and leave roles like Waterworld and, especially, Robin Hood alone.

Not being a golfer nor understanding the intricacies of the game, I found I was not engrossed in the golfing core of Tin Cup. I presume golfers will enjoy it, especially as it culminates in the American Open. Costner plays a talented coach stuck in West Texas. While teaching a psychiatrist, Rene Russo, he is challenged to do something better with his life. He keeps referring to his mythic quest. This quest also gives him the opportunity to play against his smug friend from University days, played by Don Johnson. This is the 90s version of the romantic comedies of the 30s and 40s, so language and behaviour is more direct than in those days. However, it is a sparring battle of the sexes in a sports context designed as popular entertainment. Up to par.

1. A golf film? The popularity of films about golf, players, competitions? For the golfing audience? The wider audience?

2. The Texas settings, the desert countryside, the small towns, the diners? The golf centre? The contrast with American tournaments, the different golf courses, terrain, the American open? The musical score?

3. A portrait of Roy, his age, Tin Cup as his nickname, his skill at college, golf talent and prestige, the rivalry with David? His not finishing anything? His golf centre, reliance on Romeo, Romeo and his expertise with the golf balls, the clubs? The range of friends, playing cards, bets, the riddle about the surgeon – and Molly solving it? Providing coaching, the session with Molly, the men prying? The discussions, the attraction?

4. David, just champion, present success, smug, the irony of his relationship with Molly? Visiting Roy, inviting him to be a caddy? The match, Roy and his advice, the challenge for him to do the hit – and his success? David firing him?

5. Roy, the visits from Molly, his being upset, the decision to go to her for therapy, upsetting the woman in the exit room, the session, explaining his situation, Molly not appreciating that he referred to her? Her urging him to be direct? The invitation to dinner? Her relationship with David?

6. His decision to go into the Open? His practice, his skill with shots, the repetition, Romeo and his advice? The friends and their support? His success in the various qualifying matches?

7. The discussions with Molly, badmouthing David? Wanting her to give advice, her agreement? The sessions, the support? The sexual attraction, the liaison, the effect on each of them?

8. The film’s focus on the Open, Romeo and his tantrum, breaking the clubs, Roy breaking them? A pattern for Romeo? Roy’s return, sweet-talking him, Romeo resuming his work?

9. The details of the Open, the radio commentators, American and British, the producer and his not knowing anything about Roy, the adverse comments?

10. Roy, the success of his shots, the 18th hole and the ball going into the water? His redeeming the situation?? Relationship with the other golfers? The clashes with David?

11. Doreen, her work as a stripper, the past relationship with Roy, his being indebted to her, the deal, her owning the golf centre, not giving him time, change of heart, her friendliness with Molly, their following Roy and his quest?

12. Roy, obsessed with the quest, the final, the 18th hole, 12 attempts and the ball going into the water, ultimate success, everybody’s admiration? Molly and her urging him on to do what he wanted to do? Her comment that people would forget who won the Open but would remember his 12 shot success?

13. Molly, seeing David and his press conference, his harsh attitude towards the child and the family for autographs? Clinching her attitude towards him?

14. An entertaining sports and competitive story – and the success of the underdog?