MERES ET FILLES/THE HIDDEN DIARY

Canada, 2009, 105 minutes, Colour.
Marina Hands, Catherine Deneuve, Marie- Josee Crozee, Michel Duchoussoy, Romano Orzari.
Directed by Julie Lopes Curval.

Meres et Filles is an interesting portrait of characters, difficulties in relationships, finding some kind of resolution. As with the title, the emphasis is on mothers and daughters, over three generations – and a possible fourth.

The film is a French- Canadian coproduction, filmed in a town in France, on the sea.

The central character is Audrey, played by Marina Hands, in her mid-30s, having lived in Toronto for 10 years working on projects, in a relationship with an artist, and pregnant. She has returned to France to think over her future with the project, and, especially, whether she should have an abortion or not.

Catherine Deneuve plays her mother, and doctor, cold in manner, efficient in her work, yet relating well to her long-suffering husband, Michel Duchoussoy.

Audrey cannot stay at home because of the atmosphere and decides to stay in her grandfather’s house, her grandfather recently dead. This gives her space to study, to reflect on the abortion, to relate to her parents and her brother and his family. She discovers a diary by her grandmother who had mysteriously disappeared, condemned by her husband as having stolen from him. But, the alleged stolen money is also found, and, gradually, the realisation is that the grandfather had killed his wife.

The film also uses the device of Audrey imagining her grandmother, Marie- Josée Crozee, her life with her husband, her hopes, her diary, her cooking and her recipes – as well as, in the fantasy, her giving advice to Audrey.

What her mother is unwilling to read the diary, she ultimately does, realises that her mother had really loved her and her brother, had great hopes for them, and had not disappeared because of them. There is a mellowing between mother and daughter. The father of the child also comes to visit and there are some discussions about the possibilities of parenting and commitment.

Well-acted and well-written, continually interesting.

1. The title? The French emphasis on relationships? The English emphasis on the hidden diary?

2. French- Canadian co-production, set in France, the town, by the sea, the homes, shops, ordinariness? The musical score?

3. Audrey’s story? Her arrival at the station, the background of her work, research, the possible project, living in Canada? Her being pregnant and not telling people? Her phone calls to Tommy, the discussions, the possibility for an abortion? Her relationship with her mother, her father, at the house, with her uncle and the family and the meal, her going to the grandfather’s house, moving in, buying the machine, setting herself up, doing her work? Her age, her crisis, the unresolved relationship with her mother?

4. The story of the grandfather, his house, his death and his funeral and Audrey not coming? The mystery of Louise, the missing grandmother, the grandfather’s comment about stealing
from him and her disappearance?

5. Audrey, her imagination, Louise coming to life, imagining her life with her husband, his harshness, repressing her, her ambitions, hopes, work, cooking? Her relationship with their children? Her hopes for them? Her disappearance?

6. Audrey finding the diary, the notes, the story, the recipes? Her mother not wanting to read it? Her uncle reading it? The impact, the puzzling, the conclusion that the grandfather had murdered his wife?

7. Martine, doctor, cold in manner, love for her husband, family life, her relationship with Audrey, based on the relationship with her own mother, detached, Audrey going to Canada? Their discussions, Martine and her moods? The dinner, with her son and family? Going to the meal at her parents’ house, leaving? Her love for her husband?

8. Audrey, buying the dress for her mother, Louise’s advice, and her mother finally trying it on? Audrey and her friend, their discussions, telling her she was pregnant, the shop? The old lady, memories of her grandparents?

9. Tommy, suddenly arriving, the discussions, his being an artist, his attitude towards the pregnancy, favourable towards bringing up the child? Audrey and her hesitations? The intimacy between them, his going for the swim, yet the difficulty in commitment?

10. Audrey mellowing her mother, her mother reading the diary, realising after so many years that her mother did love her, was ambitious for her?

11. The open ending of the film, if the better relationship within the family, but a future for Audrey, her work, the child…?

LOST BOY

US, 2015, 88 minutes, Colour.
Virginia Madsen, Matthew Fahey, Mark Valley, Carly Pope, Sosie Bacon, Jacob Buster, Joshua Burrow.
Directed by Tara Miele.

There have been a number of films about child abductions, what happened to the child, the consequences for the grieving family, the possibilities of recovery, and the child finding its place in the family again.

This film opens with home movies illustrating the affection for the child who was taken. 11 years later, the mother, Virginia Madsen, is strongly involved in helping parents to find their children again. She says she lives in hope for the recovery of her son and, if there is no reporting of his death, he could be still alive. She is a strong woman and has alienated her husband with her intensity, he wanting a divorce and intending to re-marry, his intended being pregnant. He has also been looking after their daughter and the son who was born after the abduction.

A young man sees the notice of the search for him and turns up claiming that he is the son. Each parent readily accepts him but there is talk of blood tests and DNA tests to verify.

At first the audience probably thinks that he is not genuine but, as the film progresses, it would seem that he is. But the main point of the film is how difficult it is for an adult to come back after being abducted as a child, with vague memories of the family, upset with what has happened during the years of abduction, abuse, life on the street, and wanting his family and finding other members as obstructing his place in the family and recovery of it, leading to bizarre behaviour towards the other members.

Not quite what might have been expected of a film about abduction – but challenging and offering different points of view.

1. A drama about family, relationships, abduction, the sense of loss, possibilities for recovery?

2. The American city, homes, offices, lakes, the streets? Authentic feel? Musical score?

3. Introduction to Laura, her campaigns, Kyle as co-worker, her energy, her optimism, interviews with parents whose children had been abducted? Her own dedication?

4. The home movies, Mitchell and Summer, their parents’ love, the details, swimming, the kite? The reality of Laura’s obsession? The breakup of the marriage? Greg, his love for his child? His trying to persuade Laura to let go? His relationship with Amanda, her pregnancy? His care for Summer and Jonathan? Laura being late for Jonathan’s performance, his being upset? Summer and her disdain for her mother? Going to see the dead body at the morgue, not their son?

5. Laura putting up the notice, the young man looking at the notice, taking it, a young man on the streets, the mystery of his life? Cutting his hair, going to see Laura? Her recognising him? The impact on her, the impact on him? Letting Greg know, Greg recognising him? Summer’s reaction, Jonathan’s reaction? Amanda and her wariness?

6. The need for identification, the birthmark, Mitchell’s tattoos covering it? Going for the blood test, Mitchell taking the syringe, wanting Jonathan’s blood? The DNA swabs?

7. Audiences wondering whether Mitchell was the son or not? Indications that he was not? Indications that he was? The mixed memories? His becoming part of the family? Amanda and her wariness, taking the photo?

8. Mitchell and his behaviour with Jonathan, the bruises, frightening him, threatening him? Jonathan keeping quiet? Amanda discovering the bruises? Mitchell and his friendship with Summer, driving the car, her tattoo, her boyfriend? The later clash, his behaviour towards her, touching her? The fight with her boyfriend?

9. Mitchell taking Greg’s phone, his motivations, Amanda ringing and his having the phone? His talking with Greg, preventing him to meet Amanda for the test? His apology, Amanda being upset? Mitchell confronting her, pushing her, the fears about the baby?

10. Laura, Kyle and his friendship, the outings, the meal? Introduction to Mitchell? Kyle and his being bashed, suspecting Mitchell?

11. Laura, her puzzles, questioning Mitchell, believing him?

12. The ultimate threat, Mitchell taking Jonathan, to the water? Laura in pursuit, confronting him, their going into the water? Her rescuing Jonathan?

13. Mitchell’s disappearance, the audience seeing him on the street, the parents letting him go?

14. The important themes of the experience of the abduction by the boy, the mystery of his life for 11 years, memories of abuse, sexual exploitation, on the streets? Wanting a family,
fitting in and not fitting in, seeing the other members of the family as threats?

15. The film offering complexities about abduction and the consequences for the child taken, for the family, for a possible reconciliation?

THE GETAWAY OF LOVE/ L’ESIGENZA DI UNIRMI OGNI VOLTA CON TE

Italy, 2015, 85 minutes, Colour.
Marco Bocci, Claudia Gerini, Marc Duret.
Directed by Tonono Zangardi.

The English title of this Italian film is rather slight even if accurate. The Italian title is far more complex.

Basically, this is a story of falling in love, obsession, betrayal and some consequent violence.

The central character is a woman, 10 years married, who works at the checkout at a supermarket, who is threatened in a robbery, but is helped by one of the local police who has kept an eye on her anticipating the robbery but attracted to her, and then encountering her, beginning a relationship, while remembering the betrayal by his wife and his own brother.

The woman confesses to her husband who is angry, threatens her, whom she stabs with a knife.

The latter part of the film is the behaviour of the two, not going to the police, deciding to leave the country, the woman changing her mind, troubled by what she has done, the couple experiencing roadblocks – and a finale where the woman goes with her hands raised. The rest is for the audience to ponder.

1. A slice of life, relationships, obsessions, betrayals, violence, resolution?

2. The Italian title and its implications? The English title and its simplicity?

3. The opening, the couple, driving through the field? The flashbacks to two months earlier?

4. The introduction to the wife, in the supermarket, the attentions of Leonardo, chatting with him, his return visits? Her life at home, 10 years marriage, her relationship with her husband? His going on travels?

5. The introduction to Leonardo, police, memories of being a boy and being called a cop, his brother, his wife and his brother’s betrayal, the possibility of forgiveness, going to his father’s grave in order to forgive his brother? On the watch, patrols, his fellow-officer and the discussions about sex? The fact that they were on the lookout for thieves? His interest in the woman, the return, chat, the attraction? Her being held up, with the gun, saving her, saying it was a fake gun? Her fainting?

6. The encounters and the relationship, Leonardo sitting outside, Jogging, the encounter, the kiss? The absence of a husband? Together, the sexual encounters, the consequences? The effect on each?

7. The return of the husband, confession, his anger, sense of betrayal, violence towards his wife, her getting the knife, killing her husband?

8. With Leonardo, the possibility of going to the police, the double desperation, wanting to escape, travelling, her change of heart, the roadblock, driving through? Leonardo desperate? The woman and her getting out of the car, raising her hands, going to the police?

9. Leaving the audience wondering what would happen to each of the characters, the woman and her self-defence? Leonardo and his behaviour in taking her away?

HOLIDAY

US, 1930, 91 minutes, Black and white.
Ann Harding, Mary Astor, Edward Everett Horton, Robert Ames, Hedda Hopper, Monroe Owsley.
Directed by Edward H. Griffith.

Holiday had a good reputation amongst the films of 1930, getting Oscar nominations for performance for Ann Harding as well as for writing. One of the 10 top films for National Review.

The film has the atmosphere of the pre-Code films, a more explicit look at marriage, relationships, tensions.

It has the familiar theme of the young man falling in love, not realising his fiancee was wealthy, the pressure from her father for him to continue to make money, his wanting time off so that he could find himself. Mary Astor is the fiancee, initially sympathetic, a character getting harder as the film went on. Robert Ames is the amiable suitor – to die the following year aged 42. Ina Claire has top billing as the sister who feels oppressed by her dominating father, is supportive of her sister and her rather ne’er-do-well brother, sympathetic to the ambitions of the young man and his sense of freedom.

The background of the film is American affluence at the time of the Depression, scenes in wealthy homes, Society parties. Significant in the cast is Edward Everett Horton prior to his fussy friend or butler roles, but having a great deal of dialogue. Later gossip writer, Hedda Hopper is also in the cast.

The film was remade by George Cukor in 1938 with Katherine Hepburn and Cary Grant heading the cast.

1. A celebrated film of 1930, one of the Natural Review? Oscar nominations?

2. A play transferred to the screen? Dialogue? Confined sets? Musical score?

3. The title, Julia and her meeting John, John and his long-term ambitions, have time for himself, discover himself…? Julia and her reaction against this “holiday�? Her father? Linda and her support?

4. The affluent settings, the building, the apartment, lavish appointments, party sequences? Church? Wedding rehearsals?

5. Julia and John, their meeting, falling in love, Julia not telling John about her wealth, in the elevator, the apartment, meeting Linda and Ned, the announcement by Julia? The strategy for talking to their father in church? Whispering, the choir, the plate and collection?

6. Mr Seton, his business background, appreciation of money, ambitions for his children, his domination of them? The interview with John, favourably impressed, wanting to give him a job? The throwing of the party, his decision, Julia support, Susan Potter and the organisation?

7. The contrast with Linda, unhappy at home, the clashes with her father, support for Julia, support for Ned, his drinking, leaving work early? The dominance of their father? Linda and the offer of the party – but in the nursery room upstairs? The taking over the invitations, her not turning up to the party, upstairs? The Potters and their discussions? Nick, his jokes, his telling stories and parables? John coming upstairs, comfortable with Linda? Julia and her father coming, the confrontation, John wanting some independence, his going downstairs?

8. John and his giving in, Julia and her dominance, the wedding rehearsal? Nick to be best man?

9. John and the preparation for the marriage, his staying away, revealing his plan to Linda and the others? Revealing it to Julia, not believing him, wanting to get married, her father setting the date?

10. John, his packing, Linda helping him, Linda urging Julia to stop him going to the boat? Julia and her haughtiness, refusal? Her father support? Linda confronting her, for her to admit that she did not love John? Linda and her hurrying to the boat?

PASSENGERS

US, 2016, 116 minutes, Colour.
Chris Pratt, Jennifer Lawrence, Michael Sheen, Laurence Fishburne, Andy Garcia.
Directed by Morten Tyldum.

In recent years there have been quite a number of big-budget popular films about space. They include Oscar-nominated serious films like Gravity or The Martian, or the 2016 story of aliens and humans, Arrival.

In fact, a lot of this film will remind audiences of Gravity. However, it has many more ingredients besides the technology and the management of spacecraft. At heart, it is a romance. But it also has melodramatic aspects, dramatic aspects, and as with the other films poses a number of questions about how we would experience and react to crises in space.

There used to be cryogenics but now passengers to a distant planet can be put into hibernation for 120 years. And that is where this particular spacecraft is headed, into a future of 120 years in time on a planet which gives humans the possible ability for new starts and for creativity. As the film proceeds, we see that the vast spacecraft is state-of-the-art and, to say the least, huge and lavish, with 5000 hibernated passengers and over 200 crew.

As the film opens, there is a collision in space which will have all kinds of consequences. However, the immediate consequence is awakening one of the passengers, Jim Preston (and engaging Chris Pratt) an engineer from Colorado, your ordinary citizen but with intelligence and theoretical and practical know-how. For the first 30 minutes, Jim is by himself, managing, not managing, bemoaning his fate, letting beard and hair grow, and not even allowed the luxury of Gold Class passengers for breakfast or for coffee.

He is not quite alone, there is Arthur, your perfect British barman – but, of course, he is an android, but nicely so in the form of Michael Sheen.

Then, for reasons that viewers will have to see rather than being revealed here, Jennifer Lawrence is awake. She is from New York City and a writer, realising that she has a unique story in terms of the two of them being on a spacecraft wakened after only 30 years of the hundred and 20 year trip.


This is where the romance goes into high gear, happy sharing of life, love, and, of course, falling out.

So, where can it all go from here, just continuing on for the next almost 90 years?

There is another awakening, one of the crew, played by the venerable Laurence Fishburne, who helps the couple to explore what might have gone wrong and why so many other facets of the spacecraft are not operating properly.

This leads to the melodramatics and the dramatics with the valiant attempts to deal with the spacecraft and to get it back on track and repair the damage – and a bit of outside walking in space, reminders of 2001: A Space Odyssey as well as Gravity.

In this sense, Passengers is not exactly an original story but rather derives quite a number of elements from previous stories which are incorporated to make it not so much science-fiction as an occasion for audiences to enjoy a variation on the human condition – as well is asking some disturbing questions as to how we would react in similar circumstances, especially with living out one’s life on this comfortable but isolated spacecraft.

1. Background of science-fiction? Science-fantasy? Futuristic stories? In space and space travel? Space colonisation?

2. The spaceship itself, vast, for 120 years of travel, 5000 people in hibernation, the pods? The interiors of the ship, the cabins, the grand concourse, the technical apparatus, automated? The technology and repairing of errors? Space and the spacewalk? The impact for a 21st-century audience? Thinking about such future exploits?

3. The title, limited to the two passengers, audiences identifying with them, the man and the woman, the travel, hibernation, waking prematurely, the years of their life on the spacecraft, the travel?

4. The blend of romance, melodrama, drama?

5. The initial crash, the impact, explosions?

6. The consequence, Jim waking, the automated voice, the tone of the voices, client-oriented? Jim in himself, from Colorado, his age, engineer? The challenge to cope? His becoming more aware, alone, his behaviour, the search, no one else alive, the shower, his clothes, growing the beard, the economy-class breakfast? Meeting Arthur, the discussions with Arthur, the possibility of communication? Using his time, as an engineer, his ability to waken someone, his decision not, confiding in Arthur?

7. The decision about Aurora, the information about her, New York, writer, the video clips and her friends? His waking her, her response, having to cope, communicating with him? His not telling her the truth?

8. Life on the spaceship, the two keeping active, Aurora and her gold class status? The experience of the spacewalk? Talk, Aurora and her writing, reflections, accepting the reality of the situation? Jim and his preparing to propose?

9. Arthur, in himself, android, his good manners, service, the visuals of him, Michael Sheen, the mechanisms waste down? His objectivity? The discussion with Aurora, the revelation?

10. Aurora’s reaction, no proposal? Thinking that Jim had murdered her? The clash, her emotions, hurt? Swimming, running, alone? The impact on Jim?

11. Mancuso awakening, in himself, part of the crew, the effect of awakening, his sickness, the discussions, his ability to fix things, the entree into the Captain’s area, the search? Identifying the problem, the crash and the holes? His illness, death, in uniform, his being laid out?

12. The effort to repair the holes, Aurora and Jim collaborating, the experience of loss of gravity, Jim knocked about, Aurora in the swimming pool? The attempts to fix, the growing heat, Aurora and the handles? Jim having to go into space, the walk, the link? Aurora helping? Jim stranded in space, Aurora going to rescue him? Bring him back, dead? The power of the spaceship to resuscitate? Aurora and her having the power to override the objections? Jim alive again?

13. The effort, the shared experience, rekindling the relationship?

14. Aurora and her writing her book?

15. The end of the journey, the arrival, the captain, the crew, the passengers, going into a new world, hopes? And Aurora’s record for them of life on the ship?

 

 

 

 

MERRILY WE GO TO HELL

US, 1932, 78 minutes, Black and white.
Sylvia Sidney, Fredric March, Adrianne Allen, Richard Skeats Gallagher, George Irving, Esther Howard, Cary Grant, Kent Taylor.
Directed by Dorothy Arzner.

Merrily We Go to Hell is very much a film of the early 1930s, before the imposition of the standards of the Motion Picture Code. It was directed by Dorothy Arzner, the only woman director of the period.

While the film does have a moral foundation, especially the reconciliation at the end, it actually portrays a rather more permissive society, a wealthy society who, at one stage, wonder about the reality of the Depression.

Fredric March, just before his Oscar-winning Dr Jekyll and Mr Hyde, is a journalist with a drinking problem, seen initially drunk, flirting with the young socialite, Joan Prentice, played with charm by Sylvia Sidney. Jerry is unreliable but Joan is attracted, able to forgive him, defying her father to marry him, humiliated when he is too drunk to attend the engagement party, but still going ahead with the marriage and even laughing at the mixup when Jerry loses the ring and substitutes a bottle opener during the ceremony.

Jerry wants to be a playwright and for the first part of the marriage, they live quietly and ordinarily, Joan becoming domestic, while he writes a play. There are a number of rejections and he begins to give up hope only to find the play accepted, the star to be Claire, Adrianne Allen, with whom he had had a relationship with her terminating it. The play is a success, Claire flirts, and tempts Jerry to drink again after his being off the drink while writing the play. He takes a curtain call drunk, stays out with Claire, wants to go out again after she phones him and challenges Joan to lock the door but she decides that she does not want to be a jailer.

In the aftermath, with some words about freedom of attitudes different from the past, the touch of open marriage, Joan tires of the high life, even dating the actor, an early role for Cary Grant. She is pregnant, Jerry not having the time to listen to her but, at the end, his going to her bedside in the hospital, despite her father's refusal, and there is a possibility of a future.

1. A film about love, marriage, infidelity, open lifestyle, alcoholism?

2. A film of 1932, pre-Code? A more permissive approach to contemporary lifestyle and later?

3. Black-and-white photography, the city settings, socials, mansions and affluence, the theatre? The musical score?

4. The title and Jerry quoting it freely, and Joan quoting it?

5. The work of Dorothy Arzner, one of the lone female directors of the period?

6. The initial party, Jerry and his flicking, the encounter with Joan, their getting on well, his being drunk, the kiss, her response? Her inviting him to the party, his accepting, telephone number? His not being able to focus on her as she left?

7. The party, her father's disapproval, his background in industry, wealth, the luxury mansion, the servants? Preparation for the party, cake, gingerbread and creme de menthe? Jerry not arriving? Coming late, the encounter with Mr Prentice? Going out with Joan?

8. Jerry, his work, reputation as a columnist, his wanting to write plays? Courting Joan? Saying she was swell? Not saying he loved her? Summoned by her father, his attempt to buy Jerry of, Joan overhearing? Rivals and their articles?

9. The engagement party, Jerry drunk? Buck and his friendship with Jerry, supporting him, trying to help him? Vi and her friendship with Joan?

10. The wedding ceremony, Jerry losing the ring, the substitute, Joan laughing? The time together, at home, the ordinary life, Buck and Vi visiting? Jerry writing the play, the series of rejections, the final acceptance, celebration, dropping the chicken on the floor?

11. The reading, Claire and the past relationship with Jerry, her wanting changes to her advantage? Joan watching? The rehearsals? The night of the opening? Claire and flirting? Jerry and his drinking, the performance, the applause, Joan finding him, his being dragged on stage?

12. Jerry, late home, drunk, Joan upset, her father's warnings? Jerry going out to see Claire, asking Joan to lock the door, opening it?

13. The collapse of the marriage? Joan and her reaction, drinking, showing Jerry what it was like to be drunk? Her comments about marriage, her grandmother's standards, the change of lifestyle and mores in the 1930s? Her going on the town, dating Charlie Baxter from the drama, going to socials, encountering Jerry? With Claire? The social life and its permissiveness?

14. Joan, tiring of the high life, discovering she was pregnant? Jerry too busy to listen to her, her leaving?

15. Jerry going back to work, the newspaper article about the birth of the child? The death of the child? His hurrying to the hospital, Mr Prentice refusing him permission to see Joan, Joan asking her father for him, his defiance, going in, a reconciliation? The possibility for a happy future and his not drinking?

 

THE ROYAL FAMILY OF BROADWAY

US, 1930, 82 minutes, Black and white.
Ina Claire, Fredric March, Mary Brian, Henrietta Crossman, Frank Conroy, Charles Starrett.
Directed by George Cukor, Cyril Gardner.

This was a film of its time, relying on audience knowledge of the Barrymore family and their place on the Broadway stage, especially focusing on Ethel Barrymore and her family and the flamboyance of John Barrymore – while Ethel was thinking about suing the makers and those who staged the successful play, John Barrymore congratulated Fredric March on his satirical performance. The equivalent of Lionel Barrymore is not included.

The film has very good credentials, the screenplay written by Edna Ferber, author of Showboat, and George S. Kaufmann, noted playwright. One of the co-directors was George Cukor at the beginning of his career, directing many actors and actresses to Oscars and winning Best director for My Fair Lady in 1964.

The film relies a great deal on dialogue and staging in confined rooms. This requires quite an effort of attention for the audience, especially those not familiar with the background.

The film shows the life of the theatre, the world of actors, producers and directors.

The focus of the film is on Julie, longtime star of the stage, portrayed by Ina Claire. She has had record-breaking success but is tempted at times to give it up, despite rushing out to the theatre when she hears she is late, and marry an old-time friend who has business interests in South America. There is also her mother, played by Mary Brian, an grande dame arm of the theatre, wanting to perform at all costs, histrionic in her manner at home, in her relationship to her children, and finally collapsing during a performance and dying backstage.

Julie has a daughter, Gwen, who she hopes will continue the family theatrical tradition. However, Gwen is in love with the businessman, Perry. She has to make a decision and decides to marry Perry although, when he is away on business, she thinks she can take on a stage role – and wonders where it might lead.

The other member of the cast is Fredric March is the equivalent of John Barrymore, getting an Oscar nomination for this performance. He was to win an Oscar two years later for Dr Jekyll and Mr Hyde, winning another Oscar in 1946 for The Best Years of Our Lives.

The performance is manic, eccentric, exceedingly flamboyant in word delivery, in costumes, in stories about breach of promise, starring in Hollywood films, clashes with the director, international travels… And, as has been said, John Barrymore said he enjoyed the performance.

This film is now a historical item, filmmaking in 1930, within three years of the introduction of sound and a new style of filming and sound engineering. And it is of historical interest for those who want to know something of the reputation of the Barrymore’s – who, three years later, were to perform together in Rasputin and the Empress.

FROM AFAR/ DESDE ALLA

Venezuela, 2015, 93 minutes, Colour.
Alfredo Castro, Luis Silva.
Directed by Lorenzo Vigas.

From Afar has won a number of awards, especially in Latin America but also at the 2015 Venice Film Festival.

This is a Venezuelan film, set in the city of Caracas, utilising scenes in the centre of the city, the squares, shops, transport.

The title of the film refers to the central character, Armando (Alfredo Castro), a man in his 50s, living alone, who goes into the city, looking for young men whom invites to his home, asks them to strip, and then he masturbates, paying them off. When he tries to attract a young man, Elder (Luis Silva), Elder bashes him and robs him.

The film give some attention to Elder’s life, a hustler on the street, in a relationship with a young woman, bashing her brothers who in turn beat him. He then returns to Armando and they begin an uneasy relationship, especially when Armando cares for Elder after his beating.

Armando is an enigmatic man, a loner, although he does go to a celebration at his sister’s house for his niece, is called a faggot by Elder and others but denies that he is gay. He is also repelled by touch, especially when Elder approaches him. They seem to be companionable together, Elder inviting him to a dance where he meets his mother – but, again, Elder makes physical contact which Armando repels.

Finally, Elder approaches Armando, there is a sexual encounter, and Elder thinks it is a beginning of a relationship but, when he goes to buy bread, Armando rings the police and the final scene is of Elder being arrested, Armando gazing on, from afar.

The audience gazes at Armando close-up, at Elder from afar and then close-up – and the realisation that Armando is a controlling man, afraid of physical contact, using people even while he relates to them.

1. An award-winning film? From Venezuela? Social issues, psychological issues, sexuality?

2. Caracas, the city, the streets, the crowds, transport, homes, workplaces, bars, socials?

3. The title, Armando’s point of view? His gaze, the audience sharing his gaze – from afar and close-up?

4. Armando’s story, his age, living alone, never marrying, his relationship with his sister, her family, the children? His memory of his father, not beating him? In the street, the crowd, singling out the young man, following him, bringing him home, lowering his trousers, Armando masturbating? Then seeing him at work, his dentistry, the details?

5. His loneliness, sexual behaviour, declaring he was not gay, not wanting anyone to touch him, yet his gaze on the males? Elder, in the street, accosting, Armando taking him home, taking the money, heating Armando, wounding him, taking the statue?

6. Elder, his age, belonging to the gangs, hustling in the streets, his girlfriend and the sexual encounter, her brothers, beating them at the pool hall, their later bashing him? Wanting the car, the down payment, the promise to pay, buying the parts? Working on the car?

7. Armando and his interesting Elder, pursuing him, asking his whereabouts, paying for the information? Elder’s return, interactions with commando, discussions about what had happened?

8. Elder to being beaten, Armando taking him in, the care for him, the long time and recuperation? The effect? His appreciation and thanks? Searching and trying to open the safe? His attempt to kiss Armando, Armando repelling him? The car, Armando paying the bill?

9. The two together, companionship, on the rocks, at the dance, Elders mother, Armando withdrawing, Elder and his kiss, being seen, Armando repelling him? Elder being criticised and ousted as gay?

10. Elder at home with Armando, his sexual approach, the experience, the morning, Elder naked, not wanting milk, going to buy bread, in the queue?

11. Armando, the phone call, the police, and Armando watching the arrest?

12. Elder and his future? Armando, control, sexual power, physical/not physical, wanting subservience – and betraying Elder?

SOFT LAD

UK, 2015, 87 minutes, Colour.
Johnny Labey, Laura Ainsworth, Daniel Brocklebank, Suzanne Collins, Mya Collins, Craig Stern.
Directed by Leon Lopez.

Soft Lad is a small budget British film, the first for writer Leon Lopez, set in Liverpool and utilising actors who have appeared in popular British television series.

The film has a gay theme, its central character, David, Jonny Labey, a young man who is an aspiring dancer who wins a scholarship to dance school. He has been in a relationship with his sister’s husband, secretly, for two years. The husband, played by Daniel Brocklebank, is not overjoyed which makes David react badly, clash with his lover, go to a gay club where he encounters Sam, Craig Stern, and begins a relationship with him.

The film sketches in the difficult home life of the husband and wife, the wife devoted, the husband also devoted but deceptive. The climax of the film involves HIV which David discovers he has contracted and blames his lover, visiting the house and demanding that he confess everything to his wife, whom he has put in danger along with his daughter.

The husband moves out of the house, the sister is angry with her brother, David’s new partner is a forgiving man, allowing people to make mistakes.

In many ways, the style of the film is soap opera, but it does surface contemporary issues and concerns.

1. is a smallA small-budget independent English film? With television soap opera actors? How effective?
2. The Liverpool settings, homes, streets, clubs, dance studio? Musical score?
3. The introduction to David, dancing, pensive, the offer of the scholarship, his excitement, going to tell Jules? Before his parents?
4. Jules, married to David’s sister, expressions of love, his daughter? His cool reaction to David’s news? Having to cover when his wife comes in? The revelation of the relationship, the kiss, yet the deception? David and his being upset?
5. David, his friendship with Steph, confiding in her, her advice?
6. His parents, the news, happy? Their hopes?
7. David, the relationship with Jules, the meetings, the discussions? David asserting crassly that he was used only for sex? Two years and the relationship? The deception about a weekend in Paris? Jules and his double life, not wanting to leave his wife? David and his upset? Moving away?
8. David going to the club, the encounter with Sam, the night with him, keeping company, Sam and his character, benign, David falling in love? The background of Jules and his being upset?
9. Sam, the caution, the test for health, HIV? David, the news, going into the doctor? His being upset, the planned dinner, going to see his sister, Jules? The confrontation with Jules, blaming him for HIV, making Jules confess to other relationships, the danger for his wife and daughter?
10. His wife, love, Jules and his abrupt manner with her, quoting work pressures, the weeks passing, the attempts at making love? David in the confrontation, making Jules confess everything? His wife’s reaction, horror? And towards David?
11. Sam, his arrival, hearing the truth? His reaction?
12. David, despair, the scholarship, his future? His confession to Sam? Sam, an attitude of forgiveness, for a future?

UNDERWORLD AWAKENING

US, 2012, 88 minutes, Colour.
Kate Beckinsale, Stephen Rea, Michael Ealy, Theo James, India Eisley, Sandrine Holt, Charles Dance.
Directed by Marlind and Stein.

Underworld Awakening is the fourth in the series of Underworld. The original film came out in 2003, followed by Underworld Evolution in 2006, Underworld, the Rise of the Lycans, 2009. There was a sequel to the present film in 2016, Underworld Blood Wars.

This film presupposes the other films and has a recapitulation at the opening, an explanation of the world of the werewolves, of the Lycans, and of the vampires, as well as how they have lived for centuries and seen by humans.

This film is set in the present, humans having had some contact with both lines, police involved, a laboratory with a sinister doctor, Stephen Rea, exploiting the daughter of Selene and Michael, a hybrid, whose blood and DNA can enhance the supremacy of the Lycans.

Kate Beckinsale tells the story again, is seen escaping from a laboratory, is involved rather incessantly in fighting throughout the film, recovering her daughter and trying to save her – and this with the help of David, Theo James, son of Thomas, Charles Dance, head of the vampires who have expelled Selene. There is also the help of a police officer played by Michael Ealy.

Much of the film is action, combat, large werewolves, blood and gore – along with the basic plot which is a preparation for Underworld Blood Wars.

1. The popularity of the series? This episode as the fourth? And its continuing to 2016?

2. Audience familiarity with the series, the recap at the beginning of this film, the role of the vampires and their living amongst humans, the role of the Lycans in their living amongst humans, the war between the two? The moving of this episode from the past into the present?

3. The role of Selene, her parents, her being turned, her love for Michael, his being a Lycan, the birth of their daughter, her being taken, in the laboratory, supervised by the doctor, the staff, the preparation of the vaccine? And the doctor and his past, the death of his wife, his siding with the Lycans?

4. The visuals of this world, the dark world of the alternate species, the darkness of the human world, the streets, warehouses, the police, the laboratory? The action sequences and stunts? The violence – graphic? The musical score?

5. The battles between vampires and Lycans, the visuals of the werewolves, giant werewolves, their dominance, the threats to the vampires?

6. Selene, in the laboratory, her being allowed to escape? Her memories of and love for Michael? The birth of her daughter? The re-emergence of her daughter? Her condition, the Lycan tradition, the vampire? The mixed breed? Her appearance, age, suffering, in the back of the car, the Lycan attack, are being defended, saved?

7. The police, the investigations, Detective Sebastian, his associate? His involvement, supporting Selene, working with her, saving her, the confrontations?

8. Dr Lane, his personality, his laboratory, his staff, the hybrid and his being developed as a monstrous Lycan? His breaking the neck of the nurse? Selene ultimately confronting and destroying him? Playing with Dr Lane? Seeking Selene, seeking the daughter?

9. David, his background, the vampires, his relationship with his father? Intervening for Selene, fighting, saving her? His being attacked by the Lycans? Introducing Selene once more to his father, defending her? His father surrendering the little girl? The mission to save her? His being wounded, dying, Selene reviving him, giving him to his father?

10. The main action of the film in the conflicts between Selene and the Lycans, Selene, her presence, acrobatics, survival, fighting?

11. The situation at the end of the film, the possibility for the revival of the Lycans, the role of Dr Lane, Selene, David and his father?